AUCTION HIGHLIGHTS
IMPORTANT & RARE ART Held 29 11 22
a: Charles F Goldie The Calm Close of Valour’s Various Day Realised $1.11 million
b: Peter Siddell Stucco House Realised $108,110
c: Charles F Goldie Maori Chief with Hei-Tiki Realised $918,950
d: Felix Kelly Dying Sternwheeler, Mississippi Realised $54,050 - auction record
e: Michael Smither Two Rock Pools, 1968 Realised $516,000 - auction record
f: Banksy No Ball Games Realised $180,185
g: Karl Maughan Titoki Realised $144,150 - auction record
h: Colin McCahon A Poem of Kaipara Flat, 1971 Realised $204,200
Prices include buyers premium
a b c d
9 e f g h
Signed
Mabel
Screenprint,
Signed,
$5,000 - 8,000
ILLUSTRATED
p. 65 Robin White New Zealand Painter Alister Taylor, Waiura Publishing, 1981
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1 DAME EILEEN MAYO (1906 - 94) Rain, Coal & Wood, 1977
Relief print, Artists proof II, 35.5 x 54.5
& inscribed
$6,000 - 9,000
2 ROBIN WHITE (b. 1946)
Mitchell’s Place, Waiotemarama, Hokianga
edition 44/45, 80.5 x 60
inscribed Mabel Mitchell’s Place, Waiotemarama, Hokianga & dated 1977
11
Landscape
Oil on board 47 x 54
Signed & dated 1972
$20,000 - 30,000
PROVENANCE
Private Collection, Auckland
Fine New Zealand & Foreign Paintings
Webb’s 27/06/2000
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3 CHARLES TOLE (1903 - 88)
2
4
Near Huka
Oil on board 34 x 40
Signed
Inscribed Near Huka verso
$10,000 - 15,000
PROVENANCE
Private Collection, Auckland
Traditional & Contemporary Art International Art Centre 24/02/1997
13
CHARLES TOLE (1903 - 88)
Oil on board 40 x 50
Signed $15,000 - 20,000
PROVENANCE
Private Collection, Auckland Important New Zealand Works of Art, Webb’s 22/11/1990
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5 JOHN TOLE (1890 - 1967)
Industrial Landscape
6 JOHN WEEKS (1886 - 1965)
Figures in a Market Place, Morocco, 1926
Tempera on board 57 x 58.5
Signed
$45,000 - 60,000
PROVENANCE
Private Collection, Auckland
Ferner Galleries
15
7 LEN CASTLE (1924 - 2011)
Sulphur Bowl
Glazed ceramic 17 x 44
Artist’s stamp impressed on base
$8,000 - 12,000
16 IMPORTANT & RARE ART 6:00pm Wednesday 29 March 2023
8 DON BINNEY (1940 - 2012)
Piha
Oil pastel on paper 56 x 75
Signed & dated 1990
$15,000 - 20,000
PROVENANCE
Elizabeth Steiner Collection
In 2008 the famous painter Don Binney completed a suite of 24 absolutely charming coloured pencil drawings of Auckland’s West Coast, from Huia to Te Henga (Bethells). They are evocative of the coast so many New Zealanders love and they are magnificent works in themselves. They are accompanied by text
that takes the reader on an imaginary journey from Huia to Te Henga, commenting on the landmarks shown in each of the drawings. They also draw on Binney’s extensive contact with this coast and with the Waitakeres in general: in early adulthood he tramped and camped throughout the area, he was a founder member of the Waitakere Ranges Protection Society and he has often used his art to underpin his conservation-activist work. The book is a beautiful keepsake - small and perfectly formed, as the drawings are. Deliberately inexpensive, it is accessible to all. Lovers of the west will find it completely enchanting.
17
Don Binney - Drawing the Waitakere Coast 2008
9 GRETCHEN ALBRECHT (b.1943)
Reflections (Mist)
Acrylic collage on canvas 152 x 305
Signed, inscribed verso, original artist label
attached verso & dated 1987
$40,000 - 60,000
PROVENANCE
Elizabeth Steiner Collection
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11 PETER CLEVERLEY (b. 1954)
Letter to Claude Monet
Oil on prepared board and plywood
66 x 87.5
Signed, dated 1991 & inscribed verso
$1,500 - 2,500
PROVENANCE
Elizabeth Steiner Collection
12 PETER CLEVERLEY (b. 1954)
As Night Follows Day
Acrylic on wooden panel 21 x 98
Signed, inscribed & dated 1997
$2,000 - 3,000
PROVENANCE
Elizabeth Steiner Collection
10 JAMES ROSS (b. 1948)
Interior
Oil on three panels 224 x 111
Signed, inscribed verso & dated 1984
$3,000 - 5,000
PROVENANCE
Elizabeth Steiner Collection
13
ROGER HICKIN (b.1951)
Untitled
Kauri with brass 150.5 x 85
Signed, inscribed & dated August 1991
verso
$1,000 - 2,000
PROVENANCE
Elizabeth Steiner Collection
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12 11
14 ROGER HICKIN (b.1951)
The Fire of Despair has been our Saviour II
Charred Rimu with copper 100.5 x 66
Signed, inscribed The Fire of Despair has been our Saviour II & dated Sept 1988 verso
$1,000 - 2,000
PROVENANCE
Elizabeth Steiner Collection
15 ZENA ABBOTT (1922 - 93)
Untitled - Wall
Shena knotted and woven wall rug
125.5 x 135.5
$800 - 1,200
PROVENANCE
Elizabeth Steiner Collection
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13 14
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If You Don’t Pull Yourself Together You’ll Fall Apart Oil pastel on paper 57 x 72.5
inscribed & dated 1986
- 12,000
16 JENNY DOLEZEL (b. 1964)
Signed,
$8,000
$8,000 - 12,000
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17 JENNY DOLEZEL (b. 1964)
Play (I)
Oil on canvas 40 x 50
Signed & inscribed Play (I)
18 JOHN SHOTTON PARKER (1944 - 2017)
Untitled
Oil on canvas 213 x 155
Signed & dated 1984
$10,000 - 15,000
EXHIBITED
J S Parker Exhibition
Suter Gallery, Nelson c. 1985
See photo of this exhibition on our bidding platform https://auctions.internationalartcentre.co.nz
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19 BRENT WONG (b. 1945)
Headland Massing Clouds Oil on board 32 x 48
Signed
Inscribed Headland Massing Clouds
& dated 1993 - 94 verso
$15,000 - 20,000
25
20 FATU FEU’U (b. 1946)
A Tribute
Acrylic on canvas 150 x 186
Signed, inscribed & dated 2001 verso
$12,000 - 18,000
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21 FATU FEU’U (b. 1946)
Musumusu Atu
Acrylic on canvas 151 x 188
Signed & dated 2004
Inscribed Musumusu Atu verso
$11,000 - 15,000
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22
ADELE YOUNGHUSBAND (1878 - 1969)
Magnolia
Oil on board 53 x 34.5
Signed $10,000 - 15,000
PROVENANCE
Private Collection, Auckland
Purchased directly from the Artist c. 1961
23
ADELE YOUNGHUSBAND (1878 - 1969)
Laingholm Bay from Titirangi
Oil on board 46 x 54
Signed & dated 1961
Inscribed Laingholm Bay from Titirangi verso
$8,000 - 12,000
Original Artist’s label affixed verso
PROVENANCE
Private Collection, Auckland
Purchased directly from the Artist
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24 PETER SIDDELL (1935 - 2011)
Wairarapa
Oil on canvas 40 x 50.5
Signed & dated 2002
$12,000 - 18,000
PROVENANCE
Artis Gallery
25 DON BINNEY (1940 - 2012)
Backyard Garden
Oil on board 90 x 75
Signed, inscribed Backyard Garden verso & dated 1961
$25,000 - 35,000
30 IMPORTANT & RARE ART 6:00pm Wednesday 29 March 2023
31
26 COLIN MCCAHON (1919 - 1987)
Cashmere Hills
Conte on paper 19.7 x 25
Signed, inscribed Cashmere Hills & dated 1948
$12,000 - 16,000
PROVENANCE
Private Collection, London
Purchased from John Leech Gallery, 1998 Private Collection, Auckland
REFERENCE
Colin McCahon Online Catalogue
www.mccahon.co.nz no: cm001490
McCahon references the oldest suburb on the lower flanks of Christchurch’s Port Hills. The first houses were built in the 1890s and over the years Cashmere became fashionable with a slightly bohemian reputation.
