Treasures from the Dame Kiri Te Kanawa Collection with Important & Rare Art by International Art Centre

Treasures from the DAME KIRI TE KANAWA COLLECTION with Important & Rare Art 7:00pm Tuesday 10 April 2018

Treasures from the DAME KIRI TE KANAWA COLLECTION with Important & Rare Art AUCTION: 7:00pm Tuesday 10 ApriL

Conditions of Sale p.130 Absentee Bid Form p.129 Index p.132

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

Viewing exhibition times

AUCTION CONTACTS

International Art Centre, 202 Parnell Road, Auckland

Richard Thomson Ph +64 9 379 4010 richard@artcntr.co.nz Mob 0274 751 071

Tuesday

3 April

10:00am - 5:30pm

Wednesday

4 April

9:00am - 5:30pm

Thursday

5 April

9:00am - 5:30pm

Friday

6 April

10:00am - 5:30pm

Saturday

7 April

10:00am - 4:00pm

Sunday

8 April

11:00am - 4:00pm

Monday

9 April

9:00am - 5:30pm

Tuesday

10 April

9:00am - 3:00pm

Frances Davies Ph +64 9 366 6045 fran@artcntr.co.nz Mob 0274 936 360 Luke Davies Ph +64 9 379 4010 luke@artcntr.co.nz James Watkins Ph +64 9 379 4010 james@artcntr.co.nz

Please join us for pre-auction refreshments from 6:00pm on evening of sale

Location and car parking 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 Johnâ&#x20AC;&#x2122;s Car Park, entry at 244 Parnell Road, 40 metres up from International Art Centre

202 Parnell Road, Auckland Directors: Richard Thomson Frances Davies Grahame Chote Telephone + 64 9 379 4010 www.internationalartcentre.co.nz

Modern & Contemporary ART AUCTION: TUESDAY 15 MAY FURTHER ENTRIES INVITED

Entries close mid April Richard Thomson richard@artcntr.co.nz M 0274 751 071 Luke Davies luke@artcntr.co.nz +64 9 379 4010

GUY NGAN Animated Colours Screenprint, edition 18/50, 100 x 70cm Provenance: Direct from the Ron Sang Collection, Auckland

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RICHARD KILLEEN - Skeleton, 2012 - pigment ink and varnish on canvas 65 x 65

An Auckland Collection of CONTEMPORARY & MODERN Art AUCTION: TUESDAY 15 MAY We are pleased to announce that a single owner offering will form part of our May catalogue An Auckland collector has consigned his entire collection. This kaleidoscopic, upbeat collection includes works purchased directly from the artists, their dealers & art auctions over a thirty year timespan

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IMPORTANT & RARE ART AUCTION: AUGUST 2018 ENTRIES INVITED NOW

Charles Frederick Goldie Wharekauri Tahuna, 1941 Oil on canvas 47 x 42cm Sold for $1.377 million - Important & Rare April 2016

Confidential no obligation appraisals Richard Thomson richard@artcntr.co.nz T +64 9 379 4010 M 0274 751 071

Important & Rare auctions are the proven, pre-eminent sale category for major works of art offered for sale in New Zealand

Frances Hodgkins Monastery Steps 1934-35 (detail) Sold for $375,200 - Important & Rare July 2015

PAUL BEADLE

$6,000 - 10,000

Taxi Stand Unique bronze sculpture 10 x 22 x 5.5 Signed, inscribed & dated 1968

Provenance: Ex Collection of James Fairfax, Australia

Paul Beadle was born in Berkshire, England. He studied at Cambridge Art School prior to enrolling at the London Central School of Arts and Crafts. He also studied privately under sculptor Alfred Southwick and in Copenhagen with Kurt Harald Eisenstein. During World War II Beadle served in the Pacific with the Royal Navy. At the end of the war he remained in Australia. In 1960 he moved to Auckland to become Professor of Fine Arts at the University of Auckland. From 1961 to 1975 he was Dean of Elam School of Art. In 1962 Beadle was elected as foundation president of the New Zealand Society of Sculptors and Associates in Auckland. He was also a Fellow of the Royal South Australian Society of Arts and the President of the New Zealand Society of Industrial Designers. His artistic style had changed dramatically after his arrival in Auckland.

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Beadle accepted a commission to create a chess set which became a catalyst for him to create technically complex sculptures on a smaller scale. These works often reflected his sense of humour, he was a keen observer of human nature. In an interview with Gil Docking he said: I see man as a rather funny little fellow - it is me too and I accept, if not understand, most of his faults. Much of the vitality and anecdotal nature of Beadle’s work came from personal observations of the world. Professor Beadle’s work is included in the collections of the Auckland Art Gallery Toi o Tāmaki, Museum of New Zealand Te Papa Tongarewa, the Australian National Gallery and other Australian state galleries.

JOHN RADFORD

$2,000 - 3,000

Facade of 191 Queen Street, Auckland Plaster sculpture 120 x 90

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works from the DAME KIRI TE KANAWA COLLECTION LOTS 3 - 11 As a national icon and globally acclaimed performer, Dame Kiri Te Kanawa’s reputation precedes her. Her story is not only one of awe inspiring talent, but also of an impressive commitment resulting in prolific accomplishments. One of the finest sopranos of her generation, Dame Kiri has performed leading roles in all of the world’s greatest opera houses and has more than eighty recordings to her name. For the average New Zealander, possibly the best loved part of Kiri’s narrative, is that it is one of humble beginnings. She was adopted as a baby by Thomas and Nell Te Kanawa and grew up in Gisborne. Her mother identified and nurtured her talent for singing from a young age, and Kiri began her formal training as a mezzo-soprano under the tutelage of Sister Mary Leo at St Mary’s College in Auckland. Throughout her late teens and into her early 20s, she became well established as a rising star in New Zealand. After winning the 1965 Mobil Song Quest and 1966 Melbourne Sun-Aria contest, Kiri relocated to London to undertake classical training at the National Opera Studio. Following a breakthrough performance as the Countess in The Marriage of Figaro at Covent Garden in 1971, the young Kiri rapidly made a name for herself on the international opera scene. Kiri became synonymous with the great operatic heroines of Mozart and Strauss which, along with performances of Verdi and Puccini, would define

themselves as the signature roles of her career. In 1981, the performance of Handel’s Let the Bright Seraphim at the wedding of Prince Charles and Lady Diana Spencer caused a sensation, and was televised to an audience of 600 million. Kiri has been appointed a Dame Commander of the Order of the British Empire, to the Order of New Zealand, as an Honorary Companion of the Order of Australia, and received numerous honorary doctorates, fellowships, international awards and accolades. Kiri established the Kiri Te Kanawa Foundation in 2004 with a clear aim of identifying outstanding and highly talented New Zealand singers and musicians, her energies are focused on mentoring, teaching, coaching and assisting in developing the careers of these young New Zealanders. Having assumed the mantel of leadership in her field through this work, and with a number of projects currently underway, she now divides her time between England and New Zealand. Dame Kiri has spent many years discerningly collecting and enjoying art. With this offering of favoured works, it is her generous wish that others are afforded the opportunity of that same enjoyment. www.kiritekanawa.org

CHARLES F GOLDIE 1870 - 1947 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 Māori. 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

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chiefs, tohunga and kaumātua. Goldie formed long-standing relationships with several Maori he met and painted around this period, including Wiremu Patara Te Tuhi and Te Aho-o-te-rangi Wharepu (Ngati Mahuta), Ina te Papatahi (Nga Puhi), and Wharekauri Tahuna (Ngati Manawa). Over the next two decades, Goldie gained national and international acclaim and steady demand formed a strong market for his portraits, a number of which would later be exhibited at the Royal Academy of Arts in London and the Paris Salon throughout the 1930s. In 1920 the artist moved to Sydney, where despite original plans to continue on to Paris, he was married at age fifty to thirty five year old Olive Cooper. Marriage in Sydney circumvented Goldie’s 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 to 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.

C F Goldie in his Studio Rupert Farnall Studio

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CHARLES FREDERICK GOLDIE

Long Term Loan, Auckland Art Gallery, Toi o TÄ maki label affixed verso

Tribal Troubles Tamati Pehiriri - Chieftain of the Rarawa Tribe Oil on canvas 45 x 37.5 Signed & dated 1940 Inscribed Tribal Troubles verso $800,000 -1,200,000 Provenance: Dame Kiri Te Kanawa Collection Original John Leech Gallery label affixed verso

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Tamati Pehiriri, of Ngāpuhi iwi, Te Rawara territory, Hokianga, sat for Goldie on a number of occasions, including for another portrait titled Whitening Snow of Venerable Age which was bequeathed to Robert McDougall Gallery by the estate of Robert Bell. This portrait comes to life through a sense of intimacy and interconnectedness. The work seems to exist between the realms of ancestral mythology, fiction and reality, emanating the truth of its own physicality. This is shown on a purely formal level - take, for example, the dissolution of boundaries between the material reality of the canvas and the neutral background, or the single line representing Pehiriri’s moko which is transformed into the thread of his pendant. One cannot help but be struck by the tactile interplay of cloak, hair and skin: textures which mimic and offset one other. These formal qualities all lend immediacy to a work which exists in constant dialogue with itself.

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Portrait of Tamati Pehiriri possesses many qualities of the archetypal European portrait, the genre to which Goldie demonstrated strict adherence throughout his career. Under the artist’s gaze, the restrained – arguably passive – expression of the sitter has been concentrated to convey tension, to raise questions and implications, and to pursue the form’s enigmatic potential. It may have been to this end that Goldie chose to further decontextualise his sitter: unlike many earlier works where there is a carved, flax woven or natural background surrounding the figure, all extraneous detail has been stripped away. Pehiriri’s hei tiki is quite literally concealed, suggesting that the artist’s intention for the viewer was one of more subtle deduction. The resulting portrait is one borne of sensory and spiritual relationships. It continues to inspire a philosophy of reverence, anonymous or otherwise, for Tamati Pehiriri.

