Nov 15 catalogue

Important & Rare Art

Wednesday 11 November 2015

Important & Rare Art 6:30pm Wednesday 11 November 2015

Front cover:

Lot 35

Back cover:

Lot 47

Inside front cover

Lot 34

Inside back cover

Lot 43

Directors: Grahame Chote, Richard Thomson & Frances Davies 272 PARNELL RD, AUCKLAND, PO BOX 37 344 TEL +64 9 379 4010 FAX +64 9 307 3421 www.fineartauction.co.nz

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Auction Contacts

Richard Thomson Ph: +64 9 379 4010 richard@artcntr.co.nz Mobile: 027 4751 071

Car Parking

Frances Davies Ph: +64 9 379 4010 fran@artcntr.co.nz

Parking During Auction: Limited parking is available on site. Use Scarborough Lane entrance beneath our main gallery to access these carparks on evening of sale. Parking on Parnell Road is free after 6:00pm. A secure two level pay and display carpark is located at 282 Parnell Road.

Auction assistants and administration

Luke Davies Ph: +64 9 379 4010 luke@artcntr.co.nz James Watkins Ph: +64 9 366 6045 james@artcntr.co.nz

Location map

www.fineartauction.co.nz info@internationalartcentre.co.nz Skype: fineartauction

Auction Venue

International Art Centre, Scarborough Gallery Lower Ground Level, 272 Parnell Road, Auckland.

On Evening of Sale: Please join us in our main gallery from 5.30pm for a glass of wine and refreshments. Coffee served before and during auction. For your additional comfort our street level gallery remains open until end of sale.

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Parking During Viewing Days: Available on site during weekend viewing, Saturday 7 & Sunday 8 November. Use Scarborough Lane entrance beneath main gallery. During other viewing times on site parking available on request.

Important & Rare Art 6:30pm Wednesday 11 November 2015

Viewing times Thursday

5 November

9:00am - 5:00pm

Friday

6 November

9:00am - 5:30pm

Saturday

7 November

11:00am - 4:00pm

Sunday

8 November

11:00am - 4:00pm

Monday

9 November

9:00am - 5:30pm

Tuesday

10 November

9:00am - 5:30pm

Wednesday

11 November

9:00am - 1:00pm Auction 6:30pm

Other times by appointment

272 PARNELL RD, AUCKLAND, PO BOX 37 344 AUCKLAND 1151 NEW ZEALAND TEL +64 9 379 4010 FAX +64 9 307 3421 www.fineartauction.co.nz

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Important, Early & Rare July's Important, Early & Rare catalogue included many outstanding works, realising a post auction sale total of over $2 million, the highest grossing auction result in two years.

Several new auction records were achieved including the highest New Zealand auction price for 2015. $492,450 was paid for Horace MooreJones Simpson & His Donkey, also a record for a work by this artist. Frances Hodgkins Monastery Steps fetched $375,200, the second highest

price paid for a work by this artist at auction. A bid of $79,000 for Lois White's Weeping Women set a new auction record. Doris Clare Zinkeisen's A Princess from the Antipodes fetch $35,175, also a record.

Works by the late Sir Peter Siddell continue to trend well with sales of over $170,000 achieved at this auction alone. International Art Centre has sold over $1.5million worth of Siddell's paintings at auction. Of further note was the

Doris Zinkeisen fetched $35,175 Peter Siddell fetched $67,418 A Lois White fetched $79,000

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Held July 2015

$34,175 bid for Peter McIntyre's Rangitikei River, far in excess of the $12,000 - $16,000 estimate.

A small Raymond McIntyre gouache from the Estate of Evelyn Page sold for $23,450, while four works by Samuel Coleridge Farr made a total of $19,350. Bidders, receptive to quality works by major artists, saw the achievement of a postauction sale rate of 90%. * Prices quoted include buyers premium

Charles Frederick Goldie fetched $199,325

Frances Hodgkins fetched $375,200

Horace Moore-Jones fetched $492,450

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Final auction for 2015

Contemporary & Modern Art KARL MAUGHAN Orange and Yellow Marigolds Oil on canvas 38 x 38cm

Including the collection of the Millennium Hotel, Christchurch & further works from a major New Zealand Corporate Collection 6:00pm Wednesday 2 December Catalogue available 18 November On view daily from November 26

Entries close 6 November Toll Free 0800 800 322 or +64 9 379 4010 Richard Thomson richard@artcntr.co.nz Luke Davies luke@artcntr.co.nz MERVYN WILLIAMS Another Day Acrylic on canvas 51 x 42cm

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www.fineartauction.co.nz

PIERA MCARTHUR Piano Jazz Oil on canvas 152 x 213cm

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J B C Hoyte sold for $33,100 September 2014

Eillen Mayo sold for $55,600 July 2014

Colin McCahon sold for $334,000 April 2014

Michael Smither sold for $86,785 September 2014

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Philip Clairmont sold for $41,037 September 2014

2014 HIGHLIGHTS In 2014, 50% of the top 10 prices at auction were achieved

by International Art Centre For the second consecutive year International Art Centre achieved the highest price for a painting sold at auction. In 2013 C F Goldie’s Kawhena fetch a record $732,000 and in 2014 his A Noble Relic of a Noble Race made $416,000. Additionally International Art Centre achieved over $1.3 million in auction sales of C F Goldie paintings in 2014.