Early in 1948 Colin McCahon moved to Christchurch where he boarded with Doris Lusk and her husband Dermot Holland. During that time he worked as a gardener. With his friend R N O’Reilly as organiser, McCahon’s work was exhibited at the Wellington Public Library during February, then at the Lower Hutt Municipal Public Library. The primitivism in McCahon’s modernist approach caused lively debate.
He had expected the traditional element in his religious subjects to carry his meaning, but the general lack of comprehension, and denigration by critics such as A R D Fairburn, temporarily disheartened him. In September McCahon showed a different selection at the Dunedin Public Library.
Late in 1948 he rented a house in Christchurch, and again the family were together. In Wellington, in August 1949, Helen Hitchings’s gallery mounted a joint exhibition of works by McCahon and Woollaston; a selection was shown in Auckland later that month.
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27 SHANE COTTON (b. 1965)
Seven Sisters
Oil on canvas 30 x 40
Signed, inscribed White Cliffs, Dover & Seven Sisters & dated 2004
$20,000 - 30,000
PROVENANCE
Private Collection, Sydney
Purchased from Hamish McKay Gallery, Wellington, 2004
Shane Cotton completed a Bachelor of Fine Arts at the University of Canterbury’s Ilam School of Fine Arts in 1988 and a Graduate Diploma in Teaching from the Christchurch College of Education in 1991. In 1993, Cotton joined Robert Jahnke in lecturing on Massey University’s Toioho ki Āpiti Bachelor of Māori Visual Arts programme.
His painting practice examines Maori and Pakeha cultural histories to prompt conversations about nationhood and biculturalism, often referencing early nineteenth-century Maori folk art and its intersection with Christianity.
In 1988, Cotton was the Frances Hodgkins Fellow at the University of Otago; in 1999 he was awarded a Te Tohu Mahi Hou a Te Waka Toi/Te Waka Toi Award for New Work; becoming an Arts Foundation Laureate in 2008.
The Seven Sisters are a series of chalk sea cliffs on the English Channel coast, and are a stretch of the sea-eroded section of the South Downs range of hills, in the county of East Sussex, in south-east England.
The cliffs run between the mouth of the River Cuckmere near Seaford, and the chalk headland of Beachy Head outside of Eastbourne. The dips or swales that separate each of the seven crests from the next are the remnants of dry valleys in the chalk South Downs which are being gradually eroded by the sea.
34 IMPORTANT & RARE ART 6:00pm Wednesday 29 March 2023
35
The Door That Contains the Night
Acrylic polymer, gold foil & silver on linen and wood, diptych 38 x 76
Signed, inscribed & dated 1999 verso
$12,000 - 16,000
The Iron King Oil size Palladium leaf, resin, epoxy on wooden quatrefoil 152.5 x 152.5
Signed, inscribed The Iron King & dated 2014 verso
$60,000 - 90,000
36 IMPORTANT & RARE ART 6:00pm Wednesday 29 March 2023
28 MAX GIMBLETT (b. 1935)
29 MAX GIMBLETT (b. 1935)
37
30 PAUL DIBBLE (b. 1943)
Flight Over Water Below
Cast bronze 49.5 x 57.9 x 32.6
Signed & dated 2011
$20,000 - 30,000
38 IMPORTANT & RARE ART 6:00pm Wednesday 29 March 2023
31 IAN SCOTT (1945 - 2013)
Small Lattice No. 386 (2009)
Acrylic on canvas 30.3 x 30.3
Signed, inscribed Small Lattice No. 386
& dated April 2009 verso
$15,000 - 20,000
39
Signed & dated 1984
$7,000 - 10,000
40 IMPORTANT & RARE ART 6:00pm Wednesday 29 March 2023
32 PHILIPPA BLAIR (b. 1945)
Red Tent
Acrylic on canvas 175 x 180
33 BRIDGET RILEY (British b. 1931)
Vista, 2017
Screenprint on Fabriano 5 wove paper, edition 27/150 50 x 49
Signed, inscribed Vista & dated 2017
$20,000 - 30,000
41
34 PAT HANLY (1932 - 2004)
Strong Garden
Acrylic and enamel on board 64 x 53.5
Signed & dated 1978
Inscribed Strong Garden verso
$35,000 - 45,000
PROVENANCE
Private Collection, Auckland
Purchased from RKS Art, 1978
By the 1970s, Pat Hanly was established as the major painter working in the Expressionist style in New Zealand. He had completed major commissions for murals The Seven Ages of Man Medical School Mural for the Auckland School of Medicine (1975) and Rainbow Pieces for the Christchurch Town Hall (197172) as well as the 40-metre-long Prelude to a Journey for the Auckland International Airport’s Departure Hall (1977-78). Strong Garden shows him at the height of his powers, painting his own idea of the Garden of Eden in bravura style.
Those who had Hanly as a drawing tutor at the School of Architecture remember following him up to the crater of Maungawhau (Mount Eden), where they would be encouraged to lie on their backs contemplating scudding clouds. The energy in Nature, the electrical charge of trees thrashing in the wind, or plants bursting into bloom in a suburban garden, always captured his imagination. You can see it captured here in the chaotic splashes and dribbles that enliven the looming tree forms in the top half of this painting. It is as if he sees into the structure of the vegetation, catching photosynthesis in action, and translates it into crackling and sizzling paintwork.
While cool greens, yellows and blues dominate the upper part of the work, he saves his hottest colours for the reclining red figure in the foreground who basks on a velvety field of green carpeting over what looks like the molten magma of the Auckland volcanic field. Hanly had honed his figure painting skills in London where he had painted his Showgirl series celebrating the female form. His Figures in Light series, begun in the 1960s, was a paeon to sunbathing and the South Pacific, with Matisse-like nudes reclining in splendour in bright light.
Outlining his forms in fresh white paint, he created a halo around plants and people alike, commenting in the literary journal Islands at the time, It is my intention to communicate…the whole magnificence of being –being a human being, being a bird, being grass, being the hedge, being the sky. I hope all these elements/ objects, or conditions, are drawn together, after much thought, to such a pitch of energy through the medium of paint, that a kind of still harmony occurs…Art these days, for me, is trying to make revelation apparent and revelation means to me wondrous awareness.
Hanly’s wife Gil is an accomplished gardener and photographer, and the growing seasons of spring and summer would spur him into action to capture the enjoyment of humans communing with Nature. Yet he wanted his work to do more than decorate walls. Those who see only the garden see nothing he once remarked, alluding to how he would internalise his verdant subjects as he painted them, fusing his ability to wield his painterly skills with the idea of cultivating a flourishing garden. In 1976 he ventured into word paintings by spelling out Joy, Love and Paint in threads of enamel paint over the surface of a square board. Another work which he titled Pure Painting enjoined viewers to love each other. While his works often packed a political punch, he was also the master of painting as a celebration of the pleasure of creation.