CHARLES FREDERICK GOLDIE

Te Hei A Chieftainess of the Ngati Raukawa Tribe As Rembrandt Would Have Painted the Maori Oil on canvas 42 x 37 Signed & dated 1940 Inscribed verso $500,000 - 800,000

Provenance: Dame Kiri Te Kanawa Collection label affixed verso Long Term Loan, Auckland Art Gallery, Toi o Tāmaki

Exhibited: John Leech Gallery, Auckland, 1953 Cordy’s, Auckland, 7 May 1971 Charles F Goldie: Revealing the Painter and the Subject Auckland Art Gallery, Toi o Tāmaki, March 2016 - February 2018 Long Term Loan, Auckland Art Gallery, Toi o Tāmaki

Illustrated: NZ Herald, 23 June 1971 p. 289 C F Goldie, His Life & Painting, Alister Taylor & Jan Glen, 1977 NZ Art Auction Records, 1969 - 1972, Henry Newrick, Newrick Associates, Wellington

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This portrait from Goldie’s late period depicts Te Hei of Ngāti Raukawa, identified by the New Zealand Herald in 1907 as a subject for whom he has a great fondness. When he first painted her in 1906, Te Hei was an elderly woman whose visage, presented through the lens of Goldie’s paintbrush, already seemed to bear the weight of time, grief and imminent loss. As if in affirmation of this, an earlier work was entitled Touched by the Hand of Time. This late portrait is a beautifully distilled expression of Goldie’s original pathos of mortality and fragility for his sitter; magnified and at the same time bearing it’s most essential qualities after a period of more than thirty years. Though her eyes are partially obscured by shadow, Te Hei’s gaze transcends the picture plane with compelling intensity. Her wrinkles are deep grooves, etched unto her face as if carved. Particularly striking is the impressionistic light applied to the surface of the portrait. By this point, Goldie’s technique was no longer a

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formally restrained means to the end of photographic fidelity; he was apparently striving for something more fluid and spiritually-charged. The period surrounding the production of this work may be thought of as something of a personal and artistic self-reckoning for Goldie, who had by this time been battling with his own ill health for a number of years. Through the repetitious act of returning to Te Hei, a beloved subject he had painted over the course of several decades, the artist was forging an alternative rhythm for himself, one which lay somewhere between the spheres of classical formalism, impressionism and his own experience of Māori culture. In doing so, intentionally or otherwise, he also appears to have been expressing something of his own journey.

CHARLES FREDERICK GOLDIE

Wharekauri Tahuna A Chieftain of the Arawa Tribe Oil on canvas 47 x 41.5 Signed & dated 1938 $700,000 - 1,000,000

Provenance: Dame Kiri Te Kanawa Collection label affixed verso

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As much as Goldie’s portraits of Māori are celebrated for their ability to realistically capture the mana and likeness of his sitters, this posthumous painting of Wharekauri Tahuna reveals another dimension of his practice. Here we encounter an immortalised image of Wharekauri, not through the portrayal of any single moment in time, but rather through the artist’s participation in an act of multi-dimensional endurance. Goldie painted a number of portraits of Wharekauri Tahuna over the course of his career. Notably, this kaumatua was the subject of what is believed to have been the artist’s last ever portrait, executed in 1941. Though it was not unusual for Goldie to paint multiple portraits of individuals with whom he had maintained good relationships, the significance of his connection with Wharekauri as one which bookended his artistic journey with Māori must not be understated. It is possible the two met in 1901, when Goldie visited Rotorua and asked local Māori to sit for him for the first time. Wharekauri lived in Murupara until the age of 102, and has separately been recorded

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as being of Ngāi Tūhoe and Ngāti Manawa iwi. When two Goldie paintings depicting Wharekauri and Atama Paparangi were accepted for the Paris Salon in 1935, the works (and, by association, his sitters) received considerable media coverage. Newspaper reviews meditated on the character of Wharekauri including his tohunga status. Wharekauri and Atama were described as the finest natives of which he has any records and Wharekauri (with the exception of one other subject) as the most fully tattooed Maori he has ever painted. The history of Te Arawa waka and Wharekauri’s iwi, the replication and dissemination of his identity nationally and internationally, and the artist’s decision to repeatedly draw artistic life from photographs of this last of the tohungas all inform this magnificent painting. Depicted in profile with his eyes downcast, the work untethers Wharekauri from any single moment in time to establish him within the collective consciousness of Aotearoa and his descendants.

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PETER MCINTYRE

$60,000 - 80,000

General Sir Bernard Freyberg VC Oil on canvas 46 x 56

Provenance: Dame Kiri Te Kanawa Collection, c. 1990 General Sir Bernard Freyberg VC is one of two uncompleted portraits which McIntyre painted after Freybergâ&#x20AC;&#x2122;s death. The other work is illustrated p 195, Peter McIntyre War Artist, A H & A W Reed, 1981. McIntyreâ&#x20AC;&#x2122;s first portrait of his commanding officer had been painted during wartime in 1943, see illustration on left. During the First World War he was awarded numerous honours for gallantry, including a Distinguished Service Order for action in the Gallipoli campaign.

Following the outbreak of World War Two, Freyberg commanded the 2nd New Zealand Expeditionary Force and its fighting arm, the 2nd New Zealand Division, lead their campaigns in Greece, North Africa and Italy. Although criticised for his role in the 1941 fall of Crete, he was a popular figure on the homefront and credited with a sincere concern for the welfare of those under his command. A highly decorated solider, his leadership of the New Zealand Division at the decisive battle at El Alamein marked a major turning point in favour of the allied forces. Freyberg relinquished command of the New Zealand Division in November 1945 having accepted an invitation to become Governor-General of New Zealand, a post he held for six years. On his return to England he frequently sat in the House of Lords and was appointed Lieutenant Governor in charge of Windsor Castle. He died at Windsor in 1963.

Above: Major General Bernard Freyberg maintained a life long interest in the artist’s work. Here, Peter McIntyre and General Freyberg enjoy an informal conversation in camp. In 1939 Peter McIntyre enlisted with the 34th Antitank Battery, a New Zealand unit formed in London, and was sent as a gunner to Egypt, where he was reunited with his fellow countrymen after almost nine years. During the war he discovered that his interest in painting did not lie with the avant-garde, but with romantic realism. In Egypt he provided illustrations for the war magazine Parade: as well as creating advertisements he sketched members of the Second New Zealand Expeditionary Force (2NZEF). In January 1941 McIntyre was appointed as our official war artist and promoted to the rank of Captain by Major General Bernard Freyberg. Between 1941 and 1945 he recorded the activities of 2NZEF in Crete and North Africa, and at Cassino in Italy, where he became a Major. His work was exhibited in Europe and New Zealand and reproduced in magazines such as Illustrated London News , Studio, Parade and New Zealand Listener, making him a household name in New Zealand.

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His war art defined the New Zealand soldier’s experience of the Second World War. Images such as German Parachutists Landing on Galatos, Crete, 28th Maori Battalion Moves Up, and The Wounded at Cassino were subsequently reproduced in numerous publications. After the war McIntyre returned to New Zealand departing for painting trips to the Antarctic, Hong Kong, the Pacific and the American West. Further travels through the Continent and the East formed the basis of an exhibition that toured the United States for three years. Early in 1970, Queen Elizabeth awarded the coveted Order of the British Empire to Peter McIntyre for his accomplishments as an author and in the field of fine arts. Publications include his illustrated autobiography, The Painted Years, Peter McIntyre’s West, Peter McIntyre’s Pacific, Peter McIntyre’s New Zealand, Peter McIntyre’s Wellington, Peter McIntyre: War Artist, McIntyre Country and Kakahi.

Arthur Boyd’s Pulpit Rock with Fire and Black Cockatoo, c.1985, is a finely detailed study of one of his favourite motifs, the sedimentary rock formation that dominates the view from the artist’s property Bundanon, which borders the Shoalhaven River in southern New South Wales. As with the area’s original indigenous inhabitants who imbued Pulpit Rock with spiritual significance, Boyd was inevitably drawn to the promontory, returning time and time again to paint it with as much intensity and variation as Paul Cézanne brought to his own studies of Mont Sainte-Victoire in southern France. Boyd produced scores of paintings, drawings and prints featuring multiple viewpoints of Pulpit Rock, augmenting them with mythological themes, memories of his family, birds, intruding water skiers and more, but at their core was one essential element – he loved the area and his works reflect this. Boyd’s connection began with a chance encounter during the blazing summer of 19711972. Having lived in England for fourteen years, he returned to take up the position of Creative Arts Fellow at the Australian National University in Canberra. Invited to visit Bundanon, then a colleague’s home, Boyd experienced a dramatic re-encounter with the stark contrasts of the Australian bush and the clarity of its light, one which was to have a profound influence on his future work. In 1974, Boyd and his wife Yvonne purchased the nearby property Riversdale, and in 1979, Bundanon was purchased too. Though linked, there are different moods to each site for: (t)he river runs close to the house at Riversdale, giving entrancing views from every room. At Bundanon, the river is elusive, not visible from the house, but the changing light on Pulpit Rock gives weight and mystery to every hour.