2014 was a year of continuing success with International Art Centre achieving 50% of the top ten prices at auction and around $7 million in total turnover. Highlights included September’s outstanding sale of works from the Fletcher Trust Collection. Seventy five of the seventy seven works offered sold. Raymond McIntyre’s Self Portrait fetched a record $103,000 and was one of three works by this artist sold in our 2014 sales. March saw his Untitled Lady in a Black Hat (Phyllis Cavendish) and Bois de Boulogne fetch $55,000 and $31,600 respectively. Another artist whose original works rarely appear at auction saw Dame Eileen Mayo’s Sea Holly achieve a record $55,600. This memorable work was purchased by the Ilene and Laurence Dakin Bequest as a gift to Auckland Art Gallery. A further notable institutional acquisition was Felix Kelly’s The Kiln which fetched $14,070. Two works by Philip Clairmont attracted competitive bidding during the year, Still Life With Jug and Paint Brushes made $41,037 and Country Carnivore Carnival fetched $51,590.

Celebrating forty four years in Parnell, an exceptional sale rate, the attainment of numerous record prices including five of the top ten prices for auction sales in 2014, International Art Centre remain clear market leaders.

We look forward to more exciting offerings with continued success and commitment to the New Zealand art market. Should you be considering selling artworks we welcome your confidential, no obligation enquiry. * Prices quoted include buyers premium

C F Goldie sold for $416,000 October 2014

Other significant C F Goldie Prices achieved in 2014 Atama Paparangi

$352,900 - April 2014

The Weariness of the Aged

$257,950 - October 2014

No Koora te Cigaretti

$205,180 - October 2014

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The Barry Pilcher Collection

CONTEMPORARY NEW ZEALAND PAINTING, SCULPTURE & PHOTOGRAPHY Held 27 May 2015

Seraphine Pick fetched $26,114

Gavin Hurley fetched $7,325

Barry Pilcher’s eclectic and kaleidoscopic collection of Contemporary New Zealand painting, sculpture and photography sold well at International Art Centre’s single owner, May sale. The collection, acquired over fifteen years, attracted wide-spread interest and spirited bidding resulting in six new auction records including $21,690 for artist Heather Straka together with an 82% clearance rate.

Pictured are some auction highlights from that sale.

Judy Millar fetched $4,900

Prices quoted includes buyer’s premium.

Mark Rayner fetched $820

Sara Hughes fetched $5,275

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Sylvia Siddell fetched $5,860

Sara Hughes fetched $5,275

Sam Mitchell fetched $3,985

Heather Straka fetched $21,690 (Auction record)

Ans Westra fetched $6,210

Harry Watson fetched $4,390

Heather Straka fetched $9,380

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Auction 6:30pm Wednesday 11 November *

If attending sale, please register for bidding

number at viewing

*

Payment may not be made during sale

*

Works purchased may be uplifted at

close of sale or day after 10.00am - 5.00pm

*

Viewing times p. 3

*

Absentee Bidding Form p. 109

*

Conditions of Sale p. 111

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HEATHER STRAKA

ESTIMATE $3,000 - 5,000

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PATRICIA FRANCE

b. 1972 Flower

Oil on board 23 x 35

Signed & inscribed verso

TEL +64 9 379 4010 FAX +64 9 307 3421 www.fineartauction.co.nz

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ESTIMATE $3,000 - 5,000

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E MERVYN TAYLOR

ESTIMATE $1,500 - 2,500

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MICHAEL SMITHER

ESTIMATE $2,000 - 3,000

1906 - 1964 Cats

Colour linocut, edition of 20, 29 x 30

Signed & inscribed

272 PARNELL RD, AUCKLAND, PO BOX 37 344 AUCKLAND 1151

1911 - 1995 The Bird Lovers Oil on board 28 x 32 Signed. Inscribed & dated 1992 verso

b. 1939 Two Boats Oil and acrylic on board 17 x 24 Signed & dated 2002

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MICHAEL SMITHER

b. 1939 Blue Stone Pool Mixed media on board 45 x 43 Signed & dated 1964 ESTIMATE $5,000 - 8,000

GRETCHEN ALBRECHT

b. 1943 Balance, 1974 Gouache on paper 71 x 101 Signed, inscribed & dated 1974 ESTIMATE $15,000 - 25,000 PROVENANCE Private Collection, USA

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NEIL FRAZER

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MERVYN WILLIAMS

b. 1961 Cove

Acrylic on canvas 102 x 102

Signed, inscribed & dated 2008 verso

ESTIMATE

$11,000 - 13,000

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b. 1940 ‘Red Forge Four’ (First Version) Acrylic on canvas 120 x 118 Signed, inscribed & dated 1999 verso ESTIMATE $8,000 - 12,000 PROVENANCE Purchased from Warwick Henderson Gallery, Auckland by current owner, 1999

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b. 1964 Field Study 274 Oil on canvas 115.2 x 115.2 Signed & dated 2014 ESTIMATE $12,000 - 14,000

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STANLEY PALMER

ESTIMATE $8,000 - 12,000

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MIKE PETRE

b. 1936 Above Putataua – Matauri Oil on canvas board 93.6 x 134.3 Signed & dated 1996

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DICK FRIZZELL

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GARTH TAPPER

ESTIMATE $8,000 - 12,000

ESTIMATE $8,000 - 12,000

b. 1943 Christmas Pudding with Custard Oil on canvas 72 x 92 Signed, inscribed & dated 14/9/1995

