IMPORTANT & RARE ART
Auction 7:00pm Tuesday 30 July 2019
Lot 47 Grahame Sydney
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IMPORTANT & RARE ART Auction: 7:00pm Tuesday 30 July
Viewing Times International Art Centre, 202 Parnell Road, Auckland Tuesday
23 July
10:00am - 5:30pm
Wednesday
24 July
9:00am - 5:30pm
Thursday
25 July
9:00am - 5:30pm
Friday
26 July
10:00am - 5:30pm
Saturday
27 July
10:00am - 4:00pm
Sunday
28 July
11:00am - 4:00pm
Monday
29 July
9:00am - 5:30pm
Tuesday
30 July
9:00am - 4:00pm
Please join us for pre-auction refreshments from 6:00pm on evening of sale
Parking During Viewing: Allocated carparks located directly behind International Art Centre
Parking During Auction: Upper and lower carparks at rear of International Art Centre Further parking at St John’s Car Park, entry at 244 Parnell Road, 40 metres up from International Art Centre
202 Parnell Road, Auckland, New Zealand Telephone + 64 9 379 4010 Toll Free 0800 800 322 www.internationalartcentre.co.nz Lot 33 Wu Guanzhong
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Sale contacts Richard Thomson Ph +64 9 379 4010 richard@artcntr.co.nz Mobile 0274 751071 Maggie Skelton Ph +64 9 379 4010 maggie@artcntr.co.nz Luke Davies Ph +64 9 379 4010 luke@artcntr.co.nz Internet bidding via liveauctioneers.com Auction streams live on Facebook Conditions of Sale p. 151 Absentee bids p. 147 Telephone bid form p. 147
Lot 40 Charles Frederick Goldie
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COLLECTABLE ART
Highlights from 21 May
Colin McCahon realised $5,285 Peter McIntyre realised *$48,650
Andy Leleisi’uao realised *$11,400
John Drawbridge realised $27,600
Peter Stichbury realised $21,600
Paul Dibble realised $10,800
Peter Siddell realised $5,525
Charles McPhee realised $4,805
Edward Bullmore realised $21,020 Prices include buyers premium 6 IMPORTANT & RARE ART Tuesday 30 July 2019 Full results www.fineartauction.co.nz
* Art auction record
COLLECTABLE ART
Thursday 22 August
ENTRIES NOW INVITED Until 25 July 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 cuttingedge of today’s Contemporary art in New Zealand. This sale category is an increasingly significant event in our auction calendar. Offering a number of lower-priced works from highlysought 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. Consign works for this sale now Toll Free 0800 800 322 Maggie Skelton Ph +64 9 379 4010 maggie@artcntr.co.nz Luke Davies Ph +64 9 379 4010 luke@artcntr.co.nz
Jeff Thomson realised $9,910
PHILIPPA BLAIR Space Poem, 1977 Dye and acrylic on canvas 330 x 90 Est. $2,000 - 4,000
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Charles F Goldie $624,650
Peter Stichbury $67,270
Charles F Goldie $474,000
IMPORTANT & RARE ART Highlights from 9 April auction
Max Gimblett $45,600
Flora Scales $19,400
Peter McIntyre $29,700 Prices include buyers premium 8 IMPORTANT & RARE ART Tuesday 30 July 2019 Full results www.fineartauction.co.nz
Sir Cedric Morris $252,260
D K Richmond $19,400
John Barr Clarke Hoyte $36,037 * Art auction record
THE OFFERING COLLECTION
Highlights from 9 May auction which raised $327,465 for The Salvation Army offering.org
Dick Frizzell $38,525
Michael Hight $21,850
Karl Maughan $37,375
John Walsh $20,700
Max Gimblett $39,675
Seraphine Pick $18,000
Raymond Ching $34,500
Darryn George *$36,800
Justin Boroughs $16,500
Reuben Paterson *$35,075
Lisa Reihana $4,715
Lonnie Hutchinson *$15,525
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A Place to Paint Colin McCahon in Auckland
Featuring major works by Colin McCahon from the 1950s to the 1970s and drawing upon Auckland Art Gallery’s extensive collection, this exhibition focuses on the artist’s relationship to Auckland: its landscape, people and local art scene.
Principal partner
Opening 10 Aug 2019
Colin McCahon Moby Dick is sighted off Muriwai: a necessary case for protection 1972, synthetic polymer paint on canvas, Auckland Art Gallery Toi o Tāmaki, on loan from a private collection
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MARKET WATCH
RECENT AUCTION HIGHLIGHTS RAYMOND MCINTYRE (1879 - 1933)
Realised $102,000
Realised $45,600
Realised $40,800
Realised $45,600
Realised $45,600
Realised $19,200
Raymond McIntyre arrived in London in 1909 and soon after set out to investigate art schools. This was his primary reason for coming to London. There all the confidence and informal character of en plein air sketching which the Barbizon school and then the impressionists - for whom working in natural light became particularly important - had made so influential from the mid-19th century. Following the direction of Les Nabis (1888-1896), who had in turn built upon the example of CĂŠzanne and the encouragement of Gauguin, McIntyre arrived at the point where linear perspective and modelling almost disappear; and a flattened, decorative surface of grid-lines and colour planes emerges. He left New Zealand to immerse himself in the stimulus of European art and he would have probably, modestly, admitted that his work became, to use his own words, more interesting viewed from the standpoint of modern artistic developments in Europe as a result. McIntyre was an emigre New Zealand artist whose departure was an enormous loss to painting in this country. Born in Christchurch he studied with Petrus van der Velden and attended evening classes organised by the Canterbury College School of Art. 12 IMPORTANT & RARE ART Tuesday 30 July 2019
In 1905 he joined a sketch club where he met artist Sydney Thompson. From 1906 - 1908 McIntyre shared a studio in Cathedral Square with Leonard Booth who described him as an enthusiastic disciple of Whistler. In 1906 -1907 McIntyre was able to observe for himself the new techniques of impressionism when twenty works by English Art Club members were shown at the New Zealand International Exhibition. These were to be enormously influential in forming McIntyre’s modern style, a factor which did not always endear him to the art establishment in New Zealand. Consequently, in 1909 at the age of thirty, he left for England where he began an intensive period of study with such noted artists as Walter Sickert and William Nicholson. Diverse work included street scenes, a subject he shared with the Camden Town Group, and from 1920 he began to paint rivers and parks. McIntyre was also a talented musician, writer, printmaker, theatre and music critic. For some years he was art critic for Architectural Review. He was a Christian Scientist from 1907 and in 1933 refused an operation for a hernia. The resulting infection caused his death which could have been prevented if he had permitted medical treatment.
MARKET WATCH
RECENT AUCTION HIGHLIGHTS PETER STICHBURY (B. 1969)
Realised $17,845
Realised $67,270
Realised $6,605 Giclee print
Realised $9,009
Realised $4,805 Giclee print
Realised $5,780
Akin to a modern Steptoe, Peter Stichbury plunders identities and ideas from magazines, the internet, popular culture and his childhood to develop a body of work that explores, interprets and reflects the nature of identity. Contrary to common opinion, Stichbury’s stunning paintings, art prints and sketches of gorgeous waifs and 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. Stitchbury’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 sitting up and 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 these days.
It’s gratifying that collectors who supported the work early on can benefit from their investment, said Stichbury, who graduated from Elam School of Fine Art in 1997, the same year he won the James Wallace Art Award, reflected a decade ago. Peter Stichbury, born 1969 in Auckland, graduated from the Elam School of Fine Arts, University of Auckland in 1997. He won New Zealand’s prestigious Wallace Art Awards the same year. Stichbury is primarily a painter but his body of work also spans the mediums of drawing, watercolour, sculpture and sound based work. Stichbury is most renowned for his intricate yet flat portraits of models and modern beauties sourced from contemporary media images. Stichbury often paints a generalised stereotype of a societal group, as opposed to the specific character study a traditional portrait painter seeks to achieve.
Prices include buyers premium
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DON BINNEY (1940 - 2012) Swoop of the Kotare, Wainamu Screenprint, edition 33/55, Ed. II, 66 x 48 Signed, inscribed Swoop of the Kotare, Wainamu & dated 1986 $8,000 - 12,000
PROVENANCE Private Collection, Auckland since c.1990
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DON BINNEY (1940 - 2012)
Kaiaraka Kaku, Great Barrier Screenprint, printer’s proof, edition of 150, 65.2 x 40 $6,000 - 10,000
PROVENANCE Private Collection, Auckland since 2008 2
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DON BINNEY (1940 - 2012) Roucan Cornfields Acrylic on card 18 x 30 Signed & dated 1996 $10,000 - 15,000
DON BINNEY (1940 - 2012) Hauturu from Campbells Bay II Coloured pencil on paper 14.8 x 21 Signed and dated April 2004 $6,000 - 8,000
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NIGEL BROWN (b. 1949) Poet Baxter Icon Oil on board 57 x 46 Signed and dated 1987 Signed, inscribed & dated 1987 verso $6,000 - 10,000
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GRETCHEN ALBRECHT (b. 1943) Waterfall Watercolour and collage on paper 80 x 120 Signed, inscribed Waterfall & dated 1989 $8,000 - 12,000
PROVENANCE Sue Crockford Gallery, Auckland Private Collection USA
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ANDY LELEISI’UAO (b. 1969 ) Waking Up to the Obscurity People Part II Acrylic on canvas 76 x 152.2 Signed, inscribed & dated 2014 $8,000 - 11,000
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RALPH HOTERE (1931 - 2013)
Winter Solstice Carey’s Bay Oil pastel on paper 38 x 25 Signed, inscribed Winter Solstice Carey’s Bay & dated 1990 $15,000 - 20,000
PROVENANCE Acquired directly from artist by current owner
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ELIZABETH THOMSON (b. 1955) Another Green World II Glass, polymer resin, acrylic, fibreglass, 36.8 x 36.8 x 10 Signed & dated 2008 verso $8,000 - 12,000
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10 PATRICK HAYMAN (1915 - 88) Leaning Towards the Sea Oil on card 11.5 x 17 Signed $3,000 - 5,000 PROVENANCE Private Collection, Melbourne
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MERVYN WILLIAMS (b. 1940) Ruby Acrylic on canvas 80 x 65 Signed, inscribed Ruby & dated 2003 verso $5,000 - 8,000
PROVENANCE Private Collection, Auckland
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DICK FRIZZELL (b. 1943) Kitchen Painting (Detail) Oil on board 90 x 65.5 Signed, inscribed Kitchen Painting (Detail) & dated 14.1.1981 $10,000 - 15,000
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HYE RIM LEE (b. 1963)
Black Rose Queen, 2014 C print with perspex face mounting, edition 1/5, 133.5 x 100 Accompanied by a Certificate of Authenticity signed by the artist $6,000 - 8,000
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NIGEL BROWN (b. 1949)
Integrity Oil on linen 79 x 134 Signed & dated 2005 Signed, inscribed Integrity (larger version), Cosy Nook & dated 2005 on linen verso $12,000 - 18,000
This I AM series painting of 2005 is one of a group exploring words individually, one at a time as opposed to other works that juxtapose contrasting words leaving the viewer in the gap between them. The artist's use of words needs to be seen on its own merits. The word Integrity is painted in a particular way that may evoke cubism or constructivism but is really allied to a kind of rough vernacular. The word could be made of wood. The influence is an older rural timber construction and the artist's own sculptural work that questions the present. At the time of creating this work, the artist was living at Cosy Nook and had visited the wooden viaducts in Southern Fiordland
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IAN SCOTT (1945 - 2013)
Small Lattice No 121 Acrylic on canvas 92 x 92 Signed, inscribed Small Lattice No 121 & dated 1985 on stretcher verso $5,000 - 10,000
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SIMON KAAN (b. 1971 ) Untitled Oil on carved wood 170 x 114 Signed & dated 2009 $10,000 - 15,000
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HYE RIM LEE (b. 1963) Dragon, Lucid Dream, Yellow, 2014 C print with perspex face mounting, edition 1/5, 100 x 100 Accompanied by a Certificate of Authenticity signed by the artist $5,000 - 7,000
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ROY GOOD (b. 1945) Spiral Series No.1 Acrylic on canvas 127 x 65 Signed, inscribed Spiral Series No. 1 & dated 1986 verso $7,000 - 9,000 EXHIBITED Aberhart North Gallery 1991
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MERVYN WILLIAMS (b. 1940)
Vista (Red) Acrylic on canvas 80 x 47 Signed, inscribed Vista (Red) & dated 2004 verso $5,000 - 7,000
PROVENANCE Private Collection, Auckland
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20 PAUL DIBBLE (b. 1943) The Long View Model, 2016 Cast bronze sculpture, edition of 5, 51 x 13.5 Signed $9,000 - 14,000 PROVENANCE Private Collection, Auckland EXHIBITED Paul Dibble The Geometrics Gow Langsford Gallery, 2017 ILLUSTRATED p. 29 Paul Dibble The Geometric Figures Dibble Art Company, 2017
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KARL MAUGHAN (b. 1964) Marigolds and Sweet Corn Oil on canvas 173 x 184 Signed & dated 3/7/1988 verso $35,000 - 45,000 PROVENANCE Telecom New Zealand Collection, label affixed verso Currently in the Spark Art Trust Collection Painted in a garden in Scherff Road, Remuera
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RALPH HOTERE (1931 - 2013) Tumoana - Drawing for a Church Window at Mitimiti Ink on paper 76.5 x 55.5 Signed, inscribed He Kuaka He Kuaka Marangaranga / Hione / Tumoana / Drawing for a Church Window at Mitimiti & dated 1982 $18,000 - 28,000 PROVENANCE Private Collection, Auckland Purchased from International Art Centre, 2002 There are few things I can say about my work that are better than saying nothing - Ralph Hotere, 1996 Tumoana - Drawing for a Church Window at Mitimiti is from a series of works painted in 1982, the year of his father’s death. The works feature places along the west coast of Muriwhenua, including Hione, the
cemetery at Mitimiti. Although Hotere spent much of his adult life in Dunedin, Drawing for a Church Window at Mitimiti series illustrates the artist’s ongoing connection to Mitimiti: the place of his birth, the place where his ancestors are buried, and the place where Ralph himself was laid to rest in 2012. The name Mitimiti translates to lap, or to lick up and refers to the site at which spirits leaving the earth at Cape Reinga would stop and quench their thirst on the stream water seeping up through the sand.