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Interestingly, Boyd has reversed the aspect of the outcrop but the foreground of flat paddocks and the river is the same as seen from the homestead. Originally inspired by similar reversals in printmaking, Boyd repeated this gesture in other key works such as Skull on a Winter’s Morning with Mist and Flame Trees, 1981 and Pulpit Rock and Black Cockatoos, 1993. In 1991, Arthur and Yvonne Boyd gave the family’s combined Shoalhaven properties to the people of Australia in a bold gesture designed to preserve this unique landscape. This gift continues to enrich the nation through the talents of legions of artists and writers who have subsequently spent residencies at Bundanon, deep in the heart of Boyd country. Although not specifically titled in the catalogue, it is likely that Pulpit Rock with Fire and Black Cockatoo was exhibited at Sydney’s Holdsworth Galleries in 1985 in an exhibition anchored around Boyd’s images of the Shoalhaven region. Dame Kiri Te Kanawa’s own connections to Australia are strong having been a regular visitor during her illustrious career, performing in venues as diverse as the Sydney Opera House and amidst the red sand of the outback. In paintings such as this, her affinity with the country is evident, as is her generosity, having loaned this classic Arthur Boyd image to the Auckland Art Gallery Toi o Tāmaki for many years. Andrew Gaynor

ARTHUR MERRIC BLOOMFIELD BOYD Australian 1920 -1999 Pulpit Rock with Fire and Black Cockatoo, c. 1985 Oil on board 90 x 120 Signed $160,000 - 230,000 Provenance: Holdsworth Galleries, NSW, label affixed verso Dame Kiri Te Kanawa Collection Long Term Loan, Auckland Art Gallery, Toi o TÄ maki label affixed verso Exhibited: Arthur Boyd, Holdsworth Galleries, Sydney, 4 - 22 May, 1985

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UTA UTA TJANGALA Australian 1920 -1990 Untitled Acrylic on canvas 182.5 x 76 Signed, inscribed Pintuti Tribe & dated 1982 on stretcher verso $20,000 - 30,000 Provenance: Dame Kiri Te Kanawa Collection Exhibited: Martin Browne Fine Art, Sydney, label affixed verso Long Term Loan, Auckland Art Gallery, Toi o TÄ maki label affixed verso

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LLOYD FREDERIC REES

Solitude Oil on canvas 92 x 123 Signed & dated 1978 $60,000 - 90,000

Australian 1895 - 1988

Provenance: Dame Kiri Te Kanawa Collection Savill Galleries, NSW, Stock no. #680 Exhibited: Long Term Loan, Auckland Art Gallery, Toi o Tāmaki Illustrated: Lloyd Rees: The Later Works By Renee Free in Collaboration with Lloyd Rees Craftsman’s Press, Sydney 1983

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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, dustjacket design and contributions on interior decoration to such fashion magazines as Ideal Home and Harper’s Bazaar. In the 1950s and 60s he was acknowledged as one of England’s top designers for the theatre, working with the likes of Sir John Gielgud and Dame Sybil Thorndike. Kelly’s ambition had always been to succeed as a painter. Emerging in the context of Surrealism and British Neo-Romanticism, he exhibited alongside important British artists such as Lucian Freud, John Piper and Frances Hodgkins. He attracted the attention of the prominent critic and writer, Herbert Read. Kelly’s paintings are characterised by his interest in a world forgotten by progress, great houses falling into dilapidation, 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

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house design, most notably his collaboration on the redesign of Highgrove for the Prince of Wales. His most celebrated project was, however, the mural cycle at Castle Howard associated with the filming of Brideshead Revisited in the 1980s. Kelly travelled a great deal. Paintings of Spain and Italy in the 1940s were followed by West African scenes in the 50s and ante-bellum houses in America’s Deep South in the 60s. Trips to Russia, Thailand, India and Egypt in the 70s and 80s each led to an exhibition of exotic paintings. In late career, Kelly would execute a small sketch characterised by loose brush-work, which would then be converted into a carefully executed bigscale painting. Both types of work appear for sale from time to time. Kelly completed paintings of Auckland subjects done decades after he had left home. Auckland’s West Coast beaches or Takapuna with Rangitoto beyond, or paddlesteamers on the Waitemata, were evoked with an increasing degree of fantasy well into the 1960s. A quirky humour pervades his work. Felix Kelly has to be one of New Zealand’s most individual artistic exports. A comprehensive exhibition of his earlier work, curated by Donald Bassett and mounted by the Hawke’s Bay Museum and Art Gallery, toured several New Zealand centres in 2008-9. A second edition of Donald Bassett’s book Fix; The Art and Life of Felix Kelly, was published in 2013.

FELIX KELLY

$20,000 - 30,000

Lewes Crescent, Brighton Oil on board 55 x 71 Signed

Provenance: Anthony Metherell Esq, United Kingdom Dame Kiri Te Kanawa Collection Exhibited: ` The Painterâ&#x20AC;&#x2122;s Brighton, Brighton Museum & Art Gallery July, 1962, label affixed verso

frances hodgkins

$35,000 - 45,000

Blue Barges, 1941 Watercolour, pencil, chalk and bodycolour 51 x 41 Signed

Provenance: Mrs Andermann, UK Private Collection, Auckland Dame Kiri Te Kanawa Collection Exhibited: Exhibition of works by Frances Hodgkins, The Leicester Galleries, London, October 1941. Purchaser: Mrs Andermann Original Leicester Galleries label affixed verso. Another original hand written label affxed verso reads: Frances Hodgkins Blue Barges No. 2688 Dame Kiri Te Kanawa Collection

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WORKS FROM OTHER VENDORS Lots 12 - 69

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don binney

$250,000 - 350,000

Karuhiruhi, Te Henga Oil on canvas 178 x 84 Signed & dated 1967

Provenance: Purchased from Barry Lett Galleries, 1968 This splendid large scale painting of a karuhiruhi, or pied shag was acquired from Barry Lett Galleries. It is now on the market for the first time in fifty years. Whilst Karuhiruhi, Te Henga is undeniably and essentially a classic Binney bird painting, it represents a departure from the soaring bird format most readily associated with the artistâ&#x20AC;&#x2122;s work. The psychology and spirituality of formalism has herein been handled to remarkable effect. In the foreground, the karuhiruhi appears at one with the rock on which it is perched, the two seamlessly integrated through a fluidity of painted line and colour. The bird serves as a focal point from which we, as viewers, are encouraged to meditate upon the infinity of sky and sea. In some respects, it seems that Binneyâ&#x20AC;&#x2122;s magnificent cerulean blue skyscape dominates this work. It gives weight to the composition, facilitating a sense of momentum.

From the canvas being split horizontally into three segments, the painting offers an impression of compressing downwards upon itself. At the same time, the sky casts the subject matter over which it presides - bird, rock, beach, sand and waves into dramatic relief. Te Henga is the West Auckland coastal area to which Binney returned to time and again in his work, and although it is explicitly identified in the title of this work, the exact location is secondary to the truth of painted form. Conceived at a time when an identity of modern formalism was still being discovered in New Zealand art, Karuhiruhi, Te Henga, invites us to more deeply explore the artistâ&#x20AC;&#x2122;s relationship with, and contribution to, our national modernism. Both the West Auckland beach and arching, elegant karuhiruhi function as a means of expression through which Binney was able to encounter the sublime potential of our natural surrounds.

PETER SIDDELL

$30,000 - 40,000

Magnolia Tree and Bungalow Oil on canvas 61 x 80 Signed & dated 2009

Provenance: Private Collection, Auckland Purchased directly from the artist, 1999

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DON BINNEY

$25,000 - 35,000

Muriwai, Takapu I Acrylic and oilstick on paper 26 x 29 Signed & dated 2008

Provenance: Private Collection, Auckland Exhibited Christmas Show, 2008 Diversion Gallery, label affixed verso Arthouse stamp verso

PETER SIDDELL

Gulf Oil on canvas 87 x 140 Signed & dated 1999 $90,000 - 130,000 Provenance: Private Collection, Auckland since painted Illustrated p. 204 - 205 The Art of Peter Siddell, Peter Siddell, Michael Dunn, Godwit 2011 Peter Siddell’s Auckland paintings are immediately recognisable by their hard-edged realism; their breath-taking sharpness. Gulf is a work in which several elements of visual truth meet with a palpable human absence - typically of Siddell, there is no more than the implication of civilisation.  Based on the Chapel of Faith in the Oaks at Waikumete Cemetery, the artist has cast the scene against a magnificent backdrop of sea and sky looking out towards Rangitoto.

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This formidable architecture of chapel, monument and stone is meditative and multi-layered. Heightened by the presence of Siddell’s classically dreamlike conception of clouds, the work not only refers to Hauraki Gulf, but also to the figurative gulf between old and new; physical and metaphysical.

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MARGARET OLLEY

Australian 1923 - 2011 Still Life Oil on board 74 x 120 Signed $25,000 - 35,000 Provenance: Acquired in Sydney NSW 1960s Hung in the Sisters of Mercy Convent, Lyttelton Private Collection, Waikato by descent

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ARTHUR MERRIC BLOOMFIELD BOYD Australian 1920 -1999

Fishing on the Shoalhaven with Dog and White Cockatoo Oil on board 90 x 121.5 Signed Dated November 1990 verso $90,000 - 120,000

Provenance: Private Collection, Christchurch Purchased directly from Arthur Boyd, November 1990 On the market for the first time Fishing on the Shoalhaven with Dog and White Cockatoo features a dominant landmark known as Pulpit Rock which is located near the Boyd homestead on the Shoalhaven River at Bundanon. Pulpit Rock became known as a member of Boydâ&#x20AC;&#x2122;s cast, along with some of

his favourite motifs, including the dog, which reoccurs throughout his works from different periods, and the white cockatoo, flying above the distinctively shaped sandstone rockface. The river is calm and reflective with the small figures dominated by the landscape.