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1927 - 1999 Waiting

Oil on board 48 x 56 Signed

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COLIN MCCAHON

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JANE EVANS

ESTIMATE $8,000 - 12,000

ESTIMATE $8,000 - 12,000

PROVENANCE Private Collection, Auckland This work fetched an auction record for the artist, International Art Centre 1987

1919 - 1987 Canterbury Plains ContĂŠ crayon on paper 19.8 x 25.4 Signed, inscribed & dated 1948

PROVENANCE

Private Collection, Auckland

Colin McCahon database no. cm000481 www.mccahon.co.nz

EXHIBITED

An Exhibition of Paintings from July 1947 to August 1948 by Colin McCahon, Dunedin, Public Library Hall, September 1948

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1946 - 2012 Still Life Oil on board 75 x 90 Signed & dated 1978

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VIRGINIA KING

ESTIMATE $3,000 - 5,000

PROVENANCE A Corporate Collection

b. 1946 Untitled

Aluminium sculpture with timber base Signed

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DAVID KENNEDY

PROVENANCE Purchased directly from the artist, mid 60s by current owner.

b. 1931 Rooster, circa 1964

Enamel coated steel 56 x 63

ESTIMATE

$1,800 - 2,500

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ROSS RITCHIE

PROVENANCE Ex Rodney Kirk Smith Collection, Auckland

EXHIBITED Artides Gallery of Contemporary Art and Design, Wellington 1964 Original label affixed verso

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PAUL DIBBLE

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TONY FOMISON

ESTIMATE $14,000 - 18,000

b. 1941 Paradise

Oil on board 120 x 181

Signed, inscribed & dated 1964

ESTIMATE

$8,000 - 12,000

b. 1943

Marquette for the Horace Moore

Jones Memorial, Hamilton

Unique bronze 47 x 25 Signed

ESTIMATE

$7,000 - 10,000

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1939 - 1990 “On You Own - You” Oil on board 62 x 20 Signed & dated 1988 Lincoln St and 1989 Williamson Ave & inscribed verso

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BILL HAMMOND

ESTIMATE $30,000 - 40,000

PROVENANCE Private Collection, Christchurch Purchased from Brooke Gifford Gallery, 2005

EXHIBITED Bill Hammond Paintings 19 July - 13 August 2005 Brooke Gifford Gallery, Christchurch Original label affixed verso

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ANDREW MCLEOD

b. 1947 Ancestral Paper 2 Acrylic paint, pencil and ink on paper 78 x 56 Signed & dated 2005

b. 1976 Duck

Oil on linen 116 x 116 Signed

ESTIMATE

$8,000 - 12,000 PROVENANCE

Private Collection, Christchurch

Purchased from Brooke Gifford Gallery, 2006

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EXHIBITED Andrew McLeod 28 February - 25 March 2006 Brooke Gifford Gallery, Christchurch Original label affixed verso

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GLENDA RANDERSON

b. 1949 Bill Manhire, Wellington Oil on linen, ground liquitex gesso 104 x 74 Signed & dated 1999 Inscribed verso ESTIMATE $5,000 - 8,000

RALPH HOTERE

1927 - 1999 A Wind Goes Out - A Poem by Bill Manhire Acrylic on canvas 74 x 84 Signed, inscribed & dated 1975 ESTIMATE $30,000 - 40,000 PROVENANCE Private Collection Purchased from Gow Langsford Gallery, 1995

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PHILIP TRUSTTUM

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PHILIP TRUSTTUM

PROVENANCE Private Collection, Auckland since 1986

PROVENANCE Private Collection, Auckland Purchased in Christchurch by the current owner, circa 1976

b. 1940 Cityscape

Oil on board 35 x 75.5

Signed & dated 1973

ESTIMATE

$4,500 - 6,500

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b. 1940

Untitled Garden Painting

Oil on board 91 x 120 Signed

ESTIMATE

$10,000 - 14,000

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GARTH TAPPER

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GARTH TAPPER

1927 - 1999 Nightclub

Oil on canvas 42 x 54

Signed & dated 1994. Inscribed verso

ESTIMATE

4,500 - 6,500

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1927 - 1999 Jetty Scene Oil on board 34 x 45 Signed & dated 1975 ESTIMATE $3,000 -5,000

ROBERT ELLIS

b. 1929 City by the River Edge Oil on board 71 x 91 Signed & dated 1964 ESTIMATE $24,000 - 28,000

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NIGEL BROWN

ESTIMATE $8,000 - 12,000

b. 1949 Whatever Love Whatever Acrylic & polyester compound on board 117 x 187 Signed, inscribed & dated 1986

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JOHN REYNOLDS

b. 1956 Nebuchadnezzar’s Head in a Wave, 1994 Mixed media on five panels 240 x 600 overall Signed, inscribed & dated 1994 verso