LINDA TYLER
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43
35 HEATHER STRAKA (b. 1972)
The Gate Keeper
Oil on linen on board 79 x 53
Signed, inscribed The Gate Keeper & dated 2005 verso
$35,000 - 45,000
PROVENANCE
Private Collection, Auckland
Purchased from Anna Bibby Gallery, 2005
Heather Straka’s groundbreaking exhibition Paradise Lost, 2005 revisited and reinterpreted portraits by Gottfried Lindauer and Charles Frederick Goldie. Drawing upon her own unique vision and serene tonal technique, Straka adds elements of interest creating specific cultural imagery. Paradise Lost deliberately commented on contemporary New Zealand society by way of acknowledging the different layers and lenses of our shared colonial past. Tukukino Te Ahiataewa was the subject of Gottfried Lindauer’s 1878 portrait.
The subject of this nearly twenty year old painting, The Gate Keeper, is Tukukino Te Ahiataewa, a respected 19th Century Rangatira and land activist. He holds a Tewhatewha, a weapon befitting a chief, whilst a Huia nestles on his shoulder.
The halo signifies sainthood and the heart, the divine light of love. Straka contemporises Te Ahiataewa’s presence thereby deepening our ability to connect with him. The Gate Keeper continues Lindauer’s narrative, further elevating the subject to a powerful, full-hearted and dignified chief.
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36 MICHAEL SMITHER (b. 1939)
Teacup
Oil on board 60.5 x 45
Signed & dated 1970
$45,000 - 65,000
PROVENANCE
Private Collection, Taranaki
Purchased directly from the artist, 1970
From the early 1960s when Michael Smither and his poet wife Elizabeth went to live in the Gables in New Plymouth, a recurring subject for his painting was domestic family life as he coped with the onslaught of three children. It was a period celebrated by Auckland Art Gallery curator, the late Ron Brownson (1952-2023) in his exhibition The Wonder Years in 2005. A hiatus from childcare came in 1970 when the Smithers moved to Dunedin where Michael was the Frances Hodgkins Fellow at the University of Otago for a year. The white institutional teacup featured in this composition, with its used Lipton’s teabag resting on it, seeming to push it slightly off centre on its saucer, symbolises a moment of pause and respite from the hurly burly of daily life.
The composition has a kind of sacramental simplicity, acting as a reminder of Smither’s Catholic upbringing. The steeply raked picture plane tips the perfect circle of the top of the teacup towards us so we can stare into its emptiness like a eucharistic chalice. The dark shadow across its interior seems portentous as does the matching white dinner plate which curves in from the top of the composition. The cool light of day illuminates the painting, casting shadows from above and enlivening the string of the teabag which snakes from the top of the spent bag across the foreground toward the viewer like the fuse to an explosive.
As a still life composition, this is an exercise conducted almost entirely in monochromatic bluegrey and white with just a glimpse of the teabag label cut off at left. It seems very avant-garde compared to the complementary colours of orange and green which characterised the conventional apples and pears of the early modernist painters such as Paul Cézanne (1839-1906) and the Cubists.
During this period, rather than looking to the French masters, Smither strove for English painter Stanley Spencer’s (1891-1959) simplification of form. He also followed Spencer’s precedent of putting religious subjects into ordinary contexts by depicting the life of Christ as if lived in the Taranaki landscape. As Smither once said of his early Catholicism, I don’t think it did me any harm…It gave me a sense of the spiritual in life. This humble teacup takes on a spiritual quality here as Smither shows us the beauty to be found in simplicity.
Teacup might also be seen as a celebration of kiwiana and the rituals of daily life. The 1960s and 1970s were the heyday of Crown Lynn Potteries, the largest ceramic manufacturer in the Southern Hemisphere with a staff of 450, producing 240,000 pieces a week. Recognisable here are the forms of its classic dinnerware productions. As a New Zealander gazing at this work, you can almost feel the shiny glaze of the vitrified crockery cup as it would feel against a finger inserted in the handle.
Ultimately though, beyond its symbolic possibilities, this composition shows Smither’s ability to arrange recognisable objects to make an abstract pattern of chiming geometries, and his skill at balancing colour, light and texture.
LINDA TYLER
46 IMPORTANT & RARE ART 6:00pm Wednesday 29 March 2023
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37 GRETCHEN ALBRECHT (b. 1943) Studies for Winged Spill
Watercolour 130 x 94
Signed
$35,000 - 45,000
As a pioneering abstractionist during the 1970’s, Gretchen Albrecht employed vibrant colour and harmonious geometry to document her search for a personal metaphysical cosmology. The swirling worlds of luminous colour that define her mature work unfurl in a delicately poetic dance, conveying the power and the beauty of nature with a degree of intimacy that resonates within the viewer. Solid, rectilinear bands of colour create spatial depth and contrast geometry with gesture - alluding to a conversation between impulse and intent. In her ambition to render the world in terms of its emotional appearance, Albrecht has infused the potency of experience into an aesthetic that is now one of the most widely recognized in New Zealand.
The integration of her signature ovular and hemispheric canvases into our national iconographical language is a testament to her importance as an artist, and her contribution to the cultural history of the country.
In her work, Albrecht is alert to the great and enabling ambiguity in the very act of selecting a colour, allowing a gesture of the hand to move the paint across the canvas, allowing the mind to then discipline the paint and find form for it. Her images often have a stark beauty, but they are not simple. They are aware of history, of art history, as much as they are aware of the world unmediated by art.”
48 IMPORTANT & RARE ART 6:00pm Wednesday 29 March 2023
Gretchen Albrecht, Colloquy: Three Essays Colm Tòibín, Linda Gill, Mary Kisler, 2015
49
38 PETER STICHBURY (b. 1969)
Untitled
Graphite on paper 41.5 x 29.5
Signed & dated 2000
$8,000 - 12,000
In 1987 Peter Stichbury graduated from Elam School of Fine Art and won the James Wallace Art Award. Gathering ideas from magazines, the internet, popular culture and his childhood, the artist continues to develop a body of work exploring, interpreting and reflecting upon the nature of identity. Contrary to common opinion, Stichbury’s stunning paintings, art prints and sketches of gorgeous waifs, nerdy yet strangely cool boys or professors aren’t merely the musings of an artist obsessed with surface aesthetics. Whilst fascinated by appearances, his interest cuts deeper and a little darker. Stichbury’s talent lies in making beautiful people look interesting and interesting people look beautiful and it’s proving lucrative, at least for the collectors. Furthermore, the American market is taking notice, a fact reinforced by several appearances of his work at the influential annual ArtLA Fair and the burgeoning fanfare enjoyed through his NYC dealer, to the point where new works are rarely available in his home country.
50 IMPORTANT & RARE ART 6:00pm Wednesday 29 March 2023
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39 FIONA PARDINGTON (b. 1961)
Portrait of a South Island Kokako, Extinct, 2016/2021
Pigment ink on Hahnemuhle Photo rag, edition 9/10, 109 x 144.5
Signed, artist label attached verso
$30,000 - 50,000
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53
Trompette
The striking yet resolutely unlovely Trompette des morts. We English speakers might know this species holds the ominous title Death’s Trumpet: here shining and silent, bathed in an eerie and quite unnatural blue light.