The recurrence of the Nelson landscape in Toss Woollaston’s paintings chronicles the artist’s intimate relationship with this part of the country. This superb panoramic representation of Mapua was part of a 1971 series. Having returned to this coastal port where he lived almost forty years earlier, a reframing of Woollaston’s relationship with the landscape was inevitable, but it was actually Wellington dealer Peter McLeavey who persuaded him to discard the modest restraint of his previous works in favour of thinking big. Writing to a friend, the artist reflected on this request: What is he trying to do to me… Make me conform to modern standard sizes? Release my potential? Anyway, it might be an interesting experiment. It was undeniably so: spanning nearly three metres, Mapua is a landscape which seems to breathe a life of its own. Conceived in the regional modernist style of which Woollaston was a pioneer, the feverish brushstrokes and clashing muted tones which had previously been confined within his smaller works give way to an immersive energy.

A raw earthiness of palette and atmosphere invite the viewer into this painting, which is nothing short of sublime in its immediacy of form and colour. As one is drawn into the visual conundrum of a landscape which is cast in sharp perspective from the overlooking hill while appearing structurally flat, the triumph of Woollaston’s skill is realised. In the summer of 1971, Mapua was exhibited at Peter McLeavey Gallery. The exhibition was positively received and all three works sold quickly, but it is a classic photograph capturing McLeavey and Don Binney transporting Mapua across the Cuba Street intersection in Wellington which is most telling in this regard. This brilliant moment of public procession – Woollaston’s large-scale regionalist triumph being quite literally carried by two of the great influencers of New Zealand modernism – is a visual metaphor which needs no further explanation. When asked about the photograph, Peter replied: We were taking it (the painting) to show an interested party.

Peter McLeavey and Don Binney with Mapua crossing Cuba Street - Dominion, 23 September 1971

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TOSS WOOLLASTON

Mapua Oil on hardboard 121 x 275 Signed Inscribed verso $120,000 - 160,000 Provenance: Ex Collection of John Casserley, USA Ex Ron Sang Collection, Auckland Private Collection, Wellington Exhibited: M T Woollaston Paintings, Peter McLeavey Gallery, Wellington, September 1971 M T Woollaston Works 1933 - 1973, Touring Exhibition, Manawatu Art Gallery & others

Illustrated: Dominion, 23 September 1971 p. 53 M T Woollaston Works 1933 - 1973, Luit Bieringa, Pelorus Press, 1973 p. 126 Peter McLeavey: The Life and Times of a New Zealand Art Dealer, Jill Trevelyan, Te Papa Press, 2013 p. 88 Toss Woollaston An Illustrated Biography, Gerald Barnett, National Art Gallery, Random Century, 1991

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Louis John Steele emigrated from England to New Zealand in 1886. He was immediately attracted to Maori as a subject as some of his earliest New Zealand paintings attest. He often favoured compositions such as this where there was a strong contrast between a dark foreground and bright clear background. This apparently dark painting nonetheless rewards careful examination. Steele used the built form of the whare to convincingly create the illusion of depth. He masterfully captured the textures of the various floor coverings, which add interest to the foreground while further delineating space. Great attention has been paid to the architectural detailing, replicating woven tukutuku panels on the walls and painted kowhaiwhai patterns on the rafters. The paint work itself is surprisingly free in areas such as whare’s dirt floor, built up from paint of surprising hues, or the glowing embers of the fire. The figures are well observed, likely drawn from his many sketches. Unlike many of Steele’s paintings, he has not exoticised the figures. While the recumbent woman’s pose recalls an odalisque, she is fully dressed with her back to us; she is in no way on display. Rather she, and the other figures, embody the everyday. The painting was previously thought to depict a whare at the mouth of the Waikato River – at Port Waikato – however comparisons with other works by Steele reveal a more probable location. In January 1889 Steele, with his colleague Kennett Watkins, embarked on a sketching trip to the Taupo region. Sketchbooks belonging to both Steele and Watkins survive and reveal the close connection the artists made with Maori in the area. They were granted remarkable access. Steele’s sketchbook is filled with images of daily life – men paddling waka, a man braiding a flax rope, people fishing with a net, women weaving, a kaumatua seated beside a sleeping child. A number of these drawings are set in the interior

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of a whare which has distinctive poupou wall panels. Rather than being carved, the panels have notches at intervals on the side edges. Returning to Interior of a Whare the same notched poupou are visible particularly on the left-hand wall. The way the rafter posts intersect with the wall panels also recalls the sketchbook. Two portraits in Auckland Museum’s collection add further to our knowledge, suggesting that the whare depicted could be at Waihi, on the southern shore of Lake Taupo. Depicted inside a whare with the same distinctive poupou, the subjects are identified simply as Maori Woman and Maori Chief. Recent evidence has emerged which identifies the female as Takarea Te Heuheu, suggesting that the male portrayed is her younger brother the Tuwharetoa paramount chief Tureiti Te Heuheu. Tukino V. Waihi, the home marae of the Te Heuheu family thus seems the likely setting for the portraits and Interior of a Whare. Interiors scenes such as Interior of a Whare are rare within New Zealand art, but highly valued as they open a window onto a way of life long past. Yet the central focus of the painting – a child eating and engaging with a woman, perhaps his or her mother – is timeless. Jane Davidson-Ladd (1) These sketchbooks are in the Auckland Art Gallery (2005/8) and Auckland Museum collections (PD 65, vols 9 and 10) respectively. (2) Maori Chief and Maori Woman, undated, oil on canvas, Auckland Museum, PD-2003-75-1 and 2.

LOUIS JOHN STEELE

$90,000 - 130,000

Interior of a Whare [with Lake Taupo Beyond], 1891 Oil on canvas 50 x 75 Signed & dated 1891

Provenance: Purchased from Christieâ&#x20AC;&#x2122;s, Exploration and Travel with Polar Sale, no. 7303, London, 21 September 2005

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RALPH HOTERE

$80,000 - 120,000

Black Painting XIIB from Malady Acrylic on canvas 178 x 91.5 Signed, inscribed & dated 1970

Provenance: Purchased directly from the Collection of Fletcher Challenge Ltd by the current owner, 1995 A single word from Bill Manhire’s Malady poem has been repeated by Hotere across the surface of Black Painting XIIB. Appearing as a chant-like reverberation, it rises and falls in arched form, representing one of the three incantations which formed Manhire’s original poem: malady, melody and my lady. Having been uplifted by Hotere in this way from the written work of his friend and collaborator, the painted word tacitly recalls its two homonyms.

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Black Painting XIIB is partly about the sonority of language, exploring the possibility of both adding and stripping away meaning through repetition. It is also a painting which demands consideration of universal love and truth, my lady, sickness and decay, malady. The Malady series is certainly one of Hotere’s most formally compelling. This painting is a fine example of the artist’s ability to articulate concerns of sublime expressionism through his unique philosophy of colour and personal / political referentiality.

KARL MAUGHAN

$35,000 - 45,000

Rhododendron & Ponga Oil on canvas 198 x 244 Signed & dated 2005 verso

Provenance: Private Collection Auckland since 2005

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Sketch for TEAL is McCahon’s study for the 1953 International Air Race commissioned in 1952 by the national airline, Tasman Empire Airways Limited, to commemorate a forthcoming air race from London to Christchurch. TEAL, who no doubt had expected something more naturalistic, was not happy with the final painting, though they did honour the commission by paying the artist. After a long and ominous silence from the company, in August 1953 it was reluctantly announced that the painting would be displayed in Auckland, Wellington and Christchurch. As R N O’Reilly wrote to McCahon: Everyone is most relieved the thing has broken at last. The finished painting, along with four preliminary studies and Sketch for TEAL were exhibited as McCahon’s entry to the 1953 group show. McCahon’s friend, the writer John Summers wrote to congratulate McCahon, telling him that International Air Race dwarfed all else and was more startling and powerful than I’d expected. TEAL took possession of the painting in Auckland, and transferred it to Wellington, where it was put into storage. Finally the painting was sawn up, so the story goes, and turned into a packing case. There is nothing in New Zealand landscape painting quite like Turner’s Rain, Steam and Speed, or much in New Zealand art like the Italian Futurists’ celebrations of technology and the machine: there are few triumphant emblems of an awesome modernity. Rather, there is a strong anti-technological strain, and the New Zealand regionalist tends to suppress or downplay any too emphatic signs of technological modernity in the landscape. The steel viaduct of McCahon’s On Building Bridges, 1952, is one of the few major exceptions. Even there, the triptych format, in that it recalls the same format of the medieval and Renaissance altarpiece, frames the land with a certain anti-modern, medievalising and Christian sacredness.