ESTIMATE $25,000 - 35,000

PROVENANCE A Corporate Collection

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PATRICIA FRANCE

ESTIMATE $4,500 - 6,500

PROVENANCE Ex Collection of Ralph Hotere

1911 - 1995

Mysterious Grace from T S Eliot

Oil on board 48 x 38 Signed

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KARL MAUGHAN

ESTIMATE $8,000 - 10,000

b. 1964 Dunrock

Oil on canvas 76.4 x 76.4

Signed, inscribed & dated 2014 verso

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GRETCHEN ALBRECHT

ESTIMATE $40,000 - 60,000

PROVENANCE A Corporate Collection

b. 1943 Floe

Acrylic on canvas 200 x 360

Signed, inscribed & dated 1999 verso

Gretchen Albrecht has an international reputation as one of New Zealand’s most highly regarded painters. Her work is known for its geometry, an emotional use of colour and a constant evolution of influences, media and technique. Graduating with Honours from Elam School of Fine Arts in 1964, Albrecht taught for some years. In the late 1970s she took a 13 month trip to Europe and the United States, back in New Zealand she was awarded the Frances Hodgkins Fellowship at the University of Otago in 1981. During that year in Dunedin, Albrecht began working on the lunette shaped canvases which she calls Hemispheres. Her recent travels proved to be a catalyst, with European paintings and art history referenced in the titles of works such as Giotto’s Blue and Lunette (for Fra Angelico). Of this time the artist says: I knew I wanted the hemisphere in 1981. I went to Dunedin with quadrants, the hemisphere happened in the studio, I put the quadrants together. I wanted to break out of the rectangle and the square and to introduce a curve.

In 1989 Albrecht moulded the Hemispheres into the Oval of a map, allowing her to encompass a whole world containing East-West and North-South correlations and oppositions. Albrecht says: Ovals are a gentle shape, what happens in the top part could be reflected in the bottom half so I could have a continuous movement of paint, repetition and rhythm, spiralling, all en-circling, constantly in-flux which I like very much.

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The 2002 retrospective exhibition of Albrecht’s work held at the Auckland Art Gallery meet with great acclaim. Dunedin Public Art Gallery and the City Gallery, Wellington held a 2005 retrospective of Oval and Hemisphere paintings that same year, Mark Hutchins Gallery, Wellington exhibited paintings from the 1980s through to 2000 alongside Albrecht’s recent stainless steel sculptures.

In 2009 Albrecht began working on a new series of rectangular paintings featuring oval shaped vortices of colour combined with slender horizontal geometric figures. The first of these paintings were exhibited in Between Paint and Nature, Nadene Milne Gallery, Arrowtown and Rosea, Mark Hutchins Gallery, Wellington. 2010 saw Albrecht’s solo exhibition, Roses in the Snow, Sue Crockford Gallery, Auckland. A further solo exhibition was held in 2014 at Two Rooms, Auckland. The paintings exhibited featured the three stretcher shapes of hemispheres, ovals and rectangles. With a career spanning five decades Gretchen Albrecht’s work is held in the collections of Auckland Art Gallery,The Museum of New Zealand, Te Papa, Tongarewa, the Gallery of New South Wales and the Newcastle Art Gallery, Australia.

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RUSSELL CLARK

PROVENANCE Estate of R G Glubb, Christchurch

EXHIBITED Russell Clark 1905 - 1966 A Retrospective Exhibition Robert McDougall Art Gallery, Christchurch 1975 Catalogue no. 47. Original exhibition label affixed verso

1905 - 1966

South Westland, 1959

Oil on board 46 x 61 Signed

ESTIMATE

$40,000 - 50,000

The eloquence of painting is that it wordlessly pays homage, serenades a lover or stands in awe. Wordlessly, yet expressively: with a thousand brushstrokes; the gestures of a loaded brush; the demeanour of composition; and with chromatic intensity. This painting says ‘I have no words.’ What words could be substituted? This painting is the expression of a moment where others of us might stand on the hilltop and simply say “Wow!!” – Yeah, nah….

Not adequate.

Christchurch born Clark began taking art classes as a sixteen year old at the Canterbury College of Art and by the age of twenty was teaching there part time. Though he began exhibiting and receiving mural commissions almost immediately, he also needed regular income and turned to commercial art through the 1930s in a restless succession of jobs in Christchurch, Dunedin and Wellington. The Second World War seemed to offer even wider horizons for the confident young artist and so he offered his services as war artist to then Prime Minister, Peter Fraser in 1942 and subsequently served with the 3rd New Zealand Division in the Pacific.

South Westland by Russell Clark is painted a good dozen years into this South Island life and reveals the depth of his confidence and the vibrancy of his joy in painting. During the late 1940s he abandoned atmospheric effects in his paintings for broad planes and bolder colour and the 1950s became his most experimental and productive phase as an artist. This painting, completed in 1959, comes at the pinnacle of his easel painting; and just at the moment before painting became secondary to sculpture for him; and it was in sculpture, that Clark became one of the most important pioneers of Modern public art in New Zealand. We see the move and the later achievements prefigured in South Westland. The treatment of the foreground clearly indicates his sculptural concerns and the lessons he was absorbing, even at this mature stage in his career, from the likes of Barbara Hepworth and Henry Moore with its bold, almost impasto facets, angular planes and strong chiaroscuro. It is an unusual case in which we can describe this work as coming from the peak of the artist’s painting career while also being transitional in relation to his sculptural career.

Rob Garrett

After his war service, he returned to Wellington and his career in advertising; but found this return to a former life unsatisfactory and quit Wellington and advertising for a job at the Canterbury School of Art and a life in Christchurch where he spent the remainder of his career.