Fiona Pardington
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40 FIONA PARDINGTON (b. 1961)
des Mortes/Craterellus cornicopioides, 2011
Pigment ink on Hahnemuhle Photo rag, edition 2/10, 81.5 x 109 $7,000 - 10,000
55
41 FIONA PARDINGTON (b. 1961)
Ants on a Hibiscus Petal, Muri Beach, Rarotonga, 2014
Pigment ink on Hahnemuhle Photo rag
107.5 x 145
$10,000 - 15,000
56 IMPORTANT & RARE ART 6:00pm Wednesday 29 March 2023
42 JOHN SHOTTON PARKER (1944 - 2017)
Branch
and Sky
Oil on board 198 x 117.5 Signed & dated 1986 $6,000 - 8,000
Lithgow
Oil on canvas 122 x 183
Signed & dated 2006 verso
$35,000 - 45,000
PROVENANCE
Private Collection
Purchased directly from the artist, 2006
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43 KARL MAUGHAN (b. 1964)
58 IMPORTANT & RARE ART 6:00pm Wednesday 29 March 2023
44 ANN ROBINSON (b. 1944)
Copper Cobalt Blue Scallop Bowl
Cast lead crystal 26 x 38.1
Signed, inscribed #31 NZ & dated 1999 on base
$15,000 - 20,000
Motokorea - Browns Island
Oil on linen on zinc plate 41.8 x 82.5
Signed & dated 2017
$8,000 - 12,000
Sunset
Oil pastel on paper 27 x 39
Signed & dated 1989
$4,000 - 6,000
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45 STANLEY PALMER (b. 1936)
46 PETER SIDDELL (1935 - 2011)
Curtain Call (2015)
Oil on canvas 91.9 x 107.3
Signed verso
$8,000 - 12,000
60 IMPORTANT & RARE ART 6:00pm Wednesday 29 March 2023
47 JOANNA BRAITHWAITE (b. 1962)
48 JOANNA BRAITHWAITE (b. 1962)
Waiting Game (2017)
Oil on canvas 111.3 x 112
Signed verso
$14,000 - 18,000
61
49 RALPH HOTERE (1931 - 2013)
Kyrie Eleison No. 5
Oil on canvas 107 x 106.5
Signed, inscribed Kyrie Eleison 5 (Requiem Series) & BLG Cat 10 & dated 1974
$80,000 - 120,000
PROVENANCE
Private Collection, Auckland
EXHIBITED
Hotere: Requiem Paintings, Barry Lett Galleries, 1974
From the age old prayer of Kyrie Eleison - Lord Have Mercy Hotere creates a visual chant. By 1974 Hotere had married his second wife, the artist and poet Cilla McQueen and was living in Carey’s Bay near Port Chalmers.
Hotere’s origins in a small Maori Catholic community have continued to warm the emotional and spiritual heart of his art. He is, after all, a Maori artist of great originality and ingenuity
Jonathon Mane-Wheoki, Art New Zealand
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64 IMPORTANT & RARE ART 6:00pm Wednesday 29 March 2023
Figures/Peninsulas
Oil on canvas 51.2 x 38.5
Signed, inscribed Figures/Peninsulas & dated 1997 verso
$14,000 - 16,000
Round Midnight
Unique lithographic drawing on paper 56.5 x 76.5
Signed, inscribed & dated 2000
$30,000 - 40,000
65
50 EUAN MACLEOD (b. 1956)
51 RALPH HOTERE (1931 - 2013)
66 IMPORTANT & RARE ART 6:00pm Wednesday 29 March 2023
52 RALPH HOTERE (1931 - 2013)
Window in Spain
Graphite and watercolour on paper 33 x 24
Signed, inscribed Window in Spain & dated 1978
$10,000 - 15,000
53 RALPH HOTERE (1931 - 2013)
Round Midnight - November 2000
Lithograph on paper, edition 23/24
55.6 x 77.6
Signed, inscribed & dated 2000
$8,000 - 12,000
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69 54 55 56
54 BUCK NIN (1942 - 96)
Rongapai Restoration
Oil on board 80 x 62
Signed & dated 1978
$25,000 - 35,000
PROVENANCE
Private Collection since 1978
EXHIBITED
A Joint Exhibition by Buck Nin & Susan Poff Maori land Paintings, etchings & Silkerie Antipodes Gallery, 14-25 November 1978
Buck Nin Ngati Ruakawa, Ngati Toa became a major force in the contemporary Maori art movement with his strongly individual style of painting, his teaching, approachability and will to work with people from all walks of life. He had considerable intellect and energy. The imagery in the work of Buck Nin is drawn from Maori carving, weaving and rafter patterns, often set against the backdrop of a minimalist landscape. These patterns spread across the picture plane like a sacred cloak, warming, embracing and caressing the earth.
Nin floated the imagery of Maori carvings across the land claiming spiritual ownership. When he died Maoridom lost one of its greatest sons.
Nin taught art at Hamilton College for more than twenty years. He graduated from the University of Canterbury in 1965, later gaining a Masters in Education from the University of Hawaii, then a Doctorate in Fine Arts from Texas Technical University. In the 1970s he tirelessly campaigned to raise the profile of Maori art. Dr Buck Nin’s work was inspired by both his Maori and Chinese ancestry. His work is in the collections of University of Hawaii, Te Papa, The New Dowse, Manawatu Art Gallery, COCA, Aigantighe Art Museum, Rotorua Museum of Art and History and Waikato Museum of Art and History.
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55 BUCK NIN (1942 - 96)
The Weka Calls - Rongapai May 1977
Oil on board 70 x 55
Signed & dated 1978
$20,000 - 30,000
72 IMPORTANT & RARE ART 6:00pm Wednesday 29 March 2023
73 56 BUCK NIN (1942 - 96) The Call of the Marae - Rongapai 1977 Oil on board 70 x 51 Signed & dated 1978 $20,000 - 30,000
57 GUY NGAN (1926 - 2017)
Searching for Tiki Hands
Acrylic & oil on woodcut 61 x 119.5
Signed, inscribed Searching for Tiki Hands & dated 1973
$20,000 - 30,000
EXHIBITED
Guy Ngan: Journey: Aluminium Panel, Tiki Hands, and Anchor Stones, City Gallery, Wellington, 18 June -24 September 2006
Exhibition label affixed verso
The inspiration for Tiki Hands and Anchor Stones comes from the discovery of new lands by the Polynesian people. Other seafarers have discovered land by design or by mistake. The Polynesians made the biggest discovery of all because the Pacific Ocean is enormous. For anything, there must be a beginning. Some time ago, I noticed that the same place names occurred in Japan and New Zealand - Otaki, for example. Also, the Japanese and Maori languages appeared to be similar. In Japanese, a river is called ‘kawa’; in Maori, it is ‘awa’. I thought there must be a connection.
Say that about 10,000 years ago, at the end of the recent Ice Age, there was a tribe in Japan. Like all human beings, they were looking for something better. So they took to their boats and headed south, searching for more food and a warmer climate. They might have found islands to settle, such as Okinawa and then Taiwan.
Over the years, the people kept moving south, out into the Pacific. Some would get to Indonesia and Fiji, then east to the Marquesas. They would move from there to Tahiti and finally to Hawail. How did the people know where to go? They had few instruments and no
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written language. My theory is this. When you live on an island, you see birds that come and go. When the birds take off and head out to sea, you wonder where they go. They must land somewhere. So, the tribe would sail out, looking for the land where the birds went.
If you look at some seabirds, their webbed feet look as if they only have three “fingers’. Like early Maori carvings that only have three fingers, I have used these in the Tiki Hands paintings. It represents the birds the early Polynesian people might have
followed when they set sail into the unknown ocean. When the people found land, they found anchorage. A place to settle down. Perhaps a better place than they had come from. The Anchor Stones represent settling down in a new land.
I have much pleasure in showing some of my works that pay homage to the early Pacific people. Courageously, they discovered so many islands that we unhesitatingly call paradise.