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RALPH HOTERE (1931 - 2013) Murdering Beach Pen and ink drawing 38 x 25.5 Signed, inscribed Murdering Beach drawing & dated 1990 $3,000 - 5,000
PROVENANCE Acquired directly from artist by current owner
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Works from the collection of poet, Bill Sutton
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COLIN MCCAHON (1919 - 87) Waterfall, 1964 Oil on hardboard 30.3 x 30.3 Signed & dated December 1964 $35,000 - 45,000
PROVENANCE Bill Sutton collection since 1965 Purchased from Globe Theatre, Dunedin 1965
EXHIBITED Colin McCahon 21 Paintings from the Waterfall Series, Globe Theatre, Dunedin 1965
It is natural to link McCahon’s waterfall paintings to Abstract Expressionism: they were realised at a time when, having returned from the United States, the artist sought to incorporate the philosophy and formal disciplines of this tradition into his practice. For this reason, it is easy to look at a painting such as Waterfall, 1964 and associate it with one of Barnett Newman’s zip paintings, or with any one of the immersive colour fields produced by those artists. Throughout the crystallisation of our national art history, the linking of McCahon’s works to this tradition has become an almost reflexive impulse. Despite the biographical tidiness of such a narrative, however, the vitality of the artist’s connection with the land must not be overlooked.
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Although McCahon did indeed adapt the tools and visual language of an overseas tradition, his waterfall paintings are first and foremost reflections on the spiritualism and essence of the New Zealand landscape. Their sense of timelessness and monumentality comes organically from McCahon’s baptism of New Zealand land by water. In this painting Waterfall, 1964, McCahon converts the violent force of falling water into an inert, infinite state of meditation. The burnt orange rock in the painting’s foreground functions as both a natural signifier and a vital form of painted physicality, facilitating a dialogue between form, colour, and the land.
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Works from the collection of poet, Bill Sutton
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COLIN MCCAHON (1919 - 87) Northland, 1959 Brush & ink on paper 63.5 x 50.5 Signed, inscribed Northland & dated 1959 $20,000 - 30,000
PROVENANCE Bill Sutton since c. 1965 Purchased in Dunedin, c. 1965
EXHIBITED 1959 Colin McCahon. Recent Paintings, November 1958 - August 1959 Gallery 91, Christchurch 6/10/1959 - 18/10/1959
This work on paper from McCahon’s Northland Series precedes art historical explanation. Partly, this is because it is so instantly recognisable in both subject matter and style - Northland, 59 captures the essence of McCahon’s deeply spiritual relationship with the land. It expresses the purity of that point of convergence between sky and landmass. McCahon’s use of an ink on paper medium lends immediacy to this work: a raw aesthetic smudginess to the conception of Northland geography which
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the artist knew intimately. And directly his ability to transcend our human condition, and express something of Aotearoa’s unique identity - not in a nationalistic sense, but through a more broadly existential lens. The richness and evolution of New Zealand’s art tradition is built on a foundation of intermediary dialogue and exchange. At the very heart of this is the path forged by Colin McCahon.
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Works from the collection of poet, Bill Sutton
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MICHAEL SMITHER (b. 1939) Portrait of a Woman - Wellington Oil on board 92 x 58 Signed & dated 1977 verso $20,000 - 30,000
PROVENANCE Purchased from Peter McLeavey Gallery 1977 Sold to Bill Sutton as The Refugee
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MICHAEL SMITHER (b. 1939)
Stations of the Cross Ink on paper 87 x 56 Signed $3,000 - 5,000
PROVENANCE Purchased mid 1960s
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MICHAEL SMITHER (b. 1939)
PROVENANCE Purchased mid 1960s
Stations of the Cross Ink on paper 82 x 55 Signed $3,000 - 5,000
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Works from the collection of poet, Bill Sutton
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TREVOR MOFFITT (1936 - 2006) Hadlow Corner, Canterbury Oil on board 81 x 118.5 Signed & dated 1962 $20,000 - 30,000 PROVENANCE Bill Sutton collection since 1963
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I purchased the Moffitt landscape in 1963, a cash sale directly from Trevor Moffitt, standing in the road outside Knox College in Dunedin. This was during my first year studying at the University of Otago so I can be confident of the date. It was part of a one-man exhibition in Dunedin of (from memory) mostly or entirely South Canterbury landscapes. A black and white photo of the painting had been published in the Otago Daily Times, alerting me to the exhibition, which I promptly visited to make my choice. Bill Sutton, May 2019
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MICHAEL ILLINGWORTH (1932 - 1988) Taweras with Still Life Oil on canvas, 41 x 51.8 Signed & dated 1971 verso $25,000 - 35,000
I’m painting a little world of my own in a little world of my own. I’m building a facade for my own world, against the established facade, the facade of hypocritical suburbia Michael Illingworth 41
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DON BINNEY (1940 - 2012) Pipiwharauroa with Kereru Oil on board 97.8 x 76.2 Signed & dated 1963 $400,000 - 600,000 PROVENANCE Private Collection Auckland 1963 - 2000 Fine Paintings, Photography & Prints, Webb’s 28 March, 2000 Private Collection, Auckland since 2000 EXHIBITED Don Binney - First One Man Show The Ikon Gallery, October 15 - 27, 1963 Cat. no. 21
Maori welcomed the wharauroa as a harbinger of Spring Ka tangi te wharauroa, ko nga karere a Mahuru, says the proverb: If the shining cuckoo cries it is the messenger of Spring On first hearing the welcome cry, the children greeted the bird with the following song: E manu tena koe. Kua tae tenei ki te mahanatanga. Kua puawai nga rakau katoa. Kua pa te kakara ki te ihu o te tangata. Kua puta ano koe ki runga, tioro ai. Tioro it te whitu, tioro i te waru. Me tioro haere ano ke koe tenei kupu e whai ake nei, te marae o tama ma, o hine ma Kui Kui Kui, whiti whiti ora O bird, greeting to you. The warm season appears and all trees have blossomed. The fragrance reaches the nostrils of man. You again appear trilling on high. Trilling in the seventh month, trilling in the eighth month. Trill you ever forth as you fly the following message to the homes of lads and lasses Kui Kui Kui, whiti whiti ora
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The Ikon Gallery Exhibition catalogue, 1963
I’ve been an amateur ornithologist a lot longer than I’ve been a painter. You can’t just look at birds without getting an interest in diverse species and I’m apt to see New Zealand from this standpoint. I absorb a great deal and the input becomes so intolerable it must come out somehow. In my case it happens to come out chiefly in paintings. If I didn’t have the skills I do have for painting, I would still go on caring about these things. I paint and draw because I’m thoroughly committed to and involved with environmental, natural stimuli - the landscape, the wild-life. A number of drawings I’ve done over the last year, for example, have been done at the end of one or another road, the point where one’s motor-car is of no further use. This is where you make your beginnings. You must approach the landscape or the bush with reverence. To my mind, loyalty to New Zealand doesn’t consist in conforming to conventional expectations, but in acquiescing to beings like the forest god Tane. They tell me what to do and what not to do. Don Binney in Art New Zealand, Issue 7, August / September / October 1977
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Don Binney is New Zealand’s leading contemporary artist-ornithologist. Over the course of his career he painted many birds, contributing a body of work which was vital to the formation of our national modernism, and from which themes of conservation and environmentalism powerfully resonate. Binney’s birds are recognisable by their bright modularity; their clarity of form and tone. Appearing in rhythm with the land, they are unambiguous, elegant compositions of colour and line. Whether dominating a Northland landscape, perched on a rock or levitating above a sea horizon, they are forcefully connected to the land. Pipiwharauroa with Kereru is a wonderful example of the artist’s ability to unite land, colour, nature and form. The presence of three birds makes this a particularly special work – there are two kereru and one pipiwharauroa depicted. The shining underbelly of the latter with its bars of dark green on white is exposed to the viewer. Momentarily frozen in the fluidity of their movement, each of these three birds exists within a slightly different space. As ever, Binney’s treatment of line and colour gives this work a sense of clarity. The background modifies the form and existence of the birds, and vice versa. The bright, primary blue of the sky in this painting does not serve as a passive visual prop to the birds in the foreground, but is subsuming in its boldness. In this way, as the bodies of each bird melds with the curved lines that contain them, Binney helps guide the viewer towards an intuitive understanding of the wholeness of nature.
rich, illuminated black – a sheen which he would have achieved with an oil laden, fan shaped brush. In this way, sharpness of line and gloss meets with flatness, with landmass, with movement, creating a pervading sense of harmony. The birds in this work are not variations of a single artistic prototype, but expressions of Binney’s incisive, binocular outlook on nature. The perspective in the artist’s work is sometimes deliberately imperfect, and the birds in this work have been cropped to be imperfectly intact, but perfectly in motion. Between 1962 and 1963, Binney completed several other works featuring the pipiwharauroa. According to Maori mythology, it was this bird’s migratory flight which inspired the journey of Maori to New Zealand. The pipiwharauroa is a harbinger of spring, a metaphor which translates to the time when this painting was created, 1963. This was a key year in the life of the artist. It was the year of Binney’s first exhibition at Ikon Gallery, the year he was married, the year he started work as an art teacher at Mount Roskill Grammar School. All in all, it is a forward looking painting of hope, interconnectedness, beauty and new beginnings.
When it comes to artists such as Binney, it can be difficult to consider any single work in isolation. Knowledge of his practice, technique and assumptions about his broader thematic intentions draw us away from the immediacy of the work to situate it within the broader context of his oeuvre. In the case of Pipiwharauroa with Kereru, however, it is important to resist this temptation and to appreciate the specifics of this painting. At the time Pipiwharauroa with Kereru was painted, Binney was working exclusively in oil on board. Though he later came to realise the subtleties of technique afforded by painting on canvas, the medium of board allowed him to master texture. Contrasting with the flatness of the kereru’s belly is a
detail
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32 MICHAEL SMITHER (b. 1939) Saint Francis and the Wolf, 2007 - 18 Oil and alkyd on board 120 x 100 Signed & dated 2018 Inscribed Begun in 2007 and finished Otama, 2018 verso $120,000 - 160,000 PROVENANCE Collection of the Artist
Completed over a period of nearly twelve years, Saint Francis and the Wolf is a major work by the artist which contemplates spirituality, the environment and harmony between man and members of the animal kingdom. It is based on the story of a lone wolf which terrorised the Umbrian town of Gubbio in 1220, attacking both livestock and inhabitants. The townspeople had heard that through grace, Francis of Assisi was able to communicate with creatures great and small. In desperation they appealed for his help. Francis went up into the hills and met with the wolf. After calming the animal whom he addressed as Brother Wolf, it was proposed that should attacks upon the townspeople cease, they in return would feed him. In a gesture of submission and agreement the wolf placed his paw in Francis’ hand and the pact was sealed. This legend has been portrayed by artists throughout the ages. Michael Smither was raised within the Catholic faith and a number of his works depict religious themes and stories. In St Joseph’s church, New Plymouth, the artist’s concrete-cast stations of the cross are accompanied by two striking murals, Doubting Thomas and The Baptism of Christ. These are situated in a contemporary setting – Jesus in a wetsuit, being baptised on a rocky Taranaki riverbed. In keeping with the centuries old tradition of adapting religious stories to local settings, Smither has nestled
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the Italian duo beneath a border of New Zealand ferns. The scene appears fresh, hyper-realistic and the brightness of the ferns is such that they resist any incongruity. The rock held by St Francis, and around which his figure is centred, recalls both the eucharistic bread and the similar forms of the artist’s rock paintings. On one level, this painting may be seen as a simple depiction of a man and his dog. This interpretation offers some insight into the artist’s relationship with Catholicism, and his definition of spirituality which he described as belonging to every man and his dog. To this statement Smither added, and that’s why St Francis has always been my favourite saint. He’s the person who related to the whole world, right down to the sticks in the fire and the straw on the ground. Given St Francis’ connection to the natural environment – he is the patron saint of animals and ecology – it is unsurprising that Smither favoured him in such a way. Through this painting and his other depictions of St Francis, Smither has joined a vast artistic tradition including direct influences such as Stanley Spencer (the artist refers to a postcard sent by his friend John Maynard depicting Spencer’s St Francis and the Birds and other New Zealand artists such as Colin McCahon Can You Hear Me, St Francis, 1969.