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DON BINNEY

b. 1940 - 2012 Kairarara Kaka Variant, 1982 - 83 Acrylic on paper on canvas 66 x 46 Signed & dated 1982 - 1983 ESTIMATE $110,000 - 140,000

PROVENANCE Private Collection, Taranaki Purchased from Fisher Gallery circa 2006 Private Collection, Christchurch

EXHIBITED BINNEY 1959 - 1989 A Survey. A Retrospective Exhibition of Don Binney’s works, 19 August - 17 September 1989 The Fisher Gallery, Pakuranga, Auckland

Don Binney is well known for his clean-edged modernist paintings of birds in the landscapes of New Zealand. In his search for subject, he is inspired by dramatic wilderness areas and environments, which he draws from to express both his passion for painting and his love of ornithology and nature. In an interview with Patricia Sarr and Tom Turner in 1977, Binney described his motivation for painting: I paint and draw because I’m thoroughly committed to and involved with environmental, natural stimuli - the landscape, the wild-life...you must approach the landscape or the bush with reverence.

Binney’s earliest paintings were predominately landscapes, influences which can be traced to styles found popular in America in the 1930’s. This style removes small detail and concentrates on landform and rhythmic curves, Rita Angus, Doris Lusk and William Sutton also took influence from this period.

Binney’s early works had an abstract feel to them, representing landscape in an almost cubist-style of brushwork. As his work matured, he began to depict birds as the central concern in this paintings, the landscape became more of a backdrop to the main focus.

Eventually though, landscape and birds shared his attentions equally, and he produced many works which talk of New Zealand’s environmental concerns and birdlife.

Kairarara Kaka Variant 1982 - 83 is a particularly striking work, painted with thick brushstrokes in a painterly style, in this sense it harks back to earlier pieces

by Binney. The paint application is fairly patterned in areas, paint appearing quite viscous and thick, making the work just as captivating close-up as from afar. The structure of the composition allows for several focal points in the work, the eye is first drawn to the bird and then through the landscape to the fence in the fore. This same fence is depicted in a later work by the artist entitled Kaka, 1984, Binney often included architectural structures or monuments which symbolised a human presence in his painting. It is clear here that this is not an ideal land before human intervention, it is New Zealand in the time the artist painted it. This work is an excellent example of Binney’s work from this era, portraying the bird, landscape and human elements in the one painting.

From text affixed verso -The Fisher Gallery, Pakuranga

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BILL HAMMOND

ESTIMATE $80,000 - 120,000

PROVENANCE A Corporate Collection

b. 1947 Untitled (II) 2000 Acrylic paint, pencil and ink on paper 139 x 156 Signed & dated 2000

In Poland, as in other parts of Europe, dark-plumaged crows can occasionally be seen gathered around their deceased own as if mourning for the dead bird. The sight is well-known. The phenomena of these funereal birds standing around carefully studying the victim as a group, has become known as the Crows Funeral for obvious anthropomorphic reasons.

What is actually happening, according to recent research, is the crows are trying to identify the cause of death and by association the ‘bringer of harm’ in order to know how to avoid a similar fate. It is now known that where the death has been caused by a creature of prey or human that is identifiable, the participating crows are able to pass this knowledge on to other crows that were not present at the ‘funeral’ and the recognition of the perpetrator persists, and in fact grows for months afterwards.

Hammond’s birds, also relatively still, clustered in groups, have also taken on mythic proportions in writing and conversation since the artist’s careerchanging visit to New Zealand’s sub-Antarctic islands in 1989. Immediately on his return his works were populated with attenuated bird figures, sometimes half-human half-bird. The artist’s southern epiphany also awakened an interest in the 19th century ornithologist Sir Walter Buller, who was responsible, almost in equal measure for the lavish documentation of many species that became extinct before the 20th century and for contributing to their extinction through his practice of killing, stuffing and distributing vast numbers of birds for ornithological collections.

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It is clear therefore that the symbolic power of Hammond’s paintings, drawings and lithographs address the threat to New Zealand wildlife by humans, past, present and future. Hammond’s birds stand both as witness and accuser in Buller’s world, for the artist conjures a primordial avian world, not of delicate vulnerability, but of tooth and claw power. His birds lay in wait, watch, stalk and loom over the human forms that occasionally appear in their midst or in the distance.

In Untitled (II) from 2000 we are taken behind the scenes. The work seems like a page from the ‘Avian Defence Ministry’s Home Guard Manual’. The bird with its head above the clouds is part of the collective early-warning system.

The large bird on the right demonstrates the armoury of the land: strong-arm hills for protection and massive, uprooted trees as weapons. Finally, methods of capture are indicated with the steel hoop surrounding the kneeling figure in the middle foreground.

Just as Crows’ funerals are forensic gatherings in order to divine safe passage in the future: to name, know and warn of the enemy; Hammond’s birds gather, in preparation for the inevitable return of devastation. Their premonition of future harm musters them to plan carefully and then to stand with singularly menacing threat, ready to repel their enemies rather than flee.