Guy Ngan March 2006
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58 GOTTFRIED LINDAUER (1839 - 1926)
Harawira Te Mahikai, Chief of the Ngati Kahungunu Tribe
Oil on canvas 76 x 60.5
Signed & dated 1883
$550,000 - 850,000
PROVENANCE
Artist’s Collection 1883 - 1908
Collection of the artist’s son Hector Fine Jewels, Decorative Arts & Fine Furniture, Webb’s 24/06/1998
Private Collection, Auckland
Born in Waimarama, Hawkes Bay in 1800, Te Mahikai, Rangitira of Ngati Kahungunu was a signatory of the Treaty of Waitangi in June 1840. At the time of his death in 1886, Te Mahikai was the last tattooed Chief of Waimarama. This impeccably provenanced, pristine work was held by the artist until gifted to his son Hector in 1908, on the occasion of his 21st birthday.
Gottfried Lindauer, along with C F Goldie, is the best-known painter of Maori subjects from the late nineteenth-early twentieth centuries. Born in Pilsen, Bohemia, then part of the Austro-Hungarian Empire he trained professionally at the Academy of Fine Arts in Vienna, migrating to New Zealand in 1874.
Lindauer’s first portraits of Maori were painted in Nelson. A move to Auckland in the mid 1870s proved crucial. There he met businessman, Henry Partridge (1848-1931), who over the next 30 years commissioned from Lindauer numerous portraits of eminent Maori, as well as large-scale depictions of traditional Maori life.
Lindauer travelled extensively throughout New Zealand living in a variety of locations besides Nelson and Auckland, notably Christchurch, Napier where he was closely associated with the photographer Samuel Carnell (1832-1920), also a well-known portraitist of Maori, and finally, from 1889, Woodville. Lindauer retained his European and Czech connections.
In 1886 he attended the Colonial and Indian Exhibition in London, where twelve of his Maori portraits were exhibited. The commissioner of the New Zealand pavilion was Walter Buller (1838-1906), a lawyer who represented both Maori and European clients, and an important patron of the artist. Lindauer and his family lived in Europe, mainly Germany from 1900 to 1902 and again from 1911 to 1914, with short visits to Bohemia. During this time several of his Maori portraits were placed in public and private collections there.
Besides Lindauer’s portraits of eminent Maori, he produced many of little-known or ordinary Maori people, most of whom wear European dress, as would have been the case in their daily life.
Henry Partridge opened a gallery in Queen Street, Auckland, in 1901, which initially featured 40 of Lindauer’s Maori portraits. By the time Partridge gifted his Lindauer collection to the Auckland Art Gallery in 1915, there were 62 portraits. The historian, James Cowan (1870-1943) wrote a descriptive catalogue of the collection describing it as unrivalled in the world
Lindauer’s contribution and legacy to the history of art in New Zealand is considerable and highly valued.
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77
59 PETER MCINTYRE (1910 - 95)
Waiting for the School Bus
Oil on board 62 x 75
Signed
$80,000 - 120,000
PROVENANCE
Private Collection, Auckland
Fine New Zealand & Foreign Paintings, Photography, Drawings and Prints, Webb’s 23/09/1999
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A working drawing for this painting appears as plate 27 in Peter McIntyre’s New Zealand, A H & A W Reed, 1964
81
PROVENANCE
Private Collection
Purchased
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60 LOUISE HENDERSON (1902 - 94)
Fishing Boats by Moonlight
Oil on canvas 45 x 85
$45,000 - 65,000
from John Leech Gallery, 2001
83
Milford Sound
Watercolour 50 x 96.5
Signed & dated 1877
$25,000 - 40,000
PROVENANCE
Denis Savill Collection, Sydney
Purchased from Windsor Gallery, 1987
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61 JOHN BARR CLARKE HOYTE (1835 - 1913)
85
Rangitoto and Auckland from Mt Eden
Watercolour 24.5 x 39
Signed
$20,000 - 30,000
PROVENANCE
The New Zealand Collection of Dr Neville Hogg, Webb’s 1993
The Woodpile
Watercolour 55.5 x 37
Signed & dated 1948
$12,000 - 16,000
PROVENANCE
Contemporary & Traditional New Zealand & European Art, International Art Centre, 08/11/2001
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62 JOHN BARR CLARKE HOYTE (1835 - 1913)
63 ERIC LEE JOHNSON (1908 - 93)
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64 FRANCES HODGKINS (1869 - 1947)
The Convalescent, c. 1912
Watercolour 41 x 53
Signed
$25,000 - 35,000
PROVENANCE
Private Collection, Auckland
Lot 87, Australian & European Paintings, Christies, Melbourne 27 April 1998
REFERENCE
Frances Hodgkins database number
FH0551 completefranceshodgkins.com
Something delicious happens when a woman artist paints female models in a boudoir, for the subjects often demonstrate an easy intimacy that can be absent when the artist is a man. Such is the case in at least four watercolours painted within the same room, either in Concarneau, where Hodgkins spent much of 1911, or St Valery-sur-Somme, where she took her summer class in 1912. [See FH0551 The Convalescent; FH0561 An Interior; FH0562 The Convalescent and FH0571 Two Girls in Conversation, completefranceshodgkins.com]. The models are almost certainly not just her students but her friends, a number of whom joined her classes at different times.
In each painting two figures are placed in or beside a single iron bedstead set against a corner of the chamber. Above the bed a plant rests on a window ledge, while beside the window to the left is a rosary, its crucifix suspended by the string of beads. To the right is a wooden armoire, sometimes with objects such as an oil lamp resting on the top, although in one version these are not visible. In An Interior (formerly in the collection of Art Gallery of South Australia, Adelaide), Hodgkins paints the convalescent lying back on her pillows, arms behind her head, deep in conversation with the seated figure beside the bed. In a second version of this composition one of the women perches at the end of the bed, the volumes of her dress hard to determine among the mass of coverings on the bed.
By changing her own position, Hodgkins views the scene from a different angle in each work, so there is no sense of repetition apart from the furnishings within the room. In both Two Girls in Conversation and Convalescent, the figures seem to be in a kind of reverie rather than engaged in conversation, possibly brought on by the length of time spent holding the pose. The recovering invalid’s hair is gathered up in a bun, her hand gripping the iron bed end as if about to leap down to the floor.
The model appears younger, gazing across the room as if distracted, while the other woman looks down, her hands clasped over the short apron covering her lap. Light from the window plays across the bed linen, the delicate washes used to create the pillow blending with the wall behind. Each brushstroke seems to dance across the paper, conjuring form as if from the air.
MARY KISLER
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89
65 FRANCES HODGKINS (1869 - 1947)
Mill Stream
Pencil and watercolour 58 x 46
$25,000 - 35,000
PROVENANCE
Wertheim Galleries, London, whose name appears verso in pencil;
Purchased by N L Hamilton Smith
Esq. 1946, Lefevre Galleries, London Phillips, London, 26 November 1996
Dunbar Sloane, 17 November 2010 Private Collection
EXHIBITED
Frances Hodgkins Retrospective Exhibition
Lefevre Galleries, London 1946
REFERENCE
Frances Hodgkins database number FH0896 completefranceshodgkins.com
The vernacular stone buildings scattered across villages and farms in the Alpes-Maritimes above Cagnes sur Mer are narrow, looming over the winding lanes like upended shoeboxes. Their deep-set windows provide vistas sweeping down to the sea from the south facing windows, framed by shutters that provide summer shade and attempt to insulate from the thin, winter air. At the end of 1929, Frances Hodgkins travelled to the Riviera, staying with two friends at La Pastorale, which writer Linda Gill has identified as a farmhouse on the outskirts of La Gaude. Once her hosts had departed, Hodgkins was left in charge of the house, in the company of a housekeeper and three cats. A combination of deep snows and isolation caused a change of plan, for though she needed to be on her own to work, she also longed for warmth and company. Accordingly, in the New Year she fled the short distance across the valley to St Jeannet.