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McCahon’s International Air Race of 1953, commissioned by Tasman Empire Airways Limited, and later destroyed by its unhappy commissioners, might seem, with its racing jets, another important exception to the antitechnological rule of New Zealand landscape painting. However, it was provoked, in all probability, only by TEAL’s special requirements. Significantly, the other aeroplanes which fly through McCahon’s art, appear in a Christianised and so medievalised, context. There is one above the barbed wire behind the biblical Paul, in I Paul to You at Ngatimote, 1946, which, as a modernist machine of war, flying into the parabolic line-and-ball symbol of atomic technology, signifies technological modernity in its most negative aspect. An aeroplane provides the window format of Flight From Egypt, 1980, a Christian allegory of the search for the Promised Land. Other aeroplanes are transubstantiated into a cross - a device borrowed from the great Russian abstractionist, Malevich, or a sign of the soul flying from the body at the moment of death, in the Jet Out Over Muriwai series of drawings. McCahon’s aeroplanes, with the exception of the TEAL commission, are invariably turned into a Christian symbol. It is significant, too, that such celebrations as there are of technology and the machine in New Zealand art tend mostly to be made by painters infected by the modern in style - it is as though stylistic modernity and technological modernity are accepted as one and the same. International Air Race was a somewhat cubist picture, provincially mild though it is, and based on the still only proto-cubist works of Picasso and Braque, yet leaves the realism of the regional realist behind. Text assistance from The Invention of New Zealand; a Nationalist Mythology in Art and Letters: c. 1930 - c. 1970, Francis Pound

COLIN MCCAHON

$80,000 - 120,000

Sketch for TEAL, 1953 Oil on board 52.6 x 66.7 Signed & dated 1953

Provenance: Private Collection, Auckland Fine New Zealand and Foreign Paintings, Photography and Prints, Webbâ&#x20AC;&#x2122;s 14/12/1998, Lot No. 54 Reference: The Invention of New Zealand; a Nationalist Mythology in Art and Letters: c. 1930 - c. 1970, Francis Pound 2010

McCahon database Record number cm001464

One of the most distinctive geological features on the west coast of the North Island is Mount Taranaki and, since the mid-nineteenth century, the mountain has inspired numerous artists. Doris Lusk appears amongst an impressive list which includes Charles Heaphy, Dorothy Kate Richmond, Christopher Perkins, Michael Smither, Toss Woollaston, Don Driver, sculptor Neil Dawson and photographer Laurence Aberhart. For many the allure and ever changing moods of the sacred mountain remains a powerful touchstone. After studying at the King Edward Technical College in Dunedin, where Doris Lusk was born in 1916, she moved to Christchurch in the early 1940s, began teaching at the School of Fine Arts in the mid-1960s and, today is acknowledged as one of New Zealand’s foremost modernist landscape painters of her generation. Her works are held in all important public collections. During the 1950s, the decade Lusk painted her most well-known image The Pumping Station 1958, she also produced two oils and a watercolour of Mt Taranaki. Her oil Mt Egmont from Opunake was followed four years later by Botanical Gardens,

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Hawera, an image of the Hawera observatory, garden hedges and the mountain interwoven into a haunting surreal image. It was exhibited in the 1956 Group Show as Mt Egmont from Opunake, identifying the painting’s location. From Opunake, on the south western side of Mt Taranaki, the distinctive Franthams Peak is clearly visible and recorded in the painting. Consistent with the artist’s life-long interest in built structures and the transformation of landscape through habitation, a railway bridge crossing the Taungatara Stream is centrally placed in the composition. Broadly executed, the rounded, rhythmical landforms in the foreground are lahars, the result of lava flows from an ancient volcanic eruption. Touches of pink amongst the rich ochre foreground are gently reflected in the sky on the left. A line of clouds running horizontally across the sky above the mountain emphasise the expansive, tranquil vista. The painting was formerly owned by the artist Tony Fomison, a student and friend of the artist. Grant Banbury

DORIS LUSK

Mt Egmont from Opunake Oil on board 60 x 91.5 Signed & dated 1956 $30,000 - 50,000

Provenance: Ex Tony Fomison Collection Private Collection, Christchurch Exhibited: Group Show, 1956, cat #36 Illustrated: p. 57 Back & Beyond: New Zealand Painting for the Young & Curious, Gregory Oâ&#x20AC;&#x2122;Brien, AUP, 2008 p. 133 Landscape Paintings of New Zealand: A Journey from North to South, Expanded and Revised Edition Christopher Johnstone, Godwit, 2013

NIGEL BROWN

Wobble Topple - Captain Cook Series Oil on board 120 x 240 Signed & dated 1997 $20,000 - 30,000

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raymond mcintyre

Portrait of a Man, Study of Woman Reading Verso Oil on board 54 x 38 Signed $15,000 - 20,000 Provenance: Private Collection, Wellington

Study of Woman Reading verso

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RALPH HOTERE

Black Painting VII from MALADY, A Poem by Bill Manhire Acrylic on canvas 178 x 71 Signed, inscribed & dated 1971 verso $45,000 - 65,000

Provenance: Acquired directly form the artist by present owner, 1971 Of the many gifts offered by Hotere to New Zealand art, it would be remiss not to acknowledge his contribution to the mediation between different art forms. Ekphrasis is an ancient Greek term which refers to literary descriptions of art. The modern definition of ekphrasis, according to the Oxford English Dictionary, is a detailed description of a work of visual art as a literary device. Not only did Hotere engage with the notion of ekphrasis, but actually turned it on its head: opening up a dialogue between art and literature and affirming the potential of painting to describe the beauty of the written word. For the first time in New Zealand’s art history, works such as Malady accomplished the great task of describing and illuminating literature. The Malady series is iconic and instantly recognisable. This work is a meditation; a study in the graduation of words and colour. It is striking to encounter, and as viewers we cannot help but

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feel some sense of release in following the work’s southwards trajectory of colour and gravity. Each word imprints itself on our mind: less as an echo than as a meaningful exercise in repetition, which alternates between bold and light. Of course, this is the essential melody of Malady. It lies in the interplay between each step, the inevitability of brightness and shadow. The compelling red-orange zip which vertically penetrates the canvas cannot be ignored. It pulsates and seems to pierce through the canvas, as if we are being offered a glimpse into the fiery centre of the earth’s core. And, of course, there is the nuance of black. The deeply gorgeous and inviting subtlety which offers darkness and luxuriating comfort, and without which we would not know of this work as Hotere’s own.

JOHN GRAY 40th Regiment of Foot Pen and ink on paper 38 x 47 Inscribed Drawn by John Gray, 40th Regiment

$10,000 - 15,000

John Gray (1801 – 1859) was a soldier and a New Zealand politician. From a British military family, Gray’s half-brother, Lieutenant-Colonel George Gray (despite the different spelling of his surname) of the 30th Cambridgeshire Regiment, was the father of Sir George Grey, who became Governor of New Zealand. Arriving in Auckland in 1847 onboard the Sir George Seymour, John Gray was in charge of a section of the Royal New Zealand Fencible Corps, eventually attaining the

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rank of Lieutenant-Colonel. He successfully stood for election to the 1st New Zealand Parliament in the electorate of the Southern Division which encompassed the Waikato, Coromandel, Bay of Plenty and East Cape. Due to ill health, Gray retired in 1855 after serving only one term. He died in 1859 at his home, Wynnestead, East Tāmaki, aged 57. He is buried at Otahuhu Anglican Cemetery.

FRANCES HODGKINS

$18,000 - 25,000

$32,000 - 38,000

Still Life, c.1925 Watercolour 35.5 x 40 Signed

This is a rare Hodgkins demonstration piece produced for the 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

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Peasant Girl, Provence Watercolour 50 x 38 Signed & dated 1906

Provenance: Dr Mildred Mocatta (1887 - 1984) collection Adelaide until circa 1965 - then gifted to Australian sculptor John Dowie (1915 - 2008) Collection of John Dowie’s niece, Penny Dowie, artist

William Fox arrived in Wellington in 1842 and become editor of the New Zealand Gazette and Britannia Spectator, before being appointed Resident Agent at Nelson for the New Zealand Company in 1843. He subsequently played a leading part in politics and held the office of Premier on four occasions. He was knighted in 1879. In his early years Fox explored much of the Wairarapa and the South Island. Fox’s greatest contribution to New Zealand history after the struggle for self-government in the 1850s, was his work in Taranaki in the early 1880s. He was a member of the West Coast Commission which consisted of Francis Dillon Bell and himself. A third commissioner, Hone Mohi Tawhai, declined to serve when he heard that his colleagues were to be Fox and Bell. No doubt he questioned the propriety of their appointments. The Commission was charged with the duty of inquiring into the numerous promises allegedly made by successive government officials to the Taranaki Maori, and into all disputed land claims in that province. Fox Glacier was named to commemorate Fox’s visit to the region as Prime Minister of New Zealand in 1872. The Wairarapa town of Foxton, founded in 1885, was also named after him. In his later years Fox continued to undertake considerable physical exercise, climbing Mount Taranaki in 1892, aged 80. He died in Auckland in 1893.

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In 1851, Fox travelled to London on behalf of a group of Wellington settlers. There he met Edward Gibbon Wakefield, elder brother of William and Arthur. He discussed his ideas about a constitution for New Zealand, strongly supporting self-rule, provincial autonomy, and two elected houses of parliament. He also attempted to meet Earl Grey, the British minister for colonial possessions, but was refused. When a constitution was promulgated the following year it incorporated some of Fox’s ideas, but was not satisfactory to him. Before returning to New Zealand, Fox and his wife spent some time travelling in America and Cuba. He documented this trip in an impressive series of watercolours, many of which are held in the collection of Alexander Turnbull Library. New York Harbour 1852, is composed across seven sheets of paper - this type of watercolour documentation is extremely rare. The panorama begins at the Battery looking across to Brooklyn, Green Island, Staten island to the New Jersey Shore and out to the mouth of the Hudson River. On the far right, naval steamship USS Mississippi, is seen departing the Hudson en route to Japan. She was later destroyed in the Bombardment of Port Hudson, Louisiana.