Rob Garrett

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JASMINE MIDDLEBROOK

ESTIMATE $10,000 - 15,000

b. 1987

Dust in the Air, Dirt in the Ground

Oil on canvas 120 x 160 Signed

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GRETCHEN ALBRECHT

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RICHARD KILLEEN

ESTIMATE $20,000 - 30,000

PROVENANCE A Corporate Collection

b. 1943 Untitled

Acrylic on canvas 170 x 170

ESTIMATE

$15,000 - 20,000

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b. 1946 Cross Hatch Acrylic and gesso on powder coated aluminium - 57 pieces

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PATRICIA FRANCE

ESTIMATE $4,500 - 6,500

1911 - 1995 Home Through the Valley Oil on board 70 x 65 Inscribed & dated verso 1987

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PATRICIA FRANCE

ESTIMATE $3,500 - 5,000

1911 - 1995

Flower Girl

Oil on board 55 x 35 Signed

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RALPH HOTERE

1927 - 1999 Untitled

Mixed media on paper 72 x 52.5

Signed & dated 1992

ESTIMATE

$18,000 - 26,000 41

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EVELYN PAGE

PROVENANCE Acquired directly from the artist, 1962 Estate of Sylvia Constance Ashton-Warner MBE

1899 - 1988

Seated Nude, 1962

Oil on canvas board 60 x 75 Signed

ESTIMATE

$60,000 - 80,000

Evelyn Page is renowned as one of New Zealand’s foremost colourists and for the independent conviction she maintained throughout her career. Through her early lessons and experiences in Christchurch Page became steeped in the lessons of the British School. Her own use of high-keyed colour dates from the late 1920s, possibly influenced by the return to Christchurch in 1925 of the artist’s friend Margaret Anderson after two years of travel full of enthusiasm for contemporary French and British painting. Then, by the 1960s she had also studied many of the key colourists of European Modernism, absorbing the colour lessons of Vuillard, Bonnard and Matisse, the compositional structures of Cézanne’s figure paintings and the luscious painterly structure of form achieved by Matthew Smith.

However her responses to the mentors and possible influences of Modernism were wilfully independent. On the one hand she seemed impervious to the tendency of her peers to follow the innovative front lines of midcentury European Modernism; and on the other hand, even when she was embracing the discoveries of the Post-Impressionists, it was on her own terms, only responding to those aspects of their work that reinforced her own preoccupations with colour.

The decade of Seated Nude, 1962 was particularly rich for Evelyn Page, who was now in her sixties. Her children were grown; and she had created two environments that stimulated her creativity: the lime-edged orchard garden at Waikanae and the light-filled home in Hobson Street, Wellington.

After more than four decades of working and painting she was finally receiving national recognition, for instance being included in the third Eight New Zealand Painters exhibition, toured by the Auckland City Art Gallery from October 1959. There was international regard too, when in 1962 the English art critic Sir Herbert Read and his wife came to dinner with Evelyn and

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Frederick Page at their Hobson Street home and he was impressed by one of the two nude paintings she made that year.

By the early 1960s her joy at being able to use a setting such as her garden at Waikanae for many outdoor studies, nudes and figure groups was palpable in the paintings themselves. Seated Nude, 1962 is one such painting. Serene; showing the artist’s ability to absorb the structural lessons of Paul Cézanne and Matthew Smith without being a slave to either; and finding her way with a verdant and fleshy colour palette that is delicately haunted by French PostImpressionism and redolent of the New Zealand outdoors at the same time.

More than an art history lesson, Seated Nude 1962 communicates Page’s joyful celebration of life. The painting was purchased by the artist’s friend Sylvia Ashton-Warner.

Sylvia Ashton-Warner was born in Stratford, Taranaki in 1908. She was a novelist, autobiographer and educational pioneer. Two of her novels were listed in Time magazine’s top ten books of the year. She won the New Zealand Book Award for Non-Fiction in 1980. In 1982 she was appointed a Member of the Order of the British Empire for services to education and literature. Her life story was adapted for the 1985 biographical film Sylvia, based on her work and writings. The Faculty of Education library at The University of Auckland where Ashton-Warner trained in the late 1920s, was named the Sylvia Ashton-Warner Library in 1987. The Ashton School in the Dominican Republic was founded in 1998 and was named in honour of Ashton-Warner, whose teaching methods inspired the school. Ashton-Warner died in Tauranga 1984.

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44

ARCHIBALD FRANK NICOLL

ESTIMATE $2,000 - 3,000

45

SAMUEL JOHN LAMORNA BIRCH

ESTIMATE $3,000 - 5,000

46

SYDNEY LOUGH THOMPSON

ESTIMATE $25,000 - 35,000

1886 - 1953

Peterborough Street, Christchurch

Oil on canvas board 34 x 49 Signed

1869 - 1955 Coastal Scene of Bay and Fishing Boat Oil on canvas 33 x 44 Signed & inscribed ‘With my love, Lamorna Birch’

1877 - 1973

Figures on a Quay at Concarneau

Oil on canvas 49 x 60 Signed

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47

A Private Collection of

PETER MCINTYRE

1910 - 1995

King Country Musterer

Oil on board 59 x 74 Signed

works by Peter McIntyre

ESTIMATE $30,000 - 40,000

PROVENANCE Purchased from International Art Centre, 2000 Private Collection, Bay of Plenty

Peter McIntyre was born in Dunedin. His father, a lithographic artist, founded Dunedin’s Caxton Printing Company. Young McIntyre attended Otago Boys’ High School and the University of Otago. He studied painting under Dunedin artist Alfred O’Keeffe. McIntrye left New Zealand to study at London’s Slade School of Art from 1931 until 1934. He worked in Britain as a free-lance artist until enlisting in 1939 with the 34th Anti-Tank Battery, a New Zealand unit formed in London. In 1941 whilst serving in Egypt, he was appointed as New Zealand’s official war artist by Major General Freyberg. From 1941 to 1945 McIntyre recorded action in Crete, North Africa and Italy. His work was exhibited in New Zealand and Europe and reproduced in magazines such as the Illustrated London News and the New Zealand Listener. His work from this period belongs to the collection of war art at the National Archives in Wellington.