Before leaving Pastorale, Hodgkins braved the bitter weather to produce The Mill Stream, setting up her sketchblock on the slope below the cluster of farm buildings. Throughout her later career, the artist often painted rivers and weirs, intrigued by their evanescent, constantly moving flow. In the watercolour, the two streams that spurt out beneath arches below the mill merge before tumbling down into a pool in the
foreground. The watercolour accurately captures the warm tones of the stone walls and the red Marseille tiles on the roofs. In a photograph taken in 2017 of another former mill in the village of La Gaude, we can clearly see two similar arches at the building’s base.
The stream on the left appears to be channelled by stone steps and a block wall, a similar low curving structure sweeping round to ultimately join where the two waters meet. Hodgkins has rapidly sketched in bushes and shrubs for future reference, as well as particular outlines and angles in bold brushstrokes.
The one oil painting from her time at La Pastorale, painted on her return to England, is clearly derived from The Mill Stream: https://completefranceshodgkins. com/objects/26720/pastorale. It chills the bone, for she has placed more emphasis on the foreboding buildings, painted in dark charcoal tones as if overshadowed by the memory of the cold. The shrubs have been wittily transformed into a single palm tree in the centre of the final composition. Palms add a reminder of sunshine, but were unlikely to survive at that altitude, although common nearer to the sea.
MARY KISLER
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91
66 FRANCES HODGKINS (1869 - 1947)
Mother and Child
Watercolour 53 x 36
Signed
$20,000 - 30,000
PROVENANCE
Mrs M Hill, Wellington, purchased Redfern Galleries, London, September 1945.
Original Redfern Gallery label affixed verso Private Collection, Purchased at Webb’s, Auckland, 06 December 2011
REFERENCE
p. 209 E H McCormick, Works of Frances Hodgkins in New Zealand, Auckland City Art Gallery
Frances Hodgkins database number FH0795 completefranceshodgkins.com
In the first half of 1927, Frances Hodgkins taught in Manchester, before travelling to Tréboul in Brittany to join friends and fellow artists Cedric Morris and Arthur Lett-Haines. The year had been difficult, and she was exhausted from teaching both day and night classes, so sailed from Liverpool to France, rather than undergoing the lengthy train journey. Hodgkins had been planning the trip for some months, relishing the thought of collaborating with friends whose critiques and suggestions she respected. Since first meeting at the end of WWI, both Cedric and Lett had encouraged Hodgkins to experiment, and it was possibly their influence that made her leave aside the lyrical watercolour technique that we are more familiar with in her works produced before WWI.
Accordingly, Hodgkins started to apply watercolour and gouache with dry oil brushes, evidence of which we can see in Mother and Child in those passages where the paint is applied thinly on dry paper, with little dashes and dabs, rather than washed or blended in. She has left the paint as a thin wash on the mother’s arm, however, so that the rapid pencil strokes beneath are visible. It is an unusual composition, the young mother tentatively gripping the edge of the baby’s shawl, the baby’s scrunched up little face seeming to reflect her parent’s unease.
When Eric McCormick was conducting his original research on the works of Hodgkins in the 1950s, he assumed that Mother and Child had been painted around 1935. Often when Hodgkins adopted a more experimental way of painting, she would produce a series of works, only to abandon the technique and move in a different direction. Fortunately, dating such works becomes easier once you are able to consider them in their entirety.
Mother and Child was acquired from Redfern Galleries, London, in September 1945 and subsequently brought back to New Zealand where it has remained. A larger painting from the same series, Seated Woman FH0806 Auckland Art Gallery Toi o Tāmaki, was gifted to illustrator Vivien Doyle and her husband, who were Morris and Lett-Haines’s landlords at The Pound at Higham, Suffolk, where Hodgkins stayed in 1930. Vivien Doyle died in 1932, thus the paintings were evidently produced before that date. During Hodgkins’ stay in Tréboul in 1927, having done at least four works in a similar staccato style, she changed to use broader brushstrokes and wetter pigment, but there can be no doubt that these first works became the catalyst for new developments in her technique.
MARY KISLER
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67 FRANCES HODGKINS (1869
Arrangement of Jugs
Lithograph 46.7 x 61
Signed
$15,000 - 20,000
EXHIBITED
- 1947)
Leicester Galleries, London, September 1938
Frances Hodgkins: European Journeys Auckland Art Gallery 4 May - 1 September 2019
ILLUSTRATED
p. 33 Frances Hodgkins: Kapiti Treasures, Janet Bayley (Edt.), Mahara Gallery, 2010
p. 151 Frances Hodgkins: Paintings and Drawings, lain Buchanan, Elizabeth Eastmond and Michael Dunn, Auckland University Press, 1994.
p. 123 Portrait of Frances Hodgkins, E.H McCormick, Auckland University Press and Oxford University Press, 1981
REFERENCE
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.
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.
Moving increasingly away from traditional modes of representation in her works, some objects in 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.
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.
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95
68
Farm Sheds, Otago
Watercolour 19 x 25.2
Signed $12,000 - 16,000
Frances Hodgkins database number
FH0273 completefranceshodgkins.com
PROVENANCE
Mr and Mrs W H Field, Wellington
Private Collection, Auckland
Purchased from ART at HOME 16, International Art Centre, April 2022
REFERENCE
p. 153. Works of Frances Hodgkins in New Zealand, E H McCormick, Auckland City Art Gallery, Auckland, 1954
69
Kerikeri
Oil on canvas board 63 x 60
Signed $25,000 - 35,000
PROVENANCE
Private Collection, Auckland
Purchased from John Leech Gallery, November 1964
ILLUSTRATED
Plate 3, Peter McIntyre’s New Zealand
A H & A W Reed, 1964
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FRANCES HODGKINS (1869 - 1947)
PETER MCINTYRE (1910 - 95)
It was a Sunday afternoon when I came on this scene. In mood it was a right and proper time to paint it but the boys bathing in the foreground seemed strangely out of time - like a sports jacket glimpsed in a film of the Crimean War. The house on the right is the oldest wooden building in New Zealand, built in 1819 by James Kemp. Each evening the light is still lit in the window of the Kemp house, just as it was in the early
days to guide boats to an anchorage in the inlet. The store on the left was built in 1833. To us this place is very very old, but a hundred or a hundred and fifty years here in New Zealand are as a thousand years in Europe or the East.
Peter McIntyre
97
Fields
Watercolour
$10,000 - 15,000
George Street, Dunedin 1907
Watercolour 27.9 x 21.5
Signed & inscribed on original label affixed verso
$25,000 - 35,000
ILLUSTRATED
p. 36 Art New Zealand No. 10, 1978
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70 RAYMOND MCINTYRE (1879 - 1933)
With Haystacks and Trees
on brown paper 21 x 29
71 RAYMOND MCINTYRE (1879 - 1933)
99
72 PETER MCINTYRE (1910 - 95)
The White Cliffs, Rangitikei
Oil on board 49 x 73.5
Signed
$25,000 - 35,000
Years ago I went far up the Rangitikei beyond Taihape to visit my friend David Russell, whose farm at that time was as far as you could drive up the river into the bush. The river is so deep between high paapa cliffs that down at the bottom where the river flows there is only a sort of twilight, even on a sunny day. Once I crossed the gorge at a wider place in the bush in a tray slung on a logger’s wire rope, and we sat in mid-air watching a large trout feed in the river below where a patch of sun broke through the over-hanging bush. From that time on I have painted the river up and down its length, and always there has been delight in painting those lovely cliffs that are that most paintable of all colours - white.
Peter McIntyre’s New Zealand, A H & A W Reed 1964
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101
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Hong Kong
Oil on board 76 x 60
Signed
$15,000 - 20,000
On Cheung-Chow Island in Hong Kong Harbour just about the only thing that has altered since Marco Polo saw China is the clothing of the boy fishing from the jetty. In the scene opposite nothing has altered. These sampans are still home for countless people from childhood to old age.