SIR WILLIAM FOX

$8,000 - 12,000

New York Harbour, 1852 Watercolour on seven sheets of paper 16 x 186 overall

Provenance: Never before offered for sale Inherited by vendorâ&#x20AC;&#x2122;s maternal grandmother, surname Wilkie, who was employed at Westoe, the Fox familyâ&#x20AC;&#x2122;s Rangitikei homestead

Close up of far left - includes Battery Park looking across the Hudson River to Brooklyn

Close up of far right - The naval steamship USS Mississippi departing for Japan, 1852

Limestone Gorge, King Country is an almost identical composition to Limestone Gorge, King Country, Auckland Art Gallery Collection, illustrated p. 131 Two Hundred Years of New Zealand Painting, Gil Docking, 1971. Docking writes: this work is a vigorous statement bearing on the area where he spent his first years in New Zealand. It summarises his search for design with big rhythms, colour orchestration and strong draughtsmanship. It was his wish to push beyond technical skill, beyond a superficial emulation of nature and towards an understanding of the inner meaning of the subject. The term King Country dates from the New Zealand Wars of the 1860s, when colonial forces invaded the Waikato and forces of the MÄ ori King movement withdrew south of what was called the aukati, or boundary, a line of pa alongside the Puniu River near Kihikihi. Land behind aukati remained native territory, with Europeans warned

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they crossed it under threat of death. The King Country is the region of the western North Island of New Zealand. It extends from 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. Weeks was an influential artist, both as a painter and a teacher in the New Zealand art scene from the 1930s until the 1960s. He was born in Devonshire, England and came to New Zealand at an early age. Weeks studied at Elam School of Fine Arts from 1908 to 1911. He was an extensive traveller, spending time in England, Australia, Europe and North Africa, studying at the Edinburgh College of Arts and Andre L'Hote's Academy in Paris before returning to teach at Elam in 1929.

JOHN WEEKS

Limestone Gorge, King Country Oil on board 62 x 85 Certificate of Authenticity affixed verso $24,000 - 28,000

Provenance: Private Collection, Auckland Purchased from Important, Early & Rare, International Art Centre, July 2010

PETER MCINTYRE

$28,000 - 37,000

Wanganui River Oil on board 63 x 85 Signed Inscribed verso

Provenance: Private Collection, Gisborne McGregor Wright Gallery Gallery label affixed verso Exhibited: McGregor Wright 105th Birthday Exhibition, 1984 McGregor Wright Gallery, Wellington

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GARTH TAPPER

$4,000 - 6,000

Self Portrait Oil on canvas 46 x 40 Signed & dated 1995

Garth Tapper painted several self portraits in his lifetime although they rarely appear for sale. This work is the artistâ&#x20AC;&#x2122;s last self portrait

Provenance: Collection of the artistâ&#x20AC;&#x2122;s son, William Tapper

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ANNA LOIS WHITE

$3,000 - 5,000

Song School, Edinburgh Oil on board 40 x 51 Signed & dated 1962 Inscribed verso

Provenance: New Zealand Paintings, Jewellery & Decorative Arts, Webb’s Auckland, 06/04/2005, Lot No. 390

A. Lois White painted Song School, Edinburgh in 1962. The actual location is St Mary’s Music School in Edinburgh, a school for boys and girls aged between nine and nineteen. The school, which is non-denominational, provides education for children with a special talent in music, and is Scotland’s only full-time independent specialist music school. Reference to A Lois White visit to Scotland with her friend Ida Eise, appears p. 117 By the Waters of Babylon, The Art of A., Lois White. Nicola Green, Auckland City Art Gallery, Bateman 1993

EDWARD BULLMORE

$8,000 - 11,000

Plan 1 Mixed media on canvas 47 x 70 x 9.5 Signed and inscribed verso

Provenance: Private Collection, Auckland Purchased from Art+Object, 2009

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DORIS LUSK

$4,500 - 6,500

Tasman Bay Watercolour 38 x 55 Signed & dated 1966

Provenance: Private Collection, Auckland Ferner Galleries, Auckland, label affixed verso

GRETCHEN ALBRECHT

$16,000 - 24,000

Meditation (With Blue Bar) Acrylic on canvas 73 x 120.5 Signed, inscribed Meditation (with blue bar) & dated 1996 verso Artistâ&#x20AC;&#x2122;s studio label affxed verso

Provenance: Private Collection, Canterbury

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MERVYN WILLIAMS

Epitome Acrylic on canvas 125 x 125 Signed, inscribed & dated 2004 verso $12,000 - 18,000 Provenance: Private Collection, Auckland Exhibited: Selected Paintings, Janne Land Gallery, Wellington, 2004

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JUDY MILLAR

Untitled Oil on canvas 102 x 70 Signed & dated 2005 inscribed verso $8,000 - 12,000 Provenance: Gow Langsford Gallery label affixed verso

RAY CHING

Drawing Is Possession/ Alice Through the Looking Glass Lets Flying Fish Swim Up Her Skirt (If They Want To) Oil, acrylic, pigment ink and ink on canvas board 99 x 115 Signed, inscribed & dated 2007 $25,000 - 35,000

Provenance: Private Collection, Auckland Exhibited: Ray Ching, Autobiography, Artis Gallery, Auckland, October 2008

ISABEL JANE FIELD

Otago Lake Watercolour 36.5 x 74 Signed & dated 1901 $8,000 - 12,000

Provenance: Private Collection, Wellington Purchased from Topographical Pictures, Christies, London, 10/11/1988, Lot No. 203

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PETER MCINTYRE

$10,000 - 15,000

The Infantry Charge Charcoal drawing on paper 38 x 56 Signed

Provenance: Estate of Peter McDermott, Orewa Illustrated: p. 188 Peter McIntyre War Artist A H & A W Reed, 1981

SHANE COTTON

Eighteen Sixty Five Gouache on paper 19,5 x 28.5 Signed, inscribed & dated 1994 $2,500 - 3,500

Provenance: Gow Langsford Gallery label affixed verso

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TONY FOMISON

$8,000 - 12,000

Untitled - Figure in Hat Graphite on paper 28 x 24.5

Provenance: Ex Tony Fomison Estate Gow Langsford Gallery label affixed verso

STANLEY PALMER

$12,000 - 16,000

Matauri Motukawanui Oil on board 50 x 133 Signed and dated 2002

Provenance: Private Collection, Auckland Purchased from an exhibition at Janne Land Gallery, Wellington, 2002

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101

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OWEN HEATHCOTE MERTON

$2,500 - 3,500

St Ives Beach Watercolour 35.1 x 47.4 Signed, inscribed & dated 1910

Provenance: Private Collection, London Exhibited: RBA Exhibition, 22 West Kensington Gardens 1910, cat. no. 172

OWEN HEATHCOTE MERTON

$2,500 - 3,500

Concarneau: Houses and Boats Watercolour 34.5 x 51.5

Provenance: Private Collection, London Exhibited: RBA Exhibition, 22 West Kensington Gardens 1910, cat. no. 225

TERRY STRINGER

$14,000 - 18,000

Untitled - Figure Bronze sculpture 137 x 32 x 44 48

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PETER MCINTYRE

Okawa Bay, Lake Rotorua Watercolour 54 x 71 Signed $10,000 - 15,000

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PETER MCINTYRE

Royal Courts of Justice, London Oil on canvas 50 x 60 Signed $8,000 - 12,000 The Royal Courts of Justice, commonly called the Law Courts, is the building in the Strand, London which houses the Court of Appeal of England and Wales and the High Court of Justice of England and Wales. This building is a large grey stone edifice in the Victorian Gothic style and was designed in the 1870s by George Edmund Street, a solicitor turned architect.

105

THREE UNIQUE Cast CLASS WORKS BY ANN ROBINSON

ANN ROBINSON

Semillion #3 Cast glass rim bowl, unique 50 x 50 Signed, inscribed No. 3, & dated 2013 on base $24,000 - 28,000

Provenance: Purchased 10/01/1997 from Masterworks, Auckland

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Ann Robinson, born in Auckland 1944, is a New Zealand studio glass artist who is internationally renowned for her glass casting work. Robinson is a recipient of the 2001 ONZM and in 2006 received a Lifetime Achievement Award by the American Glass Art Society. Robinson became a Laureate of the Arts Foundation of New Zealand in 2006. Robinsonâ&#x20AC;&#x2122;s work features in the permanent collections of art galleries around the world, including the Victoria and Albert Museum in the United Kingdom, the Museum of New Zealand Te Papa Tongarewa, Corning Museum of Glass in the United States, the National Gallery of Victoria, Australia and Stradtmuseum, Germany. She has also regularly exhibited in both solo and group exhibitions in New Zealand and Internationally. In addition to her own art, Robinson is notable for the contribution she has made to the caste glass technique internationally and the development of New Zealand caste glass artistry. She is one of a small number of practitioners in the world responsible for the development of the lost wax casting technique for glass. As D Wood, in magazine Neus Glas states of Robinson, she is an internationally respected doyenne of the genre.

Ann Robinson at work

ANN ROBINSON

Yellow Shell Pod - No. 2 Cast glass 31.5 x 35.5 Signed, inscribed & dated 1996 on base $12,000 - 18,000

Provenance: Purchased 10/01/1997 from Masterworks, Auckland

ANN ROBINSON

$8,000 - 12,000

Spiral Vase Cast glass, unique 42.5 x 16.5 Signed & dated 1995 on base

Provenance: Private Collection, Auckland

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NIGEL BROWN

$10,000 - 15,000

Truth - Pink Version Oil on canvas 80 x 134 Signed & dated 2005

In TRUTH, Invercargill born Nigel Brown creates a powerfully interesting work, both visually and verbally. During the late 1960s he attended Elam School of Art with tutors Pat Hanly, Colin McCahon, Garth Tapper, Greer Twiss and Robert Ellis. McCahon was a major influence and Brown followed his advice to utilise personally meaningful motifs in his work. TRUTH is a further exploration of Brown’s tribute I AM series of paintings.