Returning to New Zealand in 1946 McIntyre began a long and illustrious post war career. He lived and exhibited in Wellington, frequently undertaking painting trips abroad. In 1962 A H & A W Reed published The Painted Years, the first of eight books he would illustrate and write between then and 1981.

Travels to Antarctica, Hong Kong, the Pacific Islands and the American West provided material for these popular publications.

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McIntyre owned a holiday cottage in Kakahi which became both his studio and retreat. The King Country inspired some of the artist’s finest work and he painted the landscape, inhabitants, native bush, rivers and farming scenes of the central North Island. The first two lots, King Country Musterer and King Country Farmer convey the artist’s proficiency with both landscape and personalities of the region.

In 1970 McIntyre was awarded an OBE. A retrospective exhibition of McIntyre’s war paintings was held at the City Gallery in Wellington in 1995.

Opening on 22 July, the show had been visited by more than 22,000 people when the artist died in Wellington on 11 September. Today he is recognised as one of New Zealand’s most important landscape artists.

King Country Musterer features Kakahi local Ray Bennett with horse and dogs c.1970. A preliminary study of this work appears p. 28 Kakaki, New Zealand, Peter McIntyre, A H & A W Reed, 1972.

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48

PETER MCINTYRE

ESTIMATE $25,000 - 35,000

PROVENANCE Purchased from International Art Centre, 1997 Private Collection, Bay of Plenty

1910 - 1995

King Country Farmer

Oil on board 60 x 89.5 Signed

King Country Farmer features the artist’s friend and colourful local Sonny Te Ahuru. He was from a well known Kakahi whanau.

It is the store that one meets the personalities and the characters of the village.

There is Rosie and her husband Mac, the hardest working farmer I know, forever bringing another field into production out of the wilderness of scrub and blackberries. There is Mrs Long, the retired postmistress, who makes jam and marmalade she doesn’t want, for the sheer joy of making it. She presents many jars of it to my wife, together with jars of pickle onions. There is Mr Ham, my farmer neighbour with his kindly ways and beautiful Maori voice. There is my old friend Dick Barnett. Although sorely crippled I have seen him putting

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in fencing posts and moving from one post-hole to the next on his hands. His is the most outstanding example of sheer courage that I know. There is Jimmy Spiers, a Scot who has lived all over the world, speaks Russian and German and prefers the quiet of Kakahi to any place on earth. There are the Allen Twins, as alike as two peas, and their wives who are sisters. There are Bennetts from across the river, Dempseys and Johnstons who farm on the outskirts of the village, our good friends Polly Te Ahuru and her husband ( Sonny ) and a swarm of Maori children.

Text: Kakaki, New Zealand, Peter McIntyre, A H & A W Reed, 1972.

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49

PETER MCINTYRE

ESTIMATE $20,000 - 30,000

PROVENANCE Acquired directly form the artist, c. 1975 Private Collection, Bay of Plenty

1910 - 1995

Rangitikei River

Oil on board 50 x 70 Signed

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

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river below where a patch of sun broke through the over-hanging bush. From that time on I have painted the river up and down its length, and always there has been delight in painting those lovely cliffs that are that most paintable of all colours - white.

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

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50

PETER MCINTYRE

ESTIMATE $20,000 - 30,000

PROVENANCE Purchased from International Art Centre, c. 1994 Private Collection, Bay of Plenty

1910 - 1995

Kakahi, King Country

Oil on board 59 x 95 Signed

In Kakahi much of what makes life worth living has been preserved: it’s countryside has retained some of the beauty that made New Zealand unique.

I know every pool on it’s miles of river, every track in it’s surrounding bush. It has been my escape and hideout from an ever more strident and ugly world, my refuge from the inane persecution of the telephone. It has restored my faith in this world as a place to live in and has bought to me like heaped-up riches, the beauty of the bush and rivers of my country, New Zealand, for Kakahi is New Zealand.

Text: Kakaki, New Zealand, Peter McIntyre, A H & A W Reed, 1972.

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The King Country is a region of the western North Island of New Zealand. It extends approximately from the Kawhia Harbour and the town of Otorohanga in the north to the upper reaches of the Whanganui River in the south, and from the Hauhungaroa and Rangitoto Ranges in the east to near the Tasman Sea in the west. It comprises hill country, large parts of which are forested.

The term King Country dates from the New Zealand Wars of the 1860s, when colonial forces invaded the Waikato and forces of the Maori King Movement withdrew south of what was called the aukati, or boundary, a line of pa alongside the Puniu River near Kihikihi. Land behind the aukati remained native territory, with Europeans warned they crossed it under threat of death.

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51

PETER MCINTYRE

ESTIMATE $20,000 - 30,000

PROVENANCE Purchased from Webb’s, c. 1995 Private Collection, Bay of Plenty

1910 - 1995

Rangitikei River

Oil on board 60 x 75 Signed

The Rangitikei River, it’s headwaters located to the southeast of Lake Taupo in the Kaimanawa Ranges stretches 185 kilometres, making it one of the New Zealand’s longest rivers.