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Brother Wolf, thou hast done much evil in this land, destroying and killing the creatures of God without His permission; yea, not animals only hast thou destroyed, but thou hast even dared to devour men, made after the image of God; for which thing thou art worthy of being hanged like a robber and a murderer. All men cry out against thee, the dogs pursue thee, and all the inhabitants of this city are thy enemies; but I will make peace between them and thee, O Brother Wolf, if so be thou no more offend them, and they shall forgive thee all thy past offences, and neither men nor dogs shall pursue thee any more - St Francis of Assisi
Tribute in bronze to St Francis of Assisi with Brother Wolf, Gubbio, Umbria
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WU GUANZHONG
(Chinese 1919 - 2010) Trees and Snow Mountain Ink and colour on paper 86 x 69 Signed & dated 1988 with two seals of the artist, Wu Yin Guan Zhong and Ba Shi Nian Dai $400,000 - 600,000
HKD 2,000,000 - 3,000,000 EUR 230,000 - 350,000
PROVENANCE Private Collection, Auckland Purchased from Plum Blossoms (Int’l) Ltd Hong Kong, 27/4/1992 EXHIBITED Wu Guanzhong - Kaleidoscope, May 16 to 27, 1989 Illustrated on front cover and p. 61 Wu Guanzhong — Kaleidoscope Plum Blossoms (International) Ltd
I want to express the transformations in space and time that occur in my mind. The many forms I see with my eyes inspire the unpredictable transformations that I haven’t yet seen
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With a career spanning over sixty years, the selection of paintings in this exhibition focuses on some of his best works in the medium of ink and spans the decades from the mid-1970s to 2004. It is notable that Wu began to work more extensively in ink in the 1970s in his mid-career—turning to a traditional medium at a time when most artists looked to western art for inspiration. The exhibition traces the development of Wu’s work during this period with a thematic focus illuminating the rich historical legacy of ink painting in China, and also representing his radical individual style steeped in his strong belief in formalist principles. Wu pushed the boundaries of our understanding of how a traditional medium of ink can be made new for a new century. Wu Guanzhong often compared his revolutionary approach to ink painting to the way a kite is navigated; not flying too far from the ground. The use of ink and wash clearly reveals his solid grounding in the centuries-old tradition of Chinese ink landscape painting.
Cover of Wu Guanzhong — Kaleidoscope
Wu Guanzhong (1919–2010) stands as one of the most important artists of twentieth-century China. Born in Jiangsu Province, Wu studied art at the National Academy of Art in Hangzhou (today’s China Academy of Art) and, from 1947, in Paris at the École Nationale Supérieure des Beaux-arts. He returned to China after three years and taught at the Central Academy of Fine Arts in Beijing. His works were condemned before and during the Cultural Revolution because his oil paintings did not comply with the political interests of the time. In spite of this he continued to paint and emerged as a national cultural figure whose works came to be celebrated inside and outside China. He is also well known for his eloquent writings on art and creativity that sometimes led to controversies and spawned heated debates among Chinese artists and intellectuals. Wu Guanzhong created works that embody many of the major shifts and tensions in twentieth-century Chinese art—raising questions around individualism, formalism, and the relationship between modernism and cultural traditions.
Monumental mountains in Wu’s paintings echo the regal presence of mountain peaks in the iconic landscape painting Early Spring by Guo Xi (1000– ca. 1090), dated to 1072. Some other works by Wu show influences of painters from the Song dynasty (960–1279) to the Qing dynasty (1644–1911) in the compositions and the types of brushstrokes he uses to add a variation in texture and an atmospheric effect. However, he has also created works that are fundamentally different from the tradition, particularly in his use of bright colours, liberal use of wash, and radical compositions based on an interest in formalism. Where traditional ink paintings emphasized the grandeur and majesty of the natural environment over small-scale pavilions or other architectural elements, the most distinct compositions that Wu created are found in those paintings depicting rural yet grand homes and towns that emphasize a constructed, manmade environment. Rather than including buildings as a small part of painting, he extracted geometric beauty and a structural rhythm from architecture. To Wu, whether artists are painting buildings, mountains, rivers, grass or trees, it is of primary importance that they paint with feeling. Revolutionary Ink: The Paintings of Wu Guanzhong, The Asia Society Museum exhibition, 2012
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CHEN JIALING (Chinese b. 1937) Vitality Ink and colour on paper 48.5 x 45 Signed with artist seal $3,500 - 4,500 HKD 18,000 - 23,000 EUR 1,450 - 2,600
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CHEN JIALING (Chinese b. 1937) Whispering Pines Ink and colour on paper 69 x 69 Signed with artist seal $3,500 - 4,500 HKD 18,000 - 23,000 EUR 1,450 - 2,600
PROVENANCE Private Collection, Auckland Purchased from Plum Blossoms (Int’l) Ltd Hong Kong, 27/4/1992
PROVENANCE Private Collection, Auckland Purchased from Plum Blossoms (Int’l) Ltd Hong Kong, 27/4/1992
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Wu Fan is a Chinese artist from Chongqing in Sichuan province. He studied guohua with Pan Tianshou (1897 - 1971) and Li Keran (1907 - 89) and oil painting with Ni Yide (1901 - 70).
WU FAN (Chinese b. 1923) Dandelion, 1959 Woodcut, edition of 47/80, 54.6 x 24.5 Signed with artist seal $10,000 - 15,000 HKD 51,000 - 77,000
EUR 5,700 -25,800
PROVENANCE Private Collection, Auckland EXHBITED Modern Chinese Block Prints 1931-1987, Machida City Museum of Graphic Arts, August 12th - September 18, 1988
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He is most famous for his woodblock prints. Dandelion, 1959, is his best known work and demonstrates his mastery of the shuiyin printing style. There were two editions, one of 50, another of 80, it won gold prize at the Leipzig International Print Competition.
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CHRISTOPHER HARMON CHEUNG (Chinese b. 1945)
Double - also known as Couple Oil on linen 114 x 163 Signed Signed, inscribed Couple & dated 1999 on stretcher verso $30,000 - 40,000 HKD 155,000 - 206,000
EUR 17,300 - 23,000
PROVENANCE Private Collection, Auckland Purchased directly from artist
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Chistopher Cheung was born in China 1945. He has lived and trained in Paris since 1970, exhibiting in Taiwan and France. The work is signed Christopher Cheung on the painting. Chinese signature on linen verso
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ELIOTH GRUNER (Australian 1882 - 1939) Robertsons Landscape Oil on board 29 x 39 Signed & dated 1933 $10,000 - 15,000
PROVENANCE Private Collection, Northland by descent Same family collection since c. 1940
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Two Works by Charles Frederick Goldie
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CHARLES FREDERICK GOLDIE
(1870 - 1947) “Memories” Harata Tuhaere Rewiri Tarapata of Orakei Oil on canvas 24.3 x 19.1 Signed & dated 1917 Inscribed: Memories / Harata Tuhaere / widow of the late chief Paul of Orakei C F Goldie on original artist label affixed verso $250,000 - 350,000 PROVENANCE Private Collection, Auckland
Harata Rewiri Tarapata, widow of the late Chief Paul of Orakei. Harata (Charlotte) Rewiri Tarapata was the high born descendant of two noted chiefs, Tamati Waaka Nene and Eru Patuone, both early signatories of the 1840 Treaty of Waitangi. She was the daughter of Te Wharerahi of the Hokianga. Harata married Paora Tuhaere, a paramount chief of the Ngati Whatua tribe of Orakei, Auckland since 1868. Her husband had become a Christian early in life, taking the baptismal name of Paora (Paul). He was active as an Anglican lay preacher in hapu and intertribal gatherings, always preaching tolerance and peace. Paora Tuahere was the author of valuable historical accounts of Ngati Whatua history and historical narratives concerning their conquest of Kaipara and Tamaki.
Harata was his second wife, and together they had a daughter, Mere. In her youth Harata was acknowledged as a great beauty and became a familiar figure around the Orakei area. As a teenager she had delivered ammunition to Ngāpuhi warriors at Ruapekapeka (1845-46) and other key battles of the New Zealand Wars. In maturity, Harata Rewiri Tarapata became a woman of great mana and was painted on several occasions by Charles Frederick Goldie and his leading pupil, Vera Cummings. Goldie’s major work of this subject titled The Widow was painted in 1903 and is held in the collection of Te Papa Tongarewa. In this 1917 portrait, an aged Harata Rewiri Tarapata sheds a small tear, perhaps for ‘Memories’ (the paintings title) of by-gone days. It is impossible to know, but important to note this poignant and unique detail rendered so perfectly by the artist’s hand.
Harata’s husband, Paora Tuhaere, a paramount chief of the Ngati Whatua painted by Gottfried Lindauer
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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 become 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-terangi Wharepu (Ngati Mahuta), Ina te Papatahi (Nga Puhi), and Wharekauri Tahuna (Ngati Manawa). Over the next two decades, Goldie gained national and international acclaim and steady demand formed a strong market for his portraits, a number of which would later be exhibited at the Royal Academy of Arts in London and the Paris Salon throughout the 1930s. In 1920 the artist moved to Sydney, where despite original plans to continue on to Paris, he was married, at age fifty to thirty five year old Olive Cooper. Marriage in Sydney circumvented the Goldie family disapproval of the relationship between Auckland’s famous artist and the milliner from Karangahape Road. After two years in Sydney, apparently disillusioned with his work at this time and suffering from health problems Charles and Olive returned to New Zealand. Goldie’s return to Auckland in 1924, ultimately represented a moment of artistic reckoning. Goldie received encouragement to resume painting from Governor General Lord Bledisloe. Devoting himself once again to his work, he began to apply a more liberal, impressionistic approach to the realisation of his portraits and repainted a number of his former subjects. Works from this later period are distinguished by their soft luminescence, offering a rhythmic departure and disconnection from the rigours of formalism to which he had so strictly adhered in the past. Goldie died in Auckland in 1947, his exquisite, spiritually-charged, often unsettling and ever powerful portraits of Maori having made an unsurpassed contribution to the history of art in New Zealand.
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(1870 - 1947) Hori Pokai, known as The Strategist Oil on canvas 28.2 x 23.1 Signed & dated 1925 Inscribed Pokai - Ngati Maru Tribe on original John Leech label affixed to frame verso $250,000 - 350,000 PROVENANCE Collection of Mr Caughey until 1981 Private Collection, Auckland since c. 1981 Hand written label affixed to stretcher reads: Mr Caughey
Hori Pokai lived beside the Kauaeranga Stream in the Thames district. His father, Tauri Netana, escaped from Hongi Hika’s attack on Te Totara Pa in 1821. He was later captured by a Ngapuhi raiding party and taken to the Bay of Islands, where Pokai was born, instead of his native Arawa. Although Hori Pokai’s tattoo was incomplete, he was considered to be the last tattooed Maori in the Thames district. When Mr W Hammond came to photograph the chief, he painted Pokai’s tattoo with Indian ink to ensure that the finer lines would show up more clearly. Pokai was so pleased with Hammond’s artwork that he paraded daily down the main street of Thames until the ink finally wore off. Pokai was an avid story teller and would relate how, on several occasions his love affairs brought him close to death. He told of the time he paid too much attention to another man’s wife and the aggrieved husband challenged him to a fight. The whole tribe assembled to watch Pokai’s punishment. Pokai, as the offender, had to rest on one knee, with a sharp stick in his hand, and defend himself against his opponent, who was armed with a long spear.