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While the word is rendered as monumental and stands alone, the soft pink palette, references the artist’s Cosy Nook home in Southland, a house painted pink. Works like this extend McCahon’s text investigations beyond the biblical into more general areas of questioning. Painted in 2005, TRUTH is a work which has gained in relevance, it is truly a painting of our times.

JOHN WALSH

$10,000 - 15,000

Tiki Meets Croc Oil on board 80 x 120 Signed, inscribed & dated 2003 verso

Provenance Private Collection, Auckland Gow Langsford Gallery, Sydney, 2003 label affixed verso

109

110 Important & Rare Art 10 April 2018

JOHN BARR CLARKE HOYTE

Whangaroa Harbour Watercolour 36.5 x 62 Signed $8,000 - 12,000

CHARLES DECIMUS BARRAUD

$3,000 - 5,000

ERNEST BUCKMASTER

$4,500 - 6,500

Takaka Valley (South) Oil on board 77 x 94 Signed Inscribed Takaka Valley (South), verso

A Surveyor at Lake Wakatipu Watercolour 20 x 34.5 Signed & dated 1872

111

112 Important & Rare Art 10 April 2018

VERA CUMMINGS

Maori Girl Oil on canvas 23.5 x 19 Signed $5,000 - 8,000

Maori Chief Oil on canvas 24 x 19 Signed

$4,000 - 6,000

VERA CUMMINGS

$3,000 - 5,000

A Hot Day Oil on canvas 29.5 x 24.5

113

WARREN VISCOE

$4,000 - 6,000

EDWARD FRISTROM

Foolâ&#x20AC;&#x2122;s Coat Carved timber sculpture 72 x 32 x 13

Early Evening, Auckland Harbour Oil on canvas laid on board 19.5 x 29 Signed $2,500 - 3,500

114 Important & Rare Art 10 April 2018

WILLIAM CHARLES PIGUENIT

$3,000 - 6,000

Australian 1836 - 1914 Craycroft River, Tasmania Oil on board 45 x 60 Signed & dated 1877

ROBERT JOHNSON

Australian 1890 - 1964 Estuary Oil on board 38 x 45 Signed $2,500 - 3,500

Provenance: Private Collection, Auckland

115

JOHN PHILEMON BACKHOUSE

$2,500 - 3,500

Maoriland Three oil on shell, one 23 x 20, two 12 x 12 Two signed & inscribed

PHOTOGRAPHER UNKNOWN

$1,000 - 2,000

A PDF of the entire album is available on our website www.fineartauction.co.nz

A unique bound photo album containing 23 photos of ANZAC including the first landing at Gallipoli Peninsula and Popes Hill, Z Beach & others. Photographs 13 x 17 Most inscribed & dated 1915

116 Important & Rare Art 10 April 2018

DON BINNEY

$6,000 - 8,000

S E SLADER

$1,000 - 1,500

End of Sale - Thank you

Kaiaraka Kaku Great Barrier Screenprint, edition 20/150, 66.5 x 41 Signed, inscribed & dated 1982

Hauraki Gulf Watercolour 26.5 x 36 Signed Inscribed Auckland, 1888 verso

117

118 Important & Rare Art 10 April 2018

Desperately seeking Steele (Louis John, 1842-1918) Information sought Described in his lifetime as the Grand Old Man of New Zealand art, Louis John Steele is New Zealand’s forgotten master. Information is sought on undocumented paintings, drawings or prints by Steele or any related archival material by PhD researcher Jane Davidson-Ladd. Steele painted New Zealand history paintings, Maori and European portraits, horses and other animals, as well as illustrating magazines and etching. He was also an influential teacher: Charles Goldie numbered amongst his many pupils. Some major works are missing including: The Last Stand of Captain Starlight, The Story of a Saddle and An Incident at Hokianga, along with a number of portraits such as Nga Kawhena. A drawing for The Signing of the Treaty of Waitangi (once at Sacred Heart College, Auckland) is also lost. A large number of Steele’s sketchbooks, drawings and paintings were sold at auction in 1917, a cache of these were sold again at Cordy’s in 1967. Works are variously signed using his name or with just his initials L J S. Any information about the whereabouts of this material would be gratefully received. Jane Davidson-Ladd’s PhD at the University of Auckland offers the first detailed study of Steele’s practice and considers his influence. Jane was previously a curator at Auckland Art Gallery and contributed to the 2016 exhibition catalogue for Gottfried Lindauer’s New Zealand. Please contact Jane Davidson-Ladd 021 385 833 / jdav003@aucklanduni.ac.nz Confidentiality is assured

Inscribed My studio, L J Steele family collection

119

Louis John Steele $505,000 - auction record Toss Woollaston $130,000

HIGHLIGHTS FROM 2017 AUCTIONS

Peter McIntyre $70,000

Felix Kelly $28,500 - auction record

Raymond Ching $118,900 - auction record

120 Important & Rare Art 10 April 2018

Buck Nin $36,800

C F Goldie $523,500

C F Goldie $118,900

Frances Hodgkins $83,280

Paul Beadle $36,800 - auction record

John Barr Clarke Hoyte $26,680 Prices quoted include buyers premium

121

Marcus King $7,435

HIGHLIGHTS FROM february 2018 AUCTION

Sam Duckor-Jones $2,020

Michael Hight $4,856

Philip Trusttum $5,532

122 Important & Rare Art 10 April 2018

Euan McLeod $5,650

Peter McIntyre $47,590

Felix Kelly $23,795

HIGHLIGHTS FROM NOVEMBER 2017 AUCTION Len Castle $7,130

Horrace Moore-Jones $20,225

Rupert Farnall Studio $13,080

Pat Hanly $26,170

Russell Clark $6,315

123

Auction categories at International Art Centre

Important & Rare Art

Modern & Contemporary Art

Important & Rare auctions are the proven, pre-

Twice a year our Modern & Contemporary Art

eminent sale category for major works of art

auctions play an integral role in enabling market

offered for sale in New Zealand. These auctions

access to the most sought-after artists who have

take place three times annually. As we fast

defined New Zealand’s art narrative over the

approach our 50th year in business, experience

past 50-years. These sales never fail to present an

continues to equal results. 2014 saw Important &

exciting offering of both painting and sculpture

Rare auctions realise five of New Zealand’s top

by a range of our modern and contemporary

ten auction prices. The following year saw new

greats. Spanning that vital period from the

records set with the two top prices in Auckland

establishment of mid-century modernism through

achieved. With the addition of the record $1.377

to the cutting edge of our national contemporary

million paid for a C F Goldie in April’s 2016 sale,

art discourse, this is an acclaimed and significant

International Art Centre achieved the three

event in the auction calendar. Our new state-of-

highest art auction prices in New Zealand’s

the-art premises will ensure contemporary art is

history. Due to an appreciative, and greatly

now exhibited and auctioned in a dynamic and

valued clientele of nationwide and international

appropriate environment.

buyers and sellers we look forward to breaking new ground.

Consign Now Richard Thomson Ph +64 9 379 4010 M. 0274 751 071 E. richard@artcntr.co.nz

124 Important & Rare Art 10 April 2018

IN PARNELL ROAD SINCE 1971

Always consigning / Always cataloguing

Artists’ Estates & Collectable Art

Single Owner Auctions

The buzz generated by our Artists’ Estates &

From time to time, the secondary market is

Collectable Art auctions reflects the popularity of

fortunate enough to be exposed to one of

this sale: an event at which seasoned connoisseurs

those rare collections which transcends the

and budding collectors alike converge to

value of its individual works of art, and stands

appreciate one of the most eclectic and diverse

to represent something iconic in its entirety. Our

offerings available to the market. Because this

team is well-versed in the process of offering

auction specifically caters to the more affordable

single-owner collections for sale, and take pride

end of the market - generally presenting works

in the process of curating a single-owner sale

valued at $5,000 and less, this is an exciting

when the opportunity arises. We offer a targeted

opportunity to unearth some real treasures.

marketing campaign and maximise the use

Artists’ Estates & Collectable Art auctions offer

of both electronic and print-based collateral

a number lower-priced works from highly-sought

to effectively showcase such collections to

after artists in print and edition form, as well as

maximum effect. The strong networks we have

quality works from artists whose presence on the

established

secondary market is just beginning to crystallise.

reflected in some of the private collections

locally

and

internationally

are

which have been entrusted to us in recent years, namely: the sale of the John Leech Collection, the Barry Pilcher Collection of Contemporary Art, The Sally Hunt Collection, Wendy Phazaryn & the late Bruce Dahl Collection and a selection of Consign Now Luke Davies Ph +64 9 379 4010 E. luke@artcntr.co.nz

works from the Fletcher Trust Collection.