Peter McIntyre’s Pacific A H & A W Reed 1966
Tolo Harbour, Hong Kong
Oil on canvas board 62 x 75
Signed & inscribed verso
$10,000 - 15,000
Tolo Harbour is a place of soft beauty, of islands peering through the rain. We have often gone by ferryboat from island to island amongst the Chinese trippers and fisherfolk to delight in such scenes as this loading of pigs for the market, each in his own open basket.
Peter McIntyre’s Pacific A H & A W Reed 1966
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73 PETER MCINTYRE (1910 - 95)
74 PETER MCINTYRE (1910 - 95)
Sonny
Charcoal 44.5 x 45
Signed $7,000 - 10,000
ILLUSTRATED
Kakahi New Zealand, Peter McIntyre
A H & A W Reed Ltd, 1972
A
Charcoal 48 x 31.5
Signed $6,000 - 9,000
ILLUSTRATED
Kakahi New Zealand, Peter McIntyre
A H & A W Reed Ltd, 1972
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2023
75 PETER MCINTYRE (1910 - 95)
Te Ahururu, Kakahi
76 PETER MCINTYRE (1910 - 95)
Maori Son of Kakahi
105
Watercolour 52.5 x 73
Signed
$10,000 - 15,000
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77 PETER MCINTYRE (1910 - 95)
Great School of St Marks
78 PETER MCINTYRE (1910 - 95)
Westminster Abbey
Watercolour 53 x 72
Signed
$10,000 - 15,000
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.
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.
It is that sense of something happening, a fullness to life, a feeling of everything being crowded and noisy, that makes London. Yet it is timeless; its centuries overlap and crowd into each other. Other centuries step out of time to mingle casually with the present.
There were exactly one hundred and fifty of us, but London by this time was convinced that the entire New Zealand Army had arrived.
We were stood beers in pubs - in fact we were not allowed to buy a drink, they just lined up on the bar in front of us; our bus fares were always paid by elderly gentlemen; we had Westminster Abbey pointed out to us. To those like me who had spent the last ten years in London, it was fun.
The Painted Years, Peter McIntyre
A H & A W Reed 1964
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Waterfall
Oil on board 74.5 x 60
Signed $8,000 - 12,000
Muriwai, Long Weekend
Oil on board 89 x 117
Signed & dated 1975
$8,000 - 12,000
109
79 PETER MCINTYRE (1910 - 95)
80 GARTH TAPPER (1927 - 1999)
Mahurangi
Oil on board 56 x 76
Signed & dated 1963
$5,000 - 7,000
PROVENANCE
Private Collection, Auckland
Purchased from John Leach Gallery, 1963
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81 HELEN BROWN (1917 - 86)
Mahurangi Peninsula
Oil on board 67 x 89
Signed & dated
$7,000 - 10,000
PROVENANCE
Private Collection, Auckland
111
82 HELEN BROWN (1917 - 86)
83 CHARLES BLOMFIELD (1848 - 1926)
Pink and White Terraces, A Pair
Oil on canvas 25 x 34
Signed & dated 1885
$60,000 - 80,000
PROVENANCE
Mount Eden Turret House Collection
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 fine pair of works featuring two separate views of the Pink and White Terraces, dated 1885 pre-date the 1886 Tarawera eruption. 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
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 2am 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.
This fine pair provides an accurate historical record of the Terraces. They were painted just a year prior to the Tarawera eruption.
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84 CHARLES BLOMFIELD (1848- 1926)
Pink & White Terraces & The White Terrace, A Pair Oil on board 27 x 36.5
Signed & inscribed The White Terrace, Lower Pools verso $25,000 - 35,000
PROVENANCE Mount Eden Turret House Collection
115
Auckland Harbour from Parnell Rose Gardens
Oil on board 15.5 x 28.5
Signed & dated 1925
$8,000 - 12,000
PROVENANCE
Mount Eden Turret House Collection
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85 CHARLES BLOMFIELD (1848 - 1926)
PROVENANCE
117
86 CHARLES BLOMFIELD (1848 - 1926)
Auckland Harbour
Oil on canvas board 21 x 31
$4,000 - 6,000
Mount Eden Turret House Collection
Auckland from Mount Eden Oil on board 24 x 33
Signed & dated 1929
$8,000 - 12,000
PROVENANCE
Mount Eden Turret House Collection
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87 CHARLES BLOMFIELD (1848 - 1926)
Auckland Harbour
Oil on board 21 x 31
Signed & dated 1918
$4,000 - 6,000
PROVENANCE
Mount Eden Turret House Collection
119
88 CHARLES BLOMFIELD (1848 - 1926)
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90
Bush Scene, Waitakeres
Oil on canvas 52 x 40
Signed $8,000 - 12,000
PROVENANCE
Mount Eden Turret House Collection
Hohonu Peaks, West Coast Road
Oil on board 39.5 x 29.5
Signed, inscribed Hohono Peaks, West Coast Road verso & dated 1907
$8,000 - 12,000
PROVENANCE
Mount Eden Turret House Collection
121
89 CHARLES BLOMFIELD (1848 - 1926)
CHARLES BLOMFIELD (1848 - 1926)
Ngapuke
Oil on canvas 34 x 52
Signed $4,000 - 6,000
PROVENANCE
Mount Eden Turret House Collection
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91 CHARLES BLOMFIELD (1848 - 1926)
Rapids, Whanganui River
Signed & dated 1885
$8,000 - 12,000
PROVENANCE
Mount
123
92 CHARLES BLOMFIELD (1848 - 1926)
Te Aroha and the Upper Thames Oil on canvas 36 x 61
Eden Turret House Collection
Landscape
Oil on board 30.5 x 45
$3,000 - 5,000
PROVENANCE
Mount
Tane
Oil on canvas 62 x 46.5
$7,000 - 10,000
PROVENANCE
Mount Eden Turret House Collection
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93 CHARLES BLOMFIELD (1848 - 1926)
with Sheep
Eden Turret House Collection
94 CHARLES BLOMFIELD (1848 - 1926)
Mahuta
125
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95 CHARLES BLOMFIELD (1848 - 1926)
Bush Road, Southland
Oil on board 28 x 43
Signed, inscribed Bush Road, Southland verso
$4,000 - 6,000
PROVENANCE
Mount Eden Turret House Collection
96 CHARLES BLOMFIELD (1848 - 1926)
Walter Peak, Lake Wakatipu c. 1912
Oil on board 20 x 31
Signed & dated 1912
$3,000 - 5,000
PROVENANCE
Mount Eden Turret House Collection
97 RAYMOND CHING (b. 1939)
Pied Stilt
Oil on board 33.5 x 44
Signed & inscribed Pied Stilt verso
$8,000 - 12,000
127
128 IMPORTANT & RARE ART 6:00pm Wednesday 29 March 2023
98 ANDY LELEISI’UAO (b. 1969)
Una People of Alopus
Acrylic on canvas 101.2 x 76.1
Signed & dated 2016