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The offended husband was allowed to make two thrusts at Pokai, in an attempt to impale him. Pokai parried the first attack and deftly brushed aside the second. He was a man of great pride, with a keen sense of humour. His physical strength is clearly mirrored in his face, particularly the set of his jaw. He was an able warrior and leader, but few stories of his battles have survived. Goldie first painted Hori in 1905, after a visit to Thames. He took a series of photographs at the time, and these were used for portraits in 1917 and 1919 and for several in the 1930’s. The 1936 portrait Pokai Perturbed or Suspicion was submitted to the Royal Academy, and the 1937 study A Midsummer’s Day, Maoriland was exhibited at the Paris Salon in 1938. Goldie also had access to the photographs of Hori Pokai taken by Hammond. C F Goldie His Life & Painting, Alister Taylor & Jan Glen, 1977
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THE LATE CHIEF HORI POKAI Hori Kingi Pokai Te Ruinga, was the principal chief of the Ngatipaoa tribes of the Waiheke, Taupo, Wharekawa, Mercury Bay, and was allied by blood to the Waikato and the Ngatimaru of the Thames. Mahora, a chieftainess of the famous Te Wherowhero family, was Hori Pokai’s grandmother, she having married a Ngatipaoa chief of celebrity, named Te Mahia. They had three sons, whose deeds of greatness are recorded in song, and in the traditionary tales of the people. Their names were, Te Haupa, Te Waero, and Pokai, the father of our late friend. The name of Hori Pokai’s mother was Patupatu, a chieftess of the Ngatimaru; according to Native custom, therefore, Hori Pokai held the title of a chief of Waikato, of Ngatimaru, and of Ngatipaoa, amongst whom he lived. The beautiful island of Waiheke on which Hori Pokai resided for many years, originally belonged to the Ngatimaru, but was taken possession of by the tribe Ngatipaoa in consequence of offensive language used towards their chief, by the Ngatimaru. This circumstance - morally and legally unjust, though in strict accordance with native custom - proclaims the extraordinary influence he possessed, for it must have been no small sacrifice of feeling, to submit quietly to the alienation of a valuable territory in the immediate neighbourhood of Auckland; especially as the Ngatimaru, and sub-tribes received no share of the payments given for the Waiheke lands, ceded to the Crown from time to time. The last payment, £1,100, a depraved white man named Parker, succeeded in obtaining from the Natives under false pretences, and decamped with it. For the last twenty years Hori Pokai bore the character of a man of peace. It is to be hoped that he received “with meekness the ingrafted word which is able to save the soul”, for we find him advocating a principle which is at variance with native ideas, and human nature itself - that evil should not be met by evil, a sentiment which openly confronts the false notions of many a high-headed but low-hearted professor at the present dark era of the world - an era in which is pre-eminently visible “the form of godliness” without the power. Many interesting incidents might be related, showing Hori Pokai’s good will and very kindly feeling towards
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the European settlers, and his earnestness, in promulgating amongst his own countrymen that true bravery, which imparts such exalted dignity to the character of man, - returning good for evil; but want of space compels us to pass on, we content ourselves therefore, by giving a brief account of his last illness and death, in August 1860. Conscious that his spirit was about to forsake its early home, - that the last rays of his setting sun would soon be invisible to human sight, - he addressed his relatives and friends who attended him thus; - “After my departure hence, be good to the white people; be ever kind, and loving to them; and forsake not our father. Be workers (i.e. obedient servants) for God who is the refuge for us all. “I have no desire to remain in this world, for I have discovered its iniquity. O my children, Christ is the resting place for us”. He called for a New Testament and desired one of the attendants to read the 7th chap. of II. - Cor., and he commented upon it. “Three days “says his son” were his relatives praying for him; and he also was engaged in prayer at the same time, so that his spirit might go direct to the saviour”. And think you reader that prayers ascending from these bleeding hearts would not have “power with God, and prevail?” How cheering, to the sorrowing friends would the promise be, “Call upon me in the day of trouble, I will deliver thee, and thou shalt glorify me” When the soul was lingering on the bank of the dark river which separates earth from heaven, the weeping friends of the dying chieftain, in bitter grief imploringly exclaimed, “Father, stay with us a little longer!” “Let me go;” said the man of peace with equal earnestness, “two messengers have come to fetch me’ - I am going to Christ.” Thus ended the early pilgrimage of the venerable Hori Kingi Pokai, on the 16th of August, 1860. He has left a widow, Mata Te Mahirahi, and two sons, Aperahama Te Hiwinui, and Hori Rakena. His relatives and the tribe, we trust, will attend to the excellent sentiments he uttered in the hour of death, and we hope that they will under all circumstances follow the blessed injunction which was the rule of his life - “Be not overcome of evil; but overcome evil with good.” Text: p. 23 Aotearoa, or The Maori Recorder, Volume 1, Issue 1, 1 January 1861
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LOUIS JOHN STEELE (1842 - 1918) Self Portrait Oil on canvas laid on board 39.5 x 29 $14,000 - 18,000
PROVENANCE An Auckland Estate Purchased from Cordy’s auction Thursday 31 August 1967 Dannaeford collection. Dannaeford was a curios dealer in Queen St in the early 20th Century
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CHARLES FREDERICK GOLDIE (1870 - 1947) Anatomy Study Oil on board 23 x 7.5 Signed, inscribed To my Friend H Leech, from C F Goldie & dated 1920 $8,000 - 15,000
PROVENANCE Gifted by Goldie to Harold Leech of John Leech Gallery, the artist’s dealer and frame-maker. Acquired by Neville Fraser following the death of Harold Leech in 1945. Gifted to Doctor Peter Doak by Neville Fraser Auckland, Christmas 1970 Notes verso Auckland’s John Leech Gallery was established in 1855 by Manchester born, John Leech. Following his death in 1879 the gallery continued to flourish under the management of his son Harold, whom Goldie dedicated this to in his inscription. Harold Leech died in 1945 at the age of 87. In 1946 Allan Swinton, Gilbert Meadows and Howard Newcomb purchased the gallery.
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43 FRANCES HODGKINS (1869 - 1947) Sails - also known as The Fishing Fleet, Chioggia Watercolour 68.6 x 45.7 Signed & dated 1906 Inscribed The Fishing Fleet, Chioggia, Frances Hodgkins verso $60,000 - 80,000 PROVENANCE Percy Hodgkins Mr J H Jerram Paekakariki c 1910 Collection of short-story writers and literary stylist Maurice Noel Duggan (1922 - 74) Purchased from the above collection by the current owners mother c. mid 1970s
EXHIBITED Dunedin, Otago Art Society, cat. no. 165, November 1906 Canterbury Society of Arts, cat. no. 253, May - June 1907 Auckland Society of Arts, cat. no. no 151 May 1908 Solo exhibition, McGregor Wright’s, Wellington, 1908 cat. no. 2 10 - 28 August, 1908 REFERENCE p. 186 Works of Frances Hodgkins in New Zealand, E H McCormick, cat. no. 232 Published by Auckland City Art Gallery, 1954
In January 1906 in her thirty seventh year, Frances Hodgkins again departed from New Zealand for Europe. Arriving in Plymouth in late February, she spent little over a month with friends in London and Sussex before realising her long-cherished dream to teach and paint in Venice. She was soon joined there by a small group of students and other members of what she jokingly referred to as her ‘personal entourage’.
Some thirty five years later, with a lifetimes dedication to travelling and painting, Hodgkins place amongst the English avant-garde artists of the 1930s and 1940s was acknowledged and secure. She was chosen to represent Britain in the 22nd Venice Biennale. Due to the outbreak of war, Britain withdrew from the Biennale. The British Council then arranged for her works to be exhibited at Hertford House, London (The Wallace Collection).
By early April, settled in the Casa Frollo on the Guidecca, writing to her mother in Wellington, Hodgkins refers to the ‘incomparable beauty’ of Venice. By June, finding the heat overwhelming and seeking fresh impetus she left ‘the most beautiful & most enchanting & alluring city in the world’ for Chioggia, a small port on the Adriatic about seventeen miles southeast known as Little Venice. In further correspondence she wrote that Chioggia was ‘famous for its handsome women & its fishing fleet’. The latter sentiment is clearly reflected in this work.
This watercolour carries the title Sails in Works of Frances Hodgkins in New Zealand, E H McCormick, Auckland City Art Gallery, 1954 and the forthcoming Auckland Art Gallery Catalogue Raisonné. The Fishing Fleet, Chioggia was its exhibition title
An unfinished Venetian bridge study verso
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Included in the forthcoming Frances Hodgkins Online Catalogue Raisonné
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FRANCES HODGKINS (1869 - 1947) Farm Study with Pigs and Geese also known as Surprise Encounter Watercolour 13.5 x 23 Signed & dated 1896 $8,000 - 12,000
PROVENANCE Watsons Auction Christchurch 28/10/1998 Sold with title Surprise Encounter Estate of Lady Diana Isaac, Christchurch Included in the forthcoming Frances Hodgkins Online Catalogue Raisonné
Our thanks to Mary Kisler of Auckland Art Gallery for her assistance
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FRANCES HODGKINS (1869 - 1947)
A Man of Property, c. 1895 Watercolour 35 x 26.5 Signed $20,000 - 30,000 PROVENANCE JMS Products 17 Chancery Lane Chistchurch 1954 - 1976 Mrs W N Pharazyn, Wellington Dunbar Sloane August 1976 auction Private Collection, Christchurch 1976 - 2012 Important, Early & Rare, International Art Centre, July 2012 Private Collection, Auckland Included in the forthcoming Frances Hodgkins Online Catalogue Raisonné REFERENCE p. 137 Works of Frances Hodgkins in New Zealand, E H McCormick, cat. no. 59 Published by Auckland City Art Gallery, 1954
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FRANCES HODGKINS (1869 - 1947) ILLUSTRATED
Arrangement of Jugs, c. 1938 Lithograph 45.7 x 61 Signed $18,000 - 28,000 PROVENANCE Private Collection
p. 151 Frances Hodgkins: Paintings and Drawings, lain Buchanan, Elizabeth Eastmond and Michael Dunn, Auckland University Press, 1994.
EXHIBITED Leicester Galleries, London, September 1938
p. 33 Frances Hodgkins: Kapiti Treasures, Janet Bayley (Edt.), Mahara Gallery, 2010
p. 123 Portrait of Frances Hodgkins, E.H McCormick, Auckland University Press and Oxford University Press, 1981
Frances Hodgkins: European Journeys REFERENCE Auckland Art Gallery 4 May - 1 September 2019 Frances Hodgkins: European Journeys, Catherine Hammond, Mary Kisler Auckland University Press, 2019
Arrangement of Jugs is a lively and buoyant still life and Hodgkins’ only surviving print. It was commissioned in 1936 by the London-based publisher Contemporary Lithographs Ltd as part of a venture to supply a wider audience with quality and affordable original works of art. Arrangement of Jugs is from the suite of fifteen prints by different artists launched in 1938, one of which was purchased by the British Museum.
Arrangement of Jugs are pared back to their most essential formal elements or depicted through abstract bodies of colour. Essentially disregarding any hierarchy within the objects, Hodgkins has employed several perspectives within a single composition giving the effect that some objects appear to float freely in space. The ethereal quality of the abstract forms combined with the objects depicted more literally adds dynamism and vivacity to the work.
Although she had not worked with lithography before, Hodgkins was praised at the time for her fresh and innovative use of the medium and she herself found it interesting and remunerative as a sideline to other works. p. 36 Kapiti Treasures, Janet Bayley, Edt.l, Mahara Gallery, 2010
The simplified outlines of objects and bold areas of colour in Arrangement of Jugs are typical of Hodgkins’ approach to colour and form in the mid to late 1930s and relate strongly to two known watercolours of almost identical titles, Still Life c.1937 and Arrangement of Jugs c.1937, suggesting that they may have been working drawings for this lithograph.
Moving increasingly away from traditional modes of representation in her works, some objects in
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GRAHAME SYDNEY (b. 1948) Circus Oil on linen 70.5 x 121.5 Signed & dated 1992 Inscribed Circus on linen verso $100,000 - 150,000
PROVENANCE Private Collection, Christchurch
A watercolour study for this work is illustrated p.72 The Art of Grahame Sydney, Grahame Sydney, Michael Findlay, Brian Turner, Belinda Jones, Reg Graham, Longacre Press Ltd, Dunedin 2000
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RALPH HOTERE (1931 - 2013) Black Window Acrylic, stainless steel & hardboard in colonial sash window frame 133 x 106 Signed, inscribed Port Chalmers & Black Window & dated 1984 Signed, inscribed Les Saintes Maries / De La Mer & dated ‘87 verso $120,000 - 160,000 PROVENANCE Private collection since 1992
ILLUSTRATED p. 229 Ralph Hotere, Ron Sang Publications, 2008
Ralph Hotere (Te Aupōuri and Te Rarawa) was born in Mitimiti, Northland. He attended Auckland Teachers’ Training College, moving to Dunedin in 1952 to study at the Dunedin School of Art. In the late 1950s Hotere worked as an arts advisor for the Education Department in the Bay of Islands. In 1961 he gained a New Zealand Art Societies Fellowship and travelled to England where he studied at the Central School of Art and Design, London. From 1962 he studied in France and travelled through Europe, returning to New Zealand in 1965. In 1969 Hotere was in Dunedin to take up the Frances Hodgkins fellowship. It was here that he met poets Bill Manhire and Cilla McQueen. McQueen and Hotere were married from 1974 to 1986, she is the source of some of the most political text he uses in his works. Hotere’s Black Window series is titled after a McQueen poem.
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Hotere’s Black Window paintings originated as a protest in the early 1980s against the proposed aluminum smelter at Aramoana. Threatened destruction of the natural beauty of the area were issues of grave and personal concern to Hotere. The sweeping view from his studio on Observation Point took in the harbour’s stretch and the long tapering of Aramoana at their northern side. The Black Window series symbolises an outlook under threat, blackpainted hardboard squares are set into weathered window frames with each picture carrying its own subtle complexities. Such works and wide-spread public protest led to the eventual abandonment of the project. The powerful historical and aesthetic relevance of Hotere’s work is embodied in his Black Window series.