Expertise Experience Results

125

126 Important & Rare Art 10 April 2018

Lot 21

127

Recent Prices Realised Prices quoted are fall of the hammer which attract buyers premium Sally Hunt Collection 7 November 2017 1 5250 2 1500 3 7000 4 1600 5 7000 6 2350 7 2500 9 5000 10 4250 11 4250 12 7000 13 500 14 30000 15 4000 16 110000 17 9000 18 8500 21 2200 22 14000 23 31000 24 52500 25 3000 26 4250 27 12000 28 10000 31 19000 33 4100 34 3000 35 350 37 2200 40 2000 41 1250 42 2600 43 30000 44 6750 45 9000 46 2750 47 8000 48 5500 49 7000 51 6000 52 2500 53 10000 56 10000 58 4000 59 5000 60 4000 61 7000 62 3000 63 3000 64 6000 65 3650 67 6250 68 5000 69 4500 71 5000 73 4700 74 5900 75 2500 76 3600 77 2900

78 3400 79 3000 80 3750 81 3000 82 5250 83 2600 84 5000 85 4000 86 9400 87 1800 88 1400 89 1800 91 1800 92 650 93 1800 94 6000 95 2400 96 2800 97 1550 98 1750 99 1750 100 1800 101 1800 103 1400 104 1600 105 1000 107 6000 109 900 111 1370 112 2600 113 4000 115 500 118 2000 119 2600 120 3400 123 1000 Important & Rare Art 27 November 2017 1 6250 4 3000 7 11000 8 3000 9 2000 11 22000 12 15000 13 28500 14 5500 15 1500 16 6000 17 1850 18 38500 19 18000 21 7100 22 2000 23 1300 25 3800 26 900 27 5250 28 3100 30 3200 32 1500 34 5500 35 4500

128 Important & Rare Art 10 April 2018

36 20000 37 14000 38 15000 40 100000 41 11000 42 6000 43 1500 44 4800 49 17000 50 59000 51 40000 52 22000 53 7500 54 9500 56 17000 57 8500 58 9000 59 5000 60 1500 61 500 62 8500 64 8000 66 15500 67 300 68 10250 69 3500 71 1500 72 1600 73 1500 74 3250 75 3000 76 500 77 2700 80 2000 82 1200 83 1600 84 3100 85 4000 86 1600 87 2000 89 2000 91 2500 92 700 93 800 95 900 96 525 97 1850 98 500 99 2150 100 700 Wendy Pharazyn & Late Bruce Dahl Collection with Collectable Art 20 February 2018 1 2750 2 4000 3 4200 4 4750 5 2000 7 800 8 1700 9 1550

10 1000 11 4350 12 3000 14 2350 16 4650 19 6250 20 575 21 400 22 300 23 700 24 525 25 1400 26 2000 27 3000 28 3500 29 2500 30 850 34 775 36 800 37 1100 39 800 40 4000 41 300 42 1100 43 1900 44 800 45 800 46 400 47 680 48 3100 52 750 53 500 54 400 55 1100 56 1000 57 1000 60 1100 62 375 63 800 65 450 71 210 72 550 73 400 74 300 76 1900 80 6800 81 2000 84 1900 87 3700 88 4500 89 550 90 5400 91 4200 93 3000 94 650 95 1300 96 5900 98 4600 99 4800 100 4000 101 6250 102 1200 103 950 105 4500 107 1400

108 2900 109 2600 110 3800 111 1500 112 1400 114 2700 118 2550 121 1000 123 1750 124 1000 125 1700 128 550 132 1000 133 500 134 1000 135 800 137 2050 138 300 140 400 141 425 142 1600 143 110 145 1000 146 1100 147 975 148 1000 149 430 150 1150 151 625 152 800 153 375 154 320 155 3250 156 750 158 225 159 1650 160 500 161 500 162 810 163 825 165 950 166 1400 167 1150 168 240 169 1500 170 4000 171 1550 172 650 173 600 174 425 175 410 176 75 177 200 178 800 179 150 180 450 181 200 182 275 183 100 184 500 185 550 186 2500

www.fineartauction.co.nz

Absentee Bid Form Dame Kiri te Kanawa Collection with Important & Rare Art Tuesday 10 April 2018

â&#x153;&#x192;

I instruct International Art Centre to bid on my behalf for the following lots up to the prices indicated below. My bids are to be executed at the lowest attainable price level. All bids are subject to Conditions of Sale printed in this catalogue.

Registration Bidding Number Name Address Email

Telephone

Lot Number

Signature

Artist

Max. Bid $NZ excluding buyers premium

...........................................................................................

/ 2018

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

â&#x153;&#x192;

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

129

Conditions of Sale and A Guide to Buyers The highest bidder shall be the buyer. In the event of any dispute as to the bidding in respect of any lot, that lot may be offered again at the discretion of the auctioneer whose decision shall be absolute and final. The auctioneer has the right (i) to refuse any bid; (ii) to advance the bidding at his absolute discretion; (iii) to place a reserve on any lot; (iv) to place a bid or bids on behalf of the seller; (v) to withdraw any lot from sale; (vi) to require a successful bidder to pay forthwith the whole or any part of the purchase price. The auctioneer acts as the agent of the seller and neither he nor the seller shall be responsible for any defects or faults in any lot or for any errors of description or for genuineness or authenticity of any lot and no compensation shall be paid in respect of same. From the time of lot being sold, such lot will be the responsibility of the buyer. Successful bidders are required to pay for purchases immediately on completion of sale unless otherwise arranged. All intending buyers are required to register for a bidding number prior to auction commencing. Subscribers can use their permanent bidding number. We reserve the right to ask for identification if you are a first time client of International Art Centre. Each lot shall be paid for and removed at the buyers expense by no later than 5pm Thursday 12 April 2018 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.

130 Important & Rare Art 10 April 2018

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: Only 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 16.5% Buyers premium plus GST on premium applies to all lots. (Total buyers premium is 18.98% including GST)

131Lot 20

Index ALBRECHT G.................................................... 37

MCCAHON C.................................................. 22

BACKHOUSE J P.............................................. 66

MCINTYRE R..................................................... 25

BARRAUD C D................................................. 57

MCINTYRE P............................... 6, 32, 42, 49, 50

BEADLE P........................................................... 1

MERTON O................................................. 46, 47

BINNEY D.............................................. 12, 14, 68

MILLAR J.......................................................... 39

BOYD A M B................................................. 7, 17

OLLEY M........................................................... 16

BROWN N.................................................. 24, 54

PALMER S......................................................... 45

BUCKMASTER E................................................ 58

PIGUENIT W C.................................................. 64

BULLMORE E.................................................... 35

RADFORD J....................................................... 2

CHING R.......................................................... 40

REES L F.............................................................. 9

COTTON S........................................................ 43

ROBINSON A....................................... 51, 52, 53

CUMMINGS V...................................... 59, 60, 61

SIDDELL P................................................... 13, 15

FIELD I J............................................................ 41

SLADER S E....................................................... 69

FOMISON T...................................................... 44

STEELE L J......................................................... 19

FOX W.............................................................. 30

STRINGER T....................................................... 48

FRISTROM E...................................................... 63

TAPPER G......................................................... 33

GOLDIE C F............................................... 3, 4, 5

TJANGALA U U.................................................. 8

GRAY J............................................................. 27

UNKNOWN PHOTOGRAPHER......................... 67

HODGKINS F........................................ 11, 28, 29

VISCOE W........................................................ 62

HOTERE R................................................... 20, 26

WALSH J........................................................... 55

HOYTE J B C..................................................... 56

WEEKS J ........................................................... 31

JOHNSON R..................................................... 65

WHITE A L......................................................... 34

KELLY F.............................................................. 10

WILLIAMS M..................................................... 38

LUSK D........................................................ 23, 36

WOOLLASTON T.............................................. 18

MAUGHAN K................................................... 21

132 Important & Rare Art 10 April 2018

133Lot 44

134 Important & Rare Art 10 April 2018

A MAJOR MASTERPIECE BY PETER SIDDELL UNPARALLED EXCELLENCE - IMPECCABLE PROVENANCE FOR SALE BY PRIVATE TREATY

Peter Siddell - Opening Oil on canvas 120 x 170cm It is with pleasure that we offer Opening for sale by private treaty This is one of the late Sir Peter Siddellâ&#x20AC;&#x2122;s most ambitious and successful large scale panoramas An opportunity now exists for a discerning buyer to acquire this modern day masterpiece Enquiries contact Richard Thomson +64 9 379 4010 richard@artcntr.co.nz

135

136 Important & Rare Art 10 April 2018

137

A D Blake ARTWORKS FOR SALE . . .

Anthony D Blake Across the Startline At St Tropez Oil on canvas 61 x 91 cm NZ$80,000

Moonbeam III, Mariska and Altair cross the start line at St Tropez, France This painting depicts Moonbeam III in the foreground, Mariska and the large schooner Altair crossing the start line off the old town of St Tropez, during the recent Les Voiles de St Tropez classic yacht regatta.

Artistâ&#x20AC;&#x2122;s Statement: I have spent much time in St Tropez, watching the classic yachts and painting scenes around the coast. Nowadays there are four 15m yachts racing at St Tropez: Mariska, Tuiga, Lady Anne and Hispania, all designed by William Fife, they usually race together, a magnificent sight and the finest inspiration for my work. A D Blake

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

138 Important & Rare Art 10 April 2018

Timeless Maritime Masterpieces

Anthony D Blake Thelma, Waitangi & Rainbow Pass North Head Oil on canvas 61 x 91 cm NZ$75,000

In this work Thelma leads Waitangi and Rainbow as they race past North Head in a present day scene. The north easterly wind gusts against the outgoing tidal flow creating steep little waves. The sunâ&#x20AC;&#x2122;s reflection sparkles on the wave tops and clouds casts shadows on the water just to windward of Thelma and over the background island of Rangitoto. All three yachts are close competitors and regularly race in the Classic Yacht Association of New Zealand races on the Waitemata harbour and in the Hauraki Gulf.

Artistâ&#x20AC;&#x2122;s Statement: Both Waitangi and Thelma are owned by The Classic Yacht Charitable Trust providing wonderful sailing experiences in Auckland for anybody willing to race as part of the crew on an iconic New Zealand classic yacht. A D Blake

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

139

Lot 17 140 Important & Rare Art 10 April 2018

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