$6,000 - 8,000
99 ANDY LELEISI’UAO (b. 1969)
Uterque People of Arytipidal, diptych
Acrylic on canvas 76 x 152.4
Signed & dated 2016
$14,000 - 18,000
129
100 DAMIEN HIRST (b. 1965)
Wu Zetian - From the Empresses
Laminated Giclée print on aluminum composite panel, screen printed with glitter 100 x 100
Signed on a label affixed verso and numbered 1678/2853
$5,000 - 7,500
130 IMPORTANT & RARE ART 6:00pm Wednesday 29 March 2023
101
Nūr Jahān - From the Empresses
Laminated Giclée print on aluminum composite panel, screen printed with glitter 100 x 100
Signed on a label affixed verso and numbered 1678/3041
$5,000 - 7,500
131
DAMIEN HIRST (b. 1965)
102 GARTH TAPPER (1927 - 1999)
Untitled - Lion Brown
Oil on board 27.5 x 37.5
Signed $3,000 - 5,000
132 IMPORTANT & RARE ART 6:00pm Wednesday 29 March 2023
Waitangi Day Eve
Oil on canvas 40 x 52
Signed & inscribed Every Waitangi Day Eve the Maori kids congregate for diving off the Waitangi Bridge verso
$6,000 - 8,000
133
103 GARTH TAPPER (1927 - 1999)
134 IMPORTANT & RARE ART 6:00pm Wednesday 29 March 2023
104 GARTH TAPPER (1927 - 1999)
Crucifixion
Bronze affixed to rimu cross, edition 3/9
80 x 48 x 15
Signed & dated April 1994
$2,500 - 3,500
105 GARTH TAPPER (1927 - 1999)
Election Night
Oil on board 58.5 x 54.5
Signed $5,000 - 8,000
135
106 ELIZABETH REES (b. 1959)
Sun
Oil on board 119 x 119
Signed & dated 2007
$6,000 - 8,000
136 IMPORTANT & RARE ART 6:00pm Wednesday 29 March 2023
137
107 GARTH TAPPER (1927 - 1999)
The P.M Waiting for His Train
Oil on board 23 x 20
Signed & inscribed verso
$4,000 - 6,000
108 ANDREW MCLEOD (b. 1976)
Parkscape 8
Colour digital print, edition 2/3
100 x 126.5
Signed & dated 2003
$4,000 - 6,000
109 RALPH HOTERE (1931 - 2013)
Pine - a Poem by Bill Manhire, 1974
Lithograph on paper 58.5 x 46
Signed, inscribed & dated 1974
$4,000 - 6,000
138 IMPORTANT & RARE ART 6:00pm Wednesday 29 March 2023
139
The Spinner Series #8
Watercolour 65 x 88 Signed
$8,000 - 12,000
140 IMPORTANT & RARE ART 6:00pm Wednesday 29 March 2023
110 OLIVIA SPENCER BOWER (1905 - 82)
Still Life
Watercolour & pastel on paper 37.5 x 49.5
Signed
$3,000 - 5,000
PROVENANCE
Private Collection, Wellington
Ex Collection of Sir Ivor & Lady Richardson
Wellington
141
111 FRANCES D ELLIS (1900 - 71)
Mountain
Gouache 46.5 x 61
Signed & dated 1952
$5,000 - 8,000
PROVENANCE
Private Collection, Auckland
Fine New Zealand & Foreign Paintings
Webb’s 12/12/2000
142 IMPORTANT & RARE ART 6:00pm Wednesday 29 March 2023
112 RUDI GOPAS (1913 - 83)
Landscape, River and Bridge
Kaikoura
Watercolour 37 x 54.5
$4,000 - 6,000
PROVENANCE
Ferner Galleries, label affixed verso
143
113 DORIS LUSK (1916 - 90)
114 FRANCIS MCCRACKEN (1879 - 1959)
Sundown, Concarneau
Oil on board 39 x 49
Signed
$10,000 - 15,000
PROVENANCE
Private Collection, Auckland
Contemporary & Traditional New Zealand & European Art,
International Art Centre, 03/07/1998
144 IMPORTANT & RARE ART 6:00pm Wednesday 29 March 2023
Signed
$8,000
145
115 FRANCIS MCCRACKEN (1879 - 1959)
View From Studio, Hart Street, Edinburgh Oil on canvas 70 x 75
- 12,000
Maori
Oil on canvas 25 x 20
Signed
$8,000 - 12,000
Study
Oil on canvas 45.5 x 34.5
$5,000 - 10,000
This well executed work, repatriated from a private collection in London, is a proficient, professional study of Charles Frederick Goldie’s portrait of Wiremu Tamehana, a subject painted twice by Goldie in 1900. Both portraits feature on p. 57 & 59 C F Goldie His Life & Painting, Alister Taylor & Jan Glen, Waiura Marlborough, 1977.
146 IMPORTANT & RARE ART 6:00pm Wednesday 29 March 2023
116 VERA CUMMINGS (1891- 1949)
Woman with Pipe
117 SCHOOL OF CHARLES FREDERICK GOLDIE
of Tamehana, c. 1900
(British 1872 - 1934)
The Tower of London & The Tower Bridge
Watercolour 26 x 55
Signed
$7,500 - 10,000
(1894 - 1961)
Canterbury Garden Oil on board 44 x 57
Signed
$2,000 - 3,000
147
118 CHARLES DIXON
119 COLIN LOVELL-SMITH
120 MARGARET OLROG STODDART (1865 - 1934)
An Autumn Morning Watercolour 24 x 34
Signed & dated 1899
$1,500 - 2,500
121 SYDNEY LOUGH THOMPSON (1877 - 1973)
Brittany Oil on canvas 60 x 44.5
Signed & dated 1905
$8,000 - 12,000
148 IMPORTANT
ART 6:00pm Wednesday 29 March 2023
& RARE
149
122 DOUGLAS BADCOCK (1922 - 2009)
Snow and Icefields, Mt Sefton
Oil on canvas board 60 x 75
Signed, inscribed Snow and Icefields, Mt Sefton verso & dated 1960
$3,000 - 5,000
123 DOUGLAS BADCOCK (1922 - 2009)
Untitled - Mountain Range
Oil on board 34.5 x 47.5
Signed & dated 1972
$2,000 - 3,000
150 IMPORTANT & RARE ART 6:00pm Wednesday 29 March 2023
123 122
124
124
Signed & dated 1970
$3,000 - 5,000
125
Autumn River Gorge
Oil on board 43 x 59
Signed & dated 1977
151
DOUGLAS BADCOCK (1922 - 2009)
Mt Crosscut from Lyttle’s Flat Oil on board 60 x 80
DOUGLAS BADCOCK (1922 - 2009)
$2,000 - 3,000 125
The Poet Enriches Us All Acrylic on paper 57.5 x 41.5
Signed, inscribed & dated 1983
$4,000 - 6,000
Pacific Ocean Voyage
Acrylic on canvas 140 x 94
Signed & dated 2006 verso
$5,000 - 7,500
152 IMPORTANT & RARE ART 6:00pm Wednesday 29 March 2023
126 NIGEL BROWN (b. 1949)
127 FATU FEU’U (b. 1946)
Watercolour 26 x 46
Signed & inscribed Sumner Christchurch
$3,000 - 5,000
Preliminary
Watercolour and ink on paper 30.5 x 38.5
Signed
$2,500 - 3,500
153
128 JOHN GULLY (1848- 1926) Sumner Christchurch
129 JOHN HOLMWOOD (1910 - 87)
Drawing for Oil PaintingTamaki River
1 Mar – 25 Jun ‘Be illuminated’ Presented in collaboration with Tate
John Brett
The British Channel
Seen from the Dorsetshire Cliffs, (detail) 1871.
Supported by Indemnified by the New Zealand Government Presented in collaboration with Tate Indemnified by the New Zealand Government
Photo: Tate
Animals In Art Exhibition Opening 5 April 2023 Graham Kirk | Kermit & Friends, Taranaki| Oil on board | 138 x 102 cm | $18,500 202 Parnell Road Parnell Auckland New Zealand | fran@artcntr.co.nz | 64 + 9 + 366 6045 www.internationalartcentre.co.nz
157 ART at HOME 24 timed online auction mid April
Bidding platform https://auctions.internationalartcentre.co.nz Download the International Art Centre App on
Don Binney Piha Egret (II) Lithograph Otis Frizzell Sailor Oil & Spray enamel on canvas
Lot 59 Peter McIntyre
Lot 36 Michael Smither
Lot 37 Gretchen Albrecht