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Five works by Sir Tosswill Woollaston
Sir Mountford Tosswill “Toss� Woollaston (1910 - 98) is acknowledged as one of the most important New Zealand painters of the 20th century. Born in Toko, Taranaki Woollaston studied art at the Canterbury School of Art in Christchurch where Margaret Stoddart was one of his teachers. He became interested in modernism after moving to Dunedin to study with R N Field. From the 1960s Woollaston was able to paint fulltime; previously he had taken numerous part-time jobs to support himself and his family. As well as painting, Woollaston had a lifelong passion for poetry.
His books include The Far-Away Hills published in 1960, and his 1980 autobiography, Sage Tea. In 1979 Woollaston was made a Knight Bachelor being the first New Zealander to be knighted for his services to art. While most recognised for his landscape paintings, Woollaston was equally inspired by the human form and created many portraits, treating each subject with intensity in an attempt to capture a sense of truth. Woollaston died in Upper Moutere, 1998 at the age of 88.
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48 TOSS WOOLLASTON (1910- 98) Lyttelton Harbour c. 1986 with Study for Moon over Pah Hill verso Oil on board 95 x 120.5 Signed $50,000 - 75,000 PROVENANCE Private Collection, Auckland International Art Centre, Contemporary & Traditional New Zealand & European Art, Auckland, 16/10/1998 Dunbar Sloane, New Zealand, Australian & European Paintings, 29/09/1999 Lyttelton Harbour features Mount Herbert and Lyttelton Harbour painted from Sugarloaf Hill above Lyttelton. The wharves and township are seen at the bottom, centre. Mount Herbert dominates the view with a horizon line of open sea seen above Gebbie’s Pass, top right. This work, with its bold, confidentially placed brushstrokes embodies the stylistic qualities which led to Woollaston being lauded as the Cezanne of the Pacific. The verso study appears to be an almost finished work, featuring Pah Hill beneath a full moon. Dark gum trees flank the foot of the hill, a re-occurring theme in Woollaston’s work during the time he lived in Riwaka, opposite Pah Hill. Our thanks to artist’s son Philip Woollaston for his assistance in cataloguing this lot.
Pah Hill study verso
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49 TOSS WOOLLASTON (1910 - 98) Veranda and Tower with Study of a Young Man verso Oil on board 45 x 31 Signed Signed & inscribed Veranda and Tower £18-10-0 on portrait side $20,000 - 30,000 PROVENANCE Private Collection, Auckland Purchased from Fine New Zealand Paintings & Foreign Paintings, Drawings and Prints, Webb’s, 22/11/1995
49 These paintings make for a compelling, double sided pair. They were painted in Greymouth, most likely between 1956 and 1958 when two additional works depicting the same tower view were completed. Both bear Woollaston’s emblematic earthy palette and gestural, impastoed brushwork. On one side is a study of buildings, there is an absence of human presence. A view of a tower looking out from a veranda over closely stacked arches, architectural intricacies and different physical spaces. The sky surrounding the tower leads the eye towards its apex, commanding the crowded forms of architecture into formation around it. In this painting, the viewer meets readily with what Woollaston described as the lean and tilt of the different planes and volumes in contrasting directions.
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On the verso, there is a portrait in which the viewer finds themselves positioned above the sitter. Hovering over a young man whose discomfort is palpable, it presents as a cropped moment charged with tension and intimacy. Through these contrasting lenses, Woollaston demonstrates his ability to shape the viewer’s experience around an awareness of their gaze. In their own way, both paintings encourage the viewer to consciously inhabit a single vantage point, to adopt a way of looking which is made meaningful by the artist’s adroit treatment of perspective – whether that involves peering into the eyes of a stranger, or deciphering the forms of a townscape.
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TOSS WOOLLASTON (1910- 98) Anthony Durrano (Navajo Potter) Watercolour 33.5 x 26.8 Signed & dated 1989 Inscribed Cat 10th Exhibition 2 - 28 March 1991 verso $3,000 - 5,000
PROVENANCE Purchased from Aberhart North Gallery c. 1991 by current owner
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TOSS WOOLLASTON (1910- 98) Three Clouds Oil on board 91 x 60.5 Signed & dated 1984 $25,000 - 35,000
PROVENANCE Private Collection, Auckland Purchased from Peter McLeavey Gallery Wellington, c. 1990 by current owner
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TOSS WOOLLASTON (1910- 98) Standing Figure (Female Nude) Watercolour & pencil on paper 74.5 x 49 Signed & dated 5/4/77 $10,000 - 14,000
PROVENANCE Purchased from Ferner Gallery Auckland, c. 1990
Pat Hanly’s Lion Rock, Piha is an exuberant example of the artist’s 1970s period of abstraction. Here, Hanly’s visceral treatment of paint is concentrated on the impressive rock formation which lies between Piha and North Piha beaches, while the sky and coastline are relegated to minor roles. At the time of painting this work, a decade had passed since the artist’s return to New Zealand from Europe. This time of reintegration had been vital for Hanly as he looked to develop a language of abstraction appropriate to the New Zealand landscape. In his own words, he was trying to talk about the roughness of New Zealand, its newness and crispness and those physical things. Discovering the physicality of abstract expressionism was key to this. We meet it in the spirited energy of this work, which he built up through thick impastoed layers of colour and spattered paint. There is boldness of texture, with bright colours forced together in an elemental and clashing union. Lion Rock is an icon
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of New Zealand scenery, and it is interesting to draw the lines between previous depictions of this landform and Hanly’s painting. Take, for example, the early 20th century work of the same name by Edward Fristrom. Here the form is clearly integrated with the land, linked in photographic likeness. Charles Tole’s Untitled (Landscape) of 1968 is a modern example which goes one step further in offering a cubist fragmentation of this scene. Considered alongside these artistic forebears, Hanly’s engagement with this volcanic landmass becomes even louder in its visual disruption. The work surpasses any act of reproductive observation to explore the essential qualities of the rock. Formed from a volcano which erupted sixteen million years ago, Lion Rock’s Maori name is Te Piha, which translates as the bow wave and refers to the wave-like patterns of erosion on the rock face. This history of natural force and fiery explosion is captured in the joyous vibration of Hanly’s painting.
PAT HANLY (1932 - 2004) Lion Rock, Piha Enamel on board 91 x 91 Signed, inscribed Lion Rock, Piha & dated 1974 $38,000 - 48,000
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PROVENANCE Purchased by current owner from RKS Art, Auckland, 1974
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MINA ARNDT (1885 - 1926) Mother & Child Oil on canvas 62 x 64 Signed and inscribed Mother & Child / by Hermina Arndt / Trewarveneth / Paul / Penzance / Cornwall verso $20,000 - 30,000
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The tender domesticity of this fine painting by Mina Arndt makes it a special and rare example of her work. Though strikingly minimalist in its composition, Mother & Child possesses a gravitas which, by virtue of its gentle simplicity, renders the work endearingly compelling Notably, the image of a mother cradling her child has not been presented against, or applied to an interior backdrop - rather, the integration of domestic space and the two figures depicted within it is thorough; each element exists in dialogue and oneness with the rest of the painting. This is enhanced by the cohesion of light and hue, and subtle tonal graduation across the room To contextualise the production of this work, a brief overview of Arndt’s career is necessary, for although the painting hasn’t been precisely dated, a consideration of where it lands within the trajectory of her stylistic development offers insight Further to the completion of her initial artistic training during 1905-6 at Wellington’s Technical College, Arndt moved to London in 1907 with her mother and
sisters. There she continued her art studies, one of her tutors being Frank Brangwyn Her descendants believe she also studied the Slade School of Fine Art. During her nearly eight years in Europe Mina Arndt spent several winters working in Cornwall and painting as did fellow New Zealanders, Margaret Stoddart and Frances Hodgkins. Time was spent in Berlin but we know that by 1913 Arndt was again in Cornwall and in the same year exhibiting at the Salon of the Société des Artistes Français in Paris The painting’s verso inscription affirms the work’s Cornish origins, detailing the location as Trewarveneth Paul Penzance Cornwall where she studied under artist Stanhope Alexander Forbes (1857 - 1947) RA and founder of the Newlyn School. The subject matter is certainly consistent with the depictions of Cornish women which Arndt returned to time and time again throughout her career. Stylistically, Mother & Child belongs to a later point in Arndt’s career, for it channels the expressionist technique of Arndt’s Berlin-based teacher and mentor, Lovis Corinth. What we are therefore presented with in this work, is an exquisite combination of the artist’s favoured subject matter with her mastery of modernism.
55 JOHN TOLE (1890 - 1967) Still Life, Flowers Oil on board 40 x 30 Signed $3,000 - 5,000
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56 MICHAEL SMITHER (b. 1939) Portrait of E H McCormick Oil on board 35.5 x 38.2 Signed & dated 1998 $8,000 - 12,000 PROVENANCE Private Collection, Wellington Purchased from International Art Centre November, 2008 E H McCormick (1906-95) was born in Taihape. He left New Zealand in 1931 to study literature at Cambridge University. In 1945, having returned to New Zealand he was appointed chief war archivist in the Department of Internal Affairs.
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In the late 1940s McCormick began researching the life of Frances Hodgkins. His discovery of a large cache of letters written by Frances Hodgkins to her family back in New Zealand, ignited a life-long interest in the struggles and achievements of New Zealand’s most famous ex-patriate artist. In 1954 McCormick published two volumes, The Expatriate and Works of Frances Hodgkins in New Zealand, along with a catalogue for an exhibition of paintings by Hodgkins and her circle held at Auckland City Art Gallery. McCormick then spent two years abroad gaining further material and meeting with friends and colleagues of the artist. His best known book, simply titled Frances Hodgkins, was published in 1984.
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GRAHAME SYDNEY (b. 1948) Catherine Sleeping Oil on linen 58.5 x 71.5 Signed, inscribed Dunedin & dated 1987 $40,000 - 60,000
PROVENANCE Private Collection, Christchurch Purchased from Watsons, 2007
Grahame Sydney was born in Dunedin and began his full-time art career in 1974. He is one of New Zealand’s pre-eminent artists, and works skilfully across numerous media including oil, watercolour, tempera and lithograph. There is a feeling of essentialism to Sydney’s work, which is rooted in both the choice of subject matter and photorealist style. It confirms him as an artist both of and for New Zealand, and is reflected in everything from the monumental timelessness of
Otago landscapes to the lyrical allure of his painted nudes. Sydney’s nudes are often shown with their backs turned to us, their faces concealed. He places them in minimalist rooms and invites the viewer to contemplate the purity of form, and the energy which a single human body can instil in a moment. Often, we meet with these bodies as they are getting dressed (or undressed), and the viewer’s role as potential voyeur unfolds. The critical and public acclaim which Sydney has received over the course of his career is testament to his enduring contribution to New Zealand art. He was made a Frances Hodgkins fellow in 1978, and an Officer of the New Zealand Order of Merit for services to painting in the 2003 New Year Honours.
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58 DENNIS KNIGHT-TURNER (1924- 2011) Pears Still Life Oil on board 43.6 x 52.3 Signed Inscribed on original label affixed verso $4,000 - 6,000
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59 RUSSELL CLARK (1905 - 66) Bell, Lamp and Window Oil on board 39.5 x 65.5 Signed $8,000 - 12,000
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CHARLES BLOMFIELD (1848 - 1926) Lake Tarawera Oil on canvas 50 x 90 Signed & dated 1883 $30,000 - 40,000
PROVENANCE Private Collection, USA
Charles Blomfield has long been recognised as the most popular early New Zealand painter of the Pink and White Terraces and the surrounding region of Rotorua and Lake Tarawera. This exceedingly fine work, Lake Tarawera, dated 1883 pre-dates the 1886 Tarawera eruption. The painting portrays no less than seventeen figures, busily engaged on the shores and the waters of Lake Tarawera. This work is not only a landscape, but an important pictorial narrative of the day. Blomfield first visited the region during a camping trip in December 1875, commenting that Tarawera and it’s Terraces were exceedingly beautiful and graceful. Returning in 1883 he spent six weeks documenting the Pink and White Terraces and their surroundings. Blomfield’s meticulous sketches and finished paintings are some of the most important historical records we have of the region. It was reported that by September 1885 orders for his work had been received from throughout Europe, America, Australia and other places. Following the Tarawera eruption, Blomfield realised that the paintings he had made of the Terraces were a valuable record, and declined to sell them. He went on to paint and sell scale copies of these works, for which the prices soon trebled. After 1886 Blomfield continued to travel throughout New Zealand painting oils of mountains, rivers, lakes and cloud effects, his greatest love remained the native bush, of which he wrote enthusiastically in his diary. The story of the Tarawera eruption is a dramatic chapter in New Zealand’s history. Eleven days before the eruption, both Maori and European visitors, including the famous Guide Sophia, reported seeing a ghostly Maori war canoe paddling across
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Lake Tarawera. Guide Sophia consulted her tribe’s tohunga, or priest, Tūhoto Ariki, and he interpreted the phantom canoe as a bad omen. He believed Maori would be punished for exploiting the area for money without paying due respect to their ancestors. In the early hours of 10 June, 1886 Tūhoto Ariki’s prophecy was fulfilled. At Te Wairoa village, about eight kilometres away from the Terraces, people were woken after midnight by a series of violent earthquakes. Around 2 am Tarawera erupted with fountains of glowing lava and a cloud of ash up to ten kilometres high, through which intense lightning flickered. At Te Wairoa, more than sixty people sheltered in Guide Sophia’s sturdy hut, which remarkably survived the eruption. Later, craters on the south-west side of the mountain blasted open and a crack 17 kilometres long emitted tons of mud and ash. The Tikitapu bush was completely covered by ash and earthquakes were felt throughout the North Island with the noise of the eruption heard as far south as Blenheim. At the time, many Aucklanders thought they were hearing distant cannon fire. Blomfield decided to see the devastation for himself and returned to the area in October to paint several scenes of the terrible destruction. A world away, fourteen Charles Blomfield paintings were being greatly admired in South Kensington, London at the 1886 Colonial and Indian Exhibition. This major exhibition, which in the words of the Prince of Wales was intended to: stimulate commerce and strengthen the bonds of the British Empire was opened by Queen Victoria and received over five million visitors. Charles Blomfield died at his residence in Wood Street, Freemans Bay, Auckland in 1926.
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Charles Blomfield’s dramatic night scene of Mount Tarawera in Eruption, 1886 was made into a chromolithograph by A D Willis. It featured as a colour-plate in the 1889 publication by Edward Wakefield, New Zealand Illustrated. Blomfield was not present at the eruption so the painting is based on eye-witness reports and the artist’s imagination. In this view, Blomfield shows the mountain in the background, Lake Tarawera in the middle ground and several Maori dwellings and fleeing figures in the foreground.
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ALFRED SHARPE (1830 - 1912) View through the Bush, Matakatia Bay with Kotanui Rock, (Frenchman’s Cap), Whangaparaoa Peninsula Watercolour 56 x 44 Signed & dated 1878 $40,000 - 60,000
PROVENANCE Private Collection, Auckland Purchased from International Art Centre, 1971
Alfred Sharpe is renowned as an accomplished watercolourist whose contribution to New Zealand landscape painting provides a valuable insight into colonial art of the nineteenth century. On his emigration from his English birthplace, Sharpe became actively involved in the establishment of various galleries and art unions within Auckland, and wasted no time in painting landscapes in and around the region. While critics were frequently dismissive of his work, Sharpe persisted, exhibiting extensively from the 1870s to the 1890s. He worked as an architectural draughtsman and producing in the vicinity of 100 to 150 paintings throughout his career
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in New Zealand, of which fewer than 100 survive today. Aside from his art, Sharpe was a keen writer and commentator, often utilising newspaper columns to communicate his views on a variety of topical issues as well as on the nature and theory of art. He submitted essays to the New Zealand Herald which were published weekly as Hints for Landscape Students in Watercolour and provide valuable information on Sharpe’s own watercolour production and technique. Stylistically his work is indebted to the pre-Raphaelite landscapes he had encountered in England during the 1850s which features sharp focus, vibrant colour and high viewpoints.
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ALFRED SHARPE (1830 - 1912) Cox’s Creek, Westend Road, Westmere Watercolour 45 x 63 Signed & dated 1887 $20,000 - 30,000
PROVENANCE Collection of Sir James Fletcher Important, Early & Rare, The Estate of Sir James and Lady Fletcher, Auction International Art Centre, 28 July 2009
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ALFRED SHARPE (1830 - 1912) Nipped Between Icebergs Watercolour 59 x 97 Signed, inscribed Nipped Between Icebergs & dated 1898 $45,000 - 65,000
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SYDNEY LOUGH THOMPSON
(1877 - 1973) Lyttelton Oil on board 45 x 65 Signed $12,000 - 18,000 PROVENANCE Private Collection, Otago
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PETRUS VAN DER VELDEN
(1837 - 1913) Girl Mending Nets Watercolour 62 x 47 Signed $10,000 - 15,000 PROVENANCE Private Collection, Auckland A similar work is illustrated p 118 Van der Velden Volume II A Catalogue Raisonné, T L Rodney Wilson, Chancery Chambers Publishers, Sydney, 1979 Cat. no. 2.1.2.4
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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. 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. Kelly completed paintings of Auckland subjects done decades after he had left
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home. Auckland’s West Coast beaches or Takapuna with Rangitoto beyond, or paddle-steamers 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 2008-09. A second edition of Donald Bassett’s book Fix; The Art and Life of Felix Kelly, was published in 2013. Hackwood Park At the time Felix Kelly painted Hackwood Park it was a large country estate with an 18th century ornamental woodland, formal lawn garden and a large detached house. Located in the rural parish of Winslade, south of Basingstoke in Hampshire, its 260 acre grounds contained a teahouse pavilion, ornamental bridge, a statue of King George I, stone urns and fountains, a coach house and stables. The estate had been owned by the rectory of Eastrop until 1223, when it became a noble’s deer park. It was acquired by William Paulet, Marquess of Winchester in the 16th century. The house was built from 1683 to 1687 for a son of the fifth Marquess, Charles Paulet, created Duke of Bolton.The estate was inherited by his son, Charles Paulet, 2nd Duke of Bolton in 1699. Hackwood House remained a country seat of British nobility for centuries. In 1936 the estate was sold to William Berry, Viscount Camrose. Lord Camrose purchased Hackwood House as a home for his family of eight children, and as a property where he could entertain his many rich, famous and influential friends away from London and Westminster. Over the years he created an atmosphere of peace and tranquillity at Hackwood where he entertained kings, princes, ambassadors, prime ministers and entertainers. During World War II Hackwood Park served as a hospital for the Canadian Army. When Lord Camrose died in 1954 the property was inherited by his son, Seymour Berry, 2nd Viscount Camrose. Viscount Camrose was the owner of Hackwood House when it was painted by Felix Kelly in 1987. He died in 1995 and his wife, Lady Camrose, the mother of business magnate Aga Khan IV, lived there until her death in 1997.
66 FELIX KELLY (1914 - 94) Hackwood Park Oil on board 61 x 81.5 Signed & dated 1987 Inscribed Hackwood Park verso $20,000 - 30,000 PROVENANCE Collection of Viscountess Camrose Joan Yarde-Buller (Joan Berry) Hon. Joan Barbara Yarde-Buller (1908 - 97) was an English socialite, one of the Bright Young Things, a nickname given by the tabloid press to a group of bohemian young aristocrats and socialites in 1920s London
A country seat of British nobility for centuries, frequented by Jane Austen and Sir Winston Churchill, Hackwood Park is a stately home like no other.
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EDWARD BULLMORE (1933 - 78)
Cuba Crisis Oil on canvas 100 x 76 Signed & dated 1962 $22,000 - 28,000
Edward Bullmore hailed from Balfour, Southland. He attended Canterbury University College, Christchurch, with Pat Hanly and Bill Culbert. Having taught at Tauranga Boys’ College in the late 1950s he headed to Florence, with his wife and fellow artist, Jacqueline. The Bullmores spent six months in Italy and then in early 1960 relocated to London, staying until the end of 1969. During that time, Bullmore taught at various art schools, and exhibited widely, attracting critical attention from the art world. Amongst collectors of his work from this era was filmmaker Stanley Kubrick, who featured two of Bullmore’s works in A Clockwork Orange (1971). Begun in late 1962 and completed in 1963, the Cuba Crisis Series consists of seven works – some are paintings whereas others combine painting and collage. Upon arriving in London, Bullmore’s work almost instantly began to reflect contemporary events and sentiments of a world threatened by nuclear war. Described as ‘nuclear paranoia’, Bullmore was swept up with the feeling of the unknown and fearful of what the future might bring. He was not alone; on April 18 1960, 100,000 people gathered in Trafalgar Square to protest against the ‘H’ bomb. More specifically, against the backdrop of the Cold War, the Cuban Missile Crisis (16-28 October 1962) saw a confrontation between the Americans and Soviets over the former’s ballistic missile deployment in Italy and Turkey, with consequent Soviet ballistic missile deployment in Cuba. The threat of nuclear warfare was very real. In this work, Bullmore depicts the atrocities of what he imagined a nuclear war could look like. In the foreground, skulls fuse together as if melted or nuked; people have lost their individuality and identity, becoming mere statistics as a result of nuclear warfare. The middle ground, a drop cloth acts as a screen containing mysterious gloomy shapes. Smokey in colour and giving the appearance of shadows, is this the aftermath of a war-torn cityscape? The ambiguity around some elements typifies this series and is symbolic of a population poised, unsure of the future.
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PROVENANCE Gifted by the artist to current owners, mid 1970s EXHIBITED Edward Bullmore 1933-1978, Rotorua Art Gallery, 1979
Rising in the background are two groups of chimneys – they could be industrial but are more likely to represent death chambers. The blue sky offers a small glimmer of hope for humankind. This work, as indeed the entire series, is raw and dark in subject matter. It is evocative of a worried man, father, husband and artist. Bullmore had travelled to London to informally further his art education but what he found was a city fearful and attuned to war. The great distance from Southland, New Zealand, was never far from his mind. Surreal in their content, this series of works were painted with sharp and detailed rendering. The tight and ordered compositions are very much indebted to his formal New Zealand art education. Stylistically more surreal than anything he painted to date, the Cuba Crisis Series called on such antecedents as Picasso’s Guernica and Dali’s grotesque forms in Boiled Beans and Skeletons of Bishops. Bullmore also explored new ways of combining materials in this series by including collage. By not using materials in the conventional manner, Bullmore created rawness, aligned with his thinking of the time. In other works from the series, vertical strips of roughly ripped canvas allude to the disfigurement and double as bandages. Bullmore spent a decade in London where he taught and exhibited. He made his solo debut at London’s Tama Galleries, with his shaped canvases, and later in 1967 in Exeter exhibiting in a Surrealist exhibition, The Enchanted Domain. Bullmore returned to New Zealand in late 1969 taking up a teaching position at Rotorua Boys’ High School. The Cuba Crisis Series offer scenes of morbidity – grotesque and raw both in subject and how Bullmore executed them. It was not until Bullmore reached London that political crises affected his art and thus changed his way of seeing the external world, and most particularly the landscape. The contrast of a nuked environment compared with New Zealand’s clean and green image was vast. Penelope Jackson
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CHARLES BLOMFIELD
(1848 - 1926) Forest Glade,Waitakare Oil on canvas 58 x 41 Signed & dated 1890 $20,000 - 30,000
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CHARLES BLOMFIELD
(1848 - 1926) Diamond Lake Oil on canvas 36 x 60 Signed $12,000 - 16,000
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70 PETER MCINTYRE (1910 - 95) Shearing Shed on the Lindis Oil on board 70 x 90 Signed Original artist label affixed verso $25,000 - 35,000 PROVENANCE Private Collection, Havelock North Fishers Fine Arts label affixed verso Webb’s, New Zealand & Foreign Paintings, Photography and Prints, 13/12/1999 Private Collection, Auckland McIntyre’s post-war career saw the 1962 publication of The Painted Years, the first of eight books which he would write and illustrate. All his books met with resounding success. In 1964 Peter McIntyre’s New Zealand sold out within six days and remained a best seller for the next 20 years. In 1966 Peter McIntyre’s Pacific was released and in 1970 an American audience responded well to Peter McIntyre’s West. In 1970, McIntyre was appointed an Officer of the Order of the British Empire for services to the arts and in 1985 he was awarded the Governor General’s Art Award. A retrospective exhibition of his war paintings was held at the City Gallery in Wellington in 1995, he passed away in September of that year. Peter McIntyre holds a key place in New Zealand’s art market and art history.
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PETER MCINTYRE (1910 - 95)
King Country Vista Oil on board 59 x 87 Signed $25,000 - 35,000
PROVENANCE Private Collection, Auckland since early 1970s The King Country is a region of the western North Island of New Zealand. It extends approximately from the Kawhia Harbour and the town of Otorohanga in the north to the upper reaches of the Whanganui River in the south, and from the Hauhungaroa and Rangitoto Ranges in the east to near the Tasman Sea in the west. It comprises hill country, large parts of which are forested. The term King Country dates from the New Zealand Wars of the 1860s, when colonial forces invaded the Waikato and forces of the Maori King Movement withdrew south of what was called the aukati, or boundary, a line of pa alongside the Puniu River near Kihikihi. Land behind the aukati remained native territory, with Europeans warned they crossed it under threat of death.
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72 PETER MCINTYRE (1910 - 95) Purakaunui, Blueskin Bay, Otago Oil on board 44 x 75 Signed $12,000 - 16,000
73 PETER MCINTYRE (1910 - 95) The Manuherikia River, c. 1964 Oil on canvas 64 x 82 Signed $20,000 - 30,000
Blueskin Bay is an estuary a little over 25 kilometers north of McIntyre’s Dunedin birthplace. The name Blueskin refers to the rural Otago district which includes the northern slopes of Mount Cargill, the southern slopes of the Kilmog and the townships of Doctors Point, Waitati, Evansdale, Warrington and Seacliff. The tidal lagoon of Blueskin, known in Maori as Waiputai, historically referred to a wider stretch of coast from Heyward Point to Seacliff, including Purakaunui. The name Blueskin is after
Kahuti, a Maori personality of the area, whom Pakeha settlers nicknamed for the large amount of Ta moko (traditional Maori tattooing) on his body.
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These days the protected Hector’s Dolphins, unique to New Zealand, live in and around the bay which remains a popular site for family visits and the controlled gathering of clams. Since 1988 environmentally responsible harvesting has been carried out by Southern Clams Ltd.
73 The river valley in this scene has the lowest rainfall in New Zealand but that doesn’t stop the frost. We had parked our caravan across the river and awoke in the morning to fields of white. Here, in a promise of warmth, the early morning sun begins to light the cliffs in a golden glow.
The Maoris must have come here in the old days, as Manuherikia means a tethered bird, and the river’s name is derived from the way their scouts had of marking a river crossing by tethering a bird beside it. Peter McIntyre Peter McIntyre’s New Zealand, Peter McIntyre, A H & A W Reed Ltd, 1964
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74 PETER MCINTYRE (1910 - 95) Westminster Abbey Watercolour 53.5 x 73 Signed $8,000 - 12,000 PROVENANCE Private Collection, Auckland McIntyre went to London where he attended the Slade School of Fine Art, studying for a Bachelor of Fine Arts. He enjoyed life in London, mixing with fellow students and attending exhibitions. In 1934, his final year of studies at Slade, he won prizes in composition and figure drawing.
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As well as being a place of worship, Westminster Abbey is a treasure house of art, textiles and other significant artefacts. It is also where some of the most significant people in Britain’s history are buried or commemorated.
75 PETER MCINTYRE (1910 - 95) Florence - Piazza della Signoria Watercolour 51 x 74 Signed $8,000 - 12,000 PROVENANCE Private Collection, Auckland Dunedin born artist Peter McIntyre left New Zealand to study at London’s Slade School of Fine Art which he attended from 1931 to 1934. The Slade emphasised classical draughtsmanship based on the art of Raphael and other Italian masters. Strong links with Italy were established during his service in Europe as New Zealand’s war artist, appointed by General Freyberg. During the war, McIntyre’s watercolours were exhibited in London, Alexandria, Suez, Rome, Trieste and Florence.
Later visits to Venice and Florence saw McIntyre create watercolours dedicated to capturing the historical landmarks of these cities. In this work, McIntyre places a horse and cart used to transport tourists through the streets of Florence in a corner of the Piazza della Signoria. They stand before the wide arches of the Loggia dei Lanzi, Florence’s open air sculpture gallery of antique and Renaissance art which includes the Medici lions. The Uffizi is at the rear of the Loggia.
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HORATIO GORDON ROBLEY
(1840 - 1930) Hori Ngatai Chief of the Ngaiterangi Tribe Watercolour 22 x 19.3 Signed & inscribed Hori Ngatai Inscribed Hori Ngatai / Chief of the Ngaiterangi tribe / In 1901 received medal from the King / Ngatai was orator of the Bay of Plenty Maori at the surrender 25 July 1864 / picture is illustrated London news on seperate sheet $3,000 - 5,000
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RAYMOND CHING (b. 1939) Starling Watercolour 71 x 52 Signed & dated 1974 The Moorland Gallery Ltd label affixed verso $10,000 - 15,000 PROVENANCE International Art Centre, 1974 Private Collection, Auckland
ILLUSTRATED p.122 & 123 The Bird Paintings, Raymond Ching, Collins Publishing, 1978
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78 PETER MCINTYRE (1910 - 95) The Luxembourg Gardens, Paris Oil on canvas 49.5 x 60 Signed $8,000 - 12,000 PROVENANCE Sir Henry Kelliher Collection Private Collection, Wellington since c. 1992 Purchased from Lewis-Paape Gallery, Lower Hutt A sketch of the same subject appears p. 212 Peter McIntyre, The Painted Years, A H & A W Reed, 1964
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WILLIAM MATTHEW HODGKINS
(1833 - 98) HMS Endeavour in Smith Sound Watercolour 35 x 62 Signed & dated 1888 $15,000 - 20,000
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Works by William Henry Allen From the collection of the artist’s daughter Sheila
William Henry Allen ((1894-1988) was one of a group of British art teachers recruited in the 1920s by William Sanderson La Trobe, the nation’s Superintendent of Technical Education, whose intention it was to greatly improve the quality of art education in New Zealand. W H Allen had attended London’s Royal College of Art from 1919 to 1923. His contemporaries there included Henry Moore and Barbara Hepworth; fellow students Roland Hopkins, Jenny Campbell and Robert Nettleton Field also immigrated to New Zealand and became lifelong friends. The contribution of the La Trobe artists, particularly W H Allen and R N Field had an on-going and profound effect on the development of New Zealand art. Their teaching of early modernism opened the door to an avant-garde post-impressionist period in New Zealand’s art history. They influenced artists such as Toss Woollaston, Colin McCahon and Doris Lusk who embraced these new ideas, attitudes and techniques. Hocken Librarian Sharon Dell says the influence of W H Allen and his fellow La Trobe teachers produced landscapes and portraits in a style that was at first deeply unacceptable to painters and art societies in New Zealand - still entrenched in their Victorian style of art. W H Allen taught in Dunedin and Nelson. He was President of the Suter Art Gallery Society, teaching Workers Education Association (WEA) classes and participating in the Canterbury Summer Schools which attracted artists Doris Lusk and Leo Bensemann to Nelson. Colin McCahon and Toss Woollaston also regularly spent their summers there. After returning to England in the late 1930s, W H Allen’s art and reputation as a teacher were all but lost and until recently, little research done on his contribution to New Zealand art. Following the family’s return to England in 1946 W H Allen taught at the South West Essex School of Art, London, retiring in 1961.
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In 2008 a significant collection of W H Allen’s work was repatriated from the United Kingdom and gifted to Dunedin’s Hocken Library. The Tui Rata Frowd bequest contained about 80 artworks including oil paintings and works on paper, and a large archival collection of letters, correspondence, photographs, catalogues and articles relating to William Allen. In 2015 the Hocken Library held a major exhibition, W H Allen & The La Trobe Effect. This exhibition shone a light on W H Allen’s contribution to the emergence of early regionalism in New Zealand. In addition to showcasing W H Allen’s practice the show included works by his La Trobe peers, several of Allen’s students and a sample of work by the early twentieth century British artists associated with the Camden Town Group whose post-impressionist style and subject matter inspired W H Allen, his peers and a swathe of this country’s regionalist painters. International Art Centre thank Robyn Notman and Sharon Dell of the Hocken Library for their assistance.
Sheila Allen (W H Allen’s daughter) was born in New Zealand in 1926. She lived in Dunedin until aged four, when she moved with her mother, father and Tui, back to England for a new role for her father. The family returned to New Zealand for a teaching role in Nelson when she was seven - leaving again at age 20. She had told the University of Otago her childhood in New Zealand was idyllic, yet she returned again to live out her years in the UK, eventually having a career as an artist herself, training to be a silversmith in her 70s. Sheila died in early 2018.
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WILLIAM HENRY ALLEN
(1894 - 1988) Lake Scene (Blue Loch) Oil on board 34 x 45 Signed $4,000 - 6,000 PROVENANCE Estate of Sheila Allen
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WILLIAM HENRY ALLEN
(1894 - 1988) Down Gloster Lane Oil on canvas 30 x 24 Signed $2,000 - 4,000 PROVENANCE Estate of Sheila Allen 81
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WILLIAM HENRY ALLEN
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WILLIAM HENRY ALLEN
(1894 - 1988) Lovers Lane Oil on canvas 50 x 60 $3,000 - 5,000
(1894 - 1988) Rose and Violets - The Artist’s Wife Oil on canvas 50 x 60 Signed $3,000 - 5,000
PROVENANCE Estate of Sheila Allen 83
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WILLIAM HENRY ALLEN
(1894 - 1988) Devon Coast Oil on canvas 34.5 x 49.5 Signed $3,000 - 5,000 PROVENANCE Estate of Sheila Allen
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WILLIAM HENRY ALLEN
(1894 - 1988) Sheila & Tui - The Artist’s Daughters Oil on canvas 30.4 x 28.5 Signed $1,500 - 2,500 PROVENANCE Estate of Sheila Allen 85
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FRANK BARNES (1859 - 1941) S.S. Ionic Passing Icebergs During Homeward Passage Oil on board 52 x 75 Signed, inscribed S.S. Ionic Passing Icebergs During Homeward Passage & dated 1904 $4,000 - 6,000
SS Ionic was a steam-powered ocean liner built in 1902 by Harland and Wolff in Belfast for the White Star Line. She was the second White Star Liner to be named Ionic and served on the United Kingdom – New Zealand route. Ionic was launched at Harland and Wolff’s yard at the Queen’s Island in Belfast, 1902. She was originally built to carry passengers and refrigerated meat between the United Kingdom and New Zealand. Her maiden voyage from London to Wellington via Cape Town commenced 16 January 1903. Ionic was the first ship on the New Zealand route to be fitted with a Marconi wireless set.
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She was built with only one buff-coloured, black topped smokestack, four passenger decks and four masts. She displayed the golden White Star Line stripe along her hull. In 1914, at the beginning of World War I, Ionic was requisitioned as a troop ship for the New Zealand Expeditionary Force and in 1915 she narrowly missed a torpedo by less than 15 yards while steaming through the Mediterranean. On 31 January Ionic returned to her former New Zealand passenger service via the Panama Canal. In 1934, after several refits, White Star Line and Cunard Line merged and Ionic was sold to Shaw Savill & Albion Line. She retained her name but her prefix SS was changed to RMS. The RMS Ionic was scrapped in 1936 in Osaka, Japan. The Auckland War Memorial Museum has preserved her ships bell.
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LAURENCE WILLIAM WILSON (1850 - 1912) Mount Earnslaw Oil on canvas 84 x 120 Signed & dated 1887 $15,000 - 20,000
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JOHN BARR CLARKE HOYTE
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GEORGE O’BRIEN (1821 - 88)
89
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(1835 - 1913) Whangarei Heads Watercolour 41 x 58 Signed & dated 1890 $12,000 - 18,000
Dunedin Homestead Watercolour 37 x 29 Signed $7,000 - 10,000
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JOHN BARR CLARKE HOYTE (1835 - 1913) Mt Egmont with Surveyor Camp Watercolour 28.5 x 42.5 $5,000 - 10,000
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JOHN BARR CLARKE HOYTE
(1835 - 1913) Coromandel Coast Watercolour 25.5 x 59 Signed $4,000 - 6,000
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RITA ANGUS (1908 - 70) Two Girls (Probably Fay and Jane Birkinshaw) Watercolour 16 x 24 $8,000 - 12,000 Thought to be a preliminary study for the painting Fay and Jane Birkinshaw, p. 79 Rita Angus An Artist’s Life, Jill Trevelyan Te Papa Press, 2008 PROVENANCE Private Collection, Hawkes Bay Purchased Page Blackie Gallery, Wellington c. 2007 Certificate of Authenticity affixed verso Signed by Bill Angus, Executor of the Rita Angus Estate & Marcia Page, Page Blackie Gallery
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DENNIS KNIGHT TURNER
(1924 - 2011) Gum Diggers Watercolour 39 x 59 Signed $3,000 - 5,000
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FRANCES HODGKINS (1869 - 1947)
Still Life, c. 1925 Watercolour 34.5 x 40 Signed $18,000 - 24,000
This is a rare Hodgkins demonstration watercolour produced for the Girls’ High School in Manchester. I am now in Manchester giving a short course of lessons at the Girls’ High School which is the 3rd most notable Girls’ High School in England. It is not a very big class - but it may grow. The two young art mistresses are pupils of mine and it is through them that I have been invited to give this course. Frances Hodgkins, London February 23rd, 1925, Included in the upcoming Frances Hodgkins Online Catalogue Raisonné
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JOHN GULLY (1819 - 88) Maori Settlement, Wanganui River Watercolour 35 x 61.5 Signed & dated 1887 $10,000 - 20,000
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96 CHARLES BLOMFIELD (1848 - 1926) Sunset at Remarkables, Queenstown Oil on canvas 39.5 x 60 Signed & dated 1923 Inscribed Sunset at Remarkables, Queenstown on stretcher verso $2,500 - 3,500
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JOHN KINDER (1819 - 1903) Five New Zealand Views Pencil and wash, various sizes One signed, inscribed & dated 1857, all others inscribed $2,000 - 4,000
Artist’s inscription: Valley of the Toka Tokarau, one of the Feeders of the Waikato; Looking Up The Stream 8.3 x 27
Artist’s inscription: The Same Valley - Lower Down Looking Down the Stream 8.2 x 30.2
Artist’s inscription: Mararoa on the River Toka-Tokarau, Tributary of The Waikato 8.5 x 25.5
Artist’s inscription: Perforated Rock off Cape Brett, (Percy Island), 6 x 16.7
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Artist’s inscription: Te Papa Mission Station, Tauranga 14 x 25
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DAVID BARKER (b. 1941)
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ARCHIBALD FRANK NICOLL
San Michele, Venice Oil on board 50 x 120 Signed $7,000 - 10,000
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PETER SIDDELL (1935 - 2011) Cliffs, Karekare Oil on board 25.5 x 21 Signed & dated 1974 $1,500 - 2,500
(1886 - 1953) Anchored Boats at Quayside Watercolour 22.5 x 28 Signed $1,500 - 2,500
99
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100 Lot 51 Toss Woollaston
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valuation SERVICES www.internationalartcentre.co.nz
International Art Centre provides formal valuations for insurance purposes, specialising in the preparation of catalogued and photographed inventories. Written valuations can be arranged by appointment. We provide free informal, verbal estimates for any of the works in your collection.
Lucien Pissarro (French 1863 - 1944) Landscape through Trees, Tilty Wood Sold by International Art Centre 2012
For valuation enquiries & quotes contact Maggie Skelton maggie@artcntr.co.nz
202 Parnell Road, Auckland, New Zealand Telephone + 64 9 379 4010 Toll Free 0800 800 322
International Art Centre Appointed Valuers of The Fletcher Trust Collection
Colin McCahon (1919 - 87) Painting, 1958 Sold by International Art Centre, 1987 Reproduced courtesy of The Fletcher Trust Collection
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Henr yk Szydlowski Fantasy Surrealism
Bird Stalker in the Blue Night Oil on canvas | 120 x 90 cm | $22,500
Exhibition 15 - 27 August
Wintry Birds in the Blue Night | Oil on canvas | 60 x 75 cm | $12,500 In this exhibition, Polish born, Perth based Henryk Szydlowski celebrates over 40 years of success as a leading professional artist. Here we have a collection of paintings which joyfully embody the unique skills and compositional sophistication of a contemporary master. Szydlowski sees himself as a storyteller who adopts the canvas as his theatre. Setting symbols of real life objects against planes of vibrant colour, accentuated with glazes and highlights of gold and silver leaf, Szydlowski’s paintings reverberate with a unique and artisically glamourous energy. These elements, long associated with his work, are powerfully evident in this latest collection.
202 Parnell Road, Auckland, New Zealand Telephone + 64 9 366 6045 Toll Free 0800 800 322 www.internationalartcentre.co.nz fran@artcntr.co.nz
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E U RO P E A N
JOURNEYS
ASTONISHING ART
A TRAILBLAZING NEW ZEALAND WOMAN
SAT 4 MAY — SUN 1 SEP 2019 a t auckland art gallery toi o tāmaki
INCLUDES WORKS BY PICASSO, MONET, DEGAS, MATISSE AND MORE
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141 Frances Hodgkins Wings over Water (detail) 1931–1932 Leeds Art Gallery, Leeds Museums and Galleries, gift from the Contemporary Art Society, 1940
Important & Rare Art
COLLECTABLE ART
Important & Rare auctions are the proven, pre-
The buzz generated by our Collectable Art auctions
eminent sale category for major works of art offered
reflects the popularity of these sales: an event at
for sale in New Zealand. These auctions take place
which seasoned connoisseurs and budding collectors
three times annually. As we fast approach our 50th
alike converge to appreciate one of the most eclectic
year in business, experience continues to equal
and diverse offerings available to the market. Works
results. 2014 saw Important & Rare auctions realise
span the vital period from mid-century modernism
five of New Zealand’s top ten auction prices. The
through to the cutting-edge of today’s Contemporary
following year saw new records set with the two top
art in New Zealand.
prices in Auckland achieved. With the addition of the record $1.377 million paid for a C F Goldie in April’s
This sale category is an increasingly significant event
2016 sale, International Art Centre achieved the three
in our auction calendar. Offering a number of lower-
highest art auction prices in New Zealand’s history.
priced works from highly-sought after artists in print
Due to an appreciative, and greatly valued clientele of
and edition form, as well as quality works from artists
nationwide and international buyers and sellers we
whose presence on the secondary market is just
look forward to breaking new ground.
beginning to crystallise.
ENTRIES NOW 142 IMPORTANT & RARE ART Tuesday 30 July 2019
Single Owner Auctions 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.
CONTACT
INVITED
Richard Thomson Ph +64 9 379 4010 M. 0274 751 071 E. richard@artcntr.co.nz Maggie Skelton Ph +64 9 379 4010 E. maggie@artcntr.co.nz Luke Davies Ph +64 9 379 4010 E. luke@artcntr.co.nz www.fineartauction.co.nz 202 Parnell Road, Auckland
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144 IMPORTANT & RARE ART Tuesday 30 July 2019
Recent Prices Realised Prices quoted are fall of the hammer which attract buyers premium
Important & Rare Art 19 April 2019 1 4500 2 5000 3 10000 4 7750 5 1100 6 3000 7 1100 8 4250 10 56000 11 4000 12 4750 13 7500 14 9000 15 33500 16 12750 18 10000 19 10000 20 22000 21 7000 22 3000 24 17000 25 38000 26 15000 29 6750 30 8500 32 10500 33 10000 34 48500 35 210000 36 30000 37 395000 38 520000 39 38000 40 34000 41 30000 42 26000 43 2000 44 28000 45 24000 46 8000 47 10000 50 15500 51 16000 52 4500
53 2000 54 4300 55 1750 56 2500 57 41000 58 4250 59 15000 60 16000 61 16000 62 4000 63 3750 64 4250 65 22000 66 3000 67 7500 68 16000 69 24500 72 1000 73 2500 74 8000 76 1400 77 3000 78 7000 79 4000 80 6500 81 9000 83 6850 84 5000 85 1800 86 1300 88 2400 89 2500 91 3000 92 5000 93 7000 94 7250 96 2500 97 3800 98 2000 99 750 100 1000 102 9500 103 650 104 5000 105 2100 106 1000 107 2200 108 7000
109 750 110 400 111 4600 112 700 113 1000 Collectable Art 21 May 2019 1 3250 2 800 3 4100 4 500 5 1000 6 3500 8 850 9 800 10 4400 13 12000 14 5000 15 23000 16 1100 18 1100 20 400 21 500 22 2200 25 3500 26 3500 28 10000 29 3500 30 650 31 9000 32 6750 34 18000 35 9500 36 10000 37 4200 39 1500 43 5400 46 2000 47 2100 48 2000 49 925 50 1000 51 350 52 5800 53 800 54 2400
55 20000 56 750 57 3400 59 3200 60 1400 61 5250 62 5000 63 1200 64 4600 65 2100 66 1550 67 1200 68 350 69 350 70 800 71 7000 72 2000 73 4250 75 17500 76 4500 81 3100 82 3000 83 1800 84 8250 85 5000 88 2100 89 900 90 500 91 1500 92 2800 93 1900 94 1500 95 725 96 850 97 5250 99 500 101 1100 102 750 103 900 104 1200 105 1500 106 2000 108 2300 110 650 111 3500 112 400 113 1900 114 375
115 100 119 6000 121 6600 122 1600 123 40500 124 2200 125 3000 127 1200 130 1300 131 7500 133 550 134 1500 135 400 137 1000 138 250 140 550 141 3000 142 800 144 800 145 375 146 2200 147 3000 148 4000 149 1100 150 2000 151 300 152 450 154 500 156 1300 157 900 159 500 160 800 161 1300 163 500 166 4200 167 2100 168 500 169 500 170 550 171 600 172 3000 173 1500 177 1500 178 800 179 800 180 500 181 600 182 400
183 700 184 500 186 600 187 1000 188 1200 189 800 190 450 191 400 192 400 194 350 196 400 197 200 198 300 201 1250 204 400 205 150 206 150 207 200 208 800 209 150 210 150 211 200 214 600 217 600 218 220 219 200 220 500 221 300 222 650
Lot 21 Karl Maughan
www.fineartauction.co.nz
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Index ALBRECHT G......................................................6
JIALING C................................................... 34, 35
ALLEN W H........................ 80, 81, 82, 83, 84, 85
KAAN S.............................................................. 16
ANGUS R.....................................................54, 92
KELLY F.............................................................66
BARKER D.........................................................98
KINDER J.......................................................... 97
BARNES F..........................................................86
KNIGHT TURNER D..................................58, 93
BINNEY D........................................... 1, 2, 3, 4, 31
LEE HYE R................................................... 13, 17
BLOMFIELD C............................... 60, 68, 69, 96
LELEISI’UAO A................................................... 7
BROWN N.......................................................5, 14
MAUGHAN K.................................................... 21
BULLMORE E................................................... 67
MCCAHON C............................................... 24, 25
CHEUNG C H.................................................... 37
MCINTYRE P ................. 70, 71, 72, 73, 74, 75, 78
CHING R............................................................ 77
MOFFITT T........................................................29
CLARK R............................................................ 59
NICOLL A F.......................................................99
DIBBLE P...........................................................20
O’BRIEN G.........................................................89
FAN WU.............................................................36
ROBLEY H G..................................................... 76
FRIZZELL D...................................................... 12
SCOTT I..............................................................15
GOLDIE C F...........................................39, 40, 42
SHARPE A ............................................ 61, 62, 63
GOOD R............................................................. 19
SIDDELL P .....................................................100
GRUNER E........................................................38
SMITHER M..............................26, 27, 28, 32, 56
GUANZHONG WU............................................ 33
STEELE L J........................................................ 41
GULLY J............................................................ 95
SYDNEY G................................................... 47, 57
HANLY P........................................................... 53
THOMPSON S L................................................64
HAYMAN P........................................................ 10
THOMSON E ......................................................9
HODGKINS F............................43, 44, 45, 46, 94
TOLE J............................................................... 55
HODGKINS W M.............................................. 79
VAN DER VELDEN P........................................ 65
HOTERE R..............................................8, 22, 23
WILLIAMS M............................................... 11, 18
HOYTE J B C.........................................88, 90, 91
WILSON L W..................................................... 87
ILLINGWORTH M............................................30
WOOLLASTON T...................... 48, 49, 50, 51, 52
146 IMPORTANT & RARE ART Tuesday 30 July 2019
Absentee Bid Form - IMPORTANT & RARE ART 7:00pm Tuesday 30 July 2019 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 EMAIL
TELEPHONE
LOT NUMBER
ARTIST NAME
MAXIMUM BID $NZ excluding buyers premium
Signature ...........................................................................................
/
/ 2019
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
Alternatively, register then bid online www.fineartauction.co.nz
202 Parnell Road, Auckland, New Zealand Tel + 64 9 379 4010 Fax 09 307 3421 email info@internationalartcentre.co.nz www.fineartauction.co.nz
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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 5:00pm Thursday 1 August 2019 unless otherwise arranged failing which the auctioneer and/or the seller shall have the right to forfeit any deposit paid by the buyer and to resell the lot either by public or private sale and any deficiency on costs of resale shall be borne by the defaulting buyer. No lot may be collected whilst auction is in progress. Payment can also not be made until completion of auction. SUBJECT BIDS When the auctioneer declares a lot ‘subject’ this means the bid is below the set reserve and is subject to vendor accepting, rejecting or negotiating the bid. International Art Centre will endeavour to make contact with the vendor immediately after sale or the following day. If the bid is accepted, the highest bidder is obligated to make purchase. ESTIMATES Estimates are provided for each entry and act as a guide only. They are prepared well in advance of sale and are subject to revision at any time. Estimates are based on hammer price and do not include buyers premium.
ABSENTEE BIDS Absentee bidding arranged - please refer to absentee bidding in back of catalogue Fax to (09) 307 3421 or post to PO Box 37 344 Parnell before 3pm day of sale. Please do not be offended if a member of our staff ask for your credit card details as security. Absentee bids can also be left via our website to registered members. Our website www.fineartauction.co.nz acts as a useful auxiliary to the catalogue but we recommend inspection or a condition report prior to leaving a bid. Our staff will gladly supply you with a condition report on any lot. TELEPHONE BIDS Telephone bidding available to subscribers and registered bidders. There is no charge for this service. PAYMENT FACILITIES Eftpos: Available for transactions depending on your daily limit. Bank deposits: Bank instructions on invoice if paying by direct debit. Quote the Lot number(s) purchased and Surname as reference. Cheques: Accepted by known clients of International Art Centre or at our discretion. When posting cheques please ensure they are sent to the following address. International Art Centre PO Box 37 344 Parnell, Auckland 1151. Make cheque payable to ‘International Art Centre’. International Art Centre reserves the right to release goods once cheque proceeds have been cleared. Credit cards: Visa and Mastercard accepted - with a 2% surcharge. EXPORTING As a general rule, anyone exporting New Zealand works over 60 years of age should apply for an export certificate from the Ministry for Culture and Heritage. This does not apply to non New Zealand works. For full details visit www.mch.govt.nz FREIGHT & PACKING International Art Centre arrange door to door delivery both nationally and internationally. Please arrange insurance on your items prior to them leaving our premises. OTHER ENQUIRIES Should you have any questions relating to the sale or if we can be of any other assistance please contact us during business hours on (09) 379 4010, Toll Free 0800 800 322 or email info@internationalartcentre.co.nz BUYERS PREMIUM 17.5% Buyers premium plus GST on premium applies to all lots. (Total buyers premium is 20.12% including GST)
Lot 26 Michael Smither
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Lot 60 Charles Blomfield
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202 Parnell Road, Auckland, New Zealand Tel + 64 9 379 4010 www.internationalartcentre.co.nz