It flows from the Central Plateau south past Taihape, Mangaweka, Hunterville, Marton, Bulls and to the South Taranaki Bight at Tangimoana, 40 kilometres southeast of Wanganui. The river gives its name to the surrounding Rangitikei District. In 1897 the river flooded and all six bridges over it were damaged or destroyed. The port at the mouth of the river was also washed away and never rebuilt.

The river is a popular leisure and recreation area for jetboating, white water rafting, kayaking, fishing and includes public camping grounds along its banks.

Its sheer vertical paapa (clay) cliffs, unique to this part of New Zealand, and deep canyons provide the perfect setting for adventure activities.

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The lush green bush is the crowning glory of my country and in its depths the tui and bellbird sing the purest song of them all.

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

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

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52

PETER MCINTYRE

ESTIMATE $15,000 - 20,000

PROVENANCE Purchased from Webb’s, September, 2000 Private Collection, Bay of Plenty

53

PETER MCINTYRE

ESTIMATE $10,000 - 15,000

PROVENANCE Purchased from Webb’s, September, 2000 Private Collection, Bay of Plenty

1910 - 1995

Kawarau Gorge, Central Otago

Oil on board 70 x 90 Signed

1910 - 1995

Ready for the Drive

Oil on canvas 75 x 59 Signed

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54

PETER MCINTYRE

ESTIMATE $18,000 - 25,000

55

PETER MCINTYRE

ESTIMATE $8,000 - 12,000

1910 - 1995

End of the Southern Crossing, Tararua

Ranges at Kaitoki

Oil on board 57 x 109 Signed

1910 - 1995

A Trout River, King Country

Oil on board 40 x 56 Signed

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56

PETER MCINTYRE

ESTIMATE $14,000 - 18,000

1910 - 1995

Ahuriri River

Watercolour 52 x 70 Signed

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58

MAUD BURGE

1865 - 1957 Brittany

Watercolour 33 x 39

Signed & dated 1925

ESTIMATE

$3,000 - 5,000

57

MAUD BURGE

1865 - 1957

Lady with Wildflowers

Watercolour 38 x 31 Signed

ESTIMATE

$2,500 - 3,500

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59

60

MAUD SHERWOOD

1880 - 1956 Afternoon Light Watercolour 32 x 43.5 ESTIMATE $2,500 - 3,500

MAUD SHERWOOD 1880 - 1956 Market Scene Watercolour 38 x 26 ESTIMATE $2,500 - 3,500 PROVENANCE LOTS 59 & 60 From a member of the Sherwood Family

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MARY ELIZABETH TRIPE 1870 - 1939 The Brass Cleaner Oil on canvas 67 x 57.5 Signed & dated 1918 ESTIMATE $10,000 - 12,000

GARTH TAPPER

1927 - 1999

Public Bar

Oil on board 38 x 55 Signed

ESTIMATE

$14,000 - 18,000

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63

GEORGE O’BRIEN

ESTIMATE $25,000 - 35,000

PROVENANCE The Collections of Doctor Neville Hogg, Webb’s, Auckland, August, 1993 International Art Centre, Important, Early & Rare, October 2009 Private Collection, Auckland

1821 - 1888 Mosgiel Woollen Mill Watercolour 40 x 30 Signed & dated 1878

Born at Dromoland Castle County Clare, Ireland in 1821 George O’Brien was the fifth son of Admiral Robert O’Brien, a direct descendant of Murrough O’Brien, 57th King of Thomond, and of Brian Boroimhe, Monarch of Ireland.

George O’Brien was a cousin of William Smith O’Brien (1803-1864) deported to Tasmania for his part in the 1848 Young Ireland uprising, and was also a cousin of James Fitzgerald, who was at one time Superintendent of the Canterbury Province in New Zealand.

Despite these distinguished connections, the family was not well-heeled.

Young George O’Brien may have been trained by a brother as a civil engineer. His parents died when he was young and at an early age he was in Melbourne Australia, where views of the town dated 1839 and 1840 survive in the collection of the state library. He left soon afterwards but had returned to Melbourne by 1850 arriving from London on the Midlothian. O’Brien worked as a draughtsman in the surveyor’s office and in 1853 married Jane Mashford at St James Church, Melbourne. He was active in the Victoria Fine Arts Society and by 1854 was advertising his services as an architect and surveyor. He exhibited paintings in 1856 and 1858 and nine signed and dated watercolours of St Kilda and nearby places in Melbourne are recorded.

By December 1863 O’Brien was living at Duncan Street, Dunedin, no doubt attracted by the prosperity induced during the Otago goldrushes. He worked as a civil engineer and was employed by the Town Board supplying them with architectural perspectives of buildings designed by several Dunedin firms.

A number of O’Brien’s watercolours were exhibited in the 1865 Dunedin Industrial Exhibition. He associated with W M Hodgkins, a lawyer and aspiring watercolour painter who became very influential in Dunedin’s art world. O’Brien may have given Hodgkins some instruction. O’Brien’s manner showed his background in measured draughtsmanship but also represented something of neo-classical painting. In the colonial context he was unusual in his use of buildings and townscape as his subject matter. In 1876 he attended a meeting of the Otago Art Society and was well-represented in that body’s inaugural annual exhibition held later that year. O’Brien’s paintings were ill-received by one critic, possibly Thomas Bracken, reflecting the colonial adoption of the European taste for Turneresque Romantic landscape. Nevertheless, when O’Brien’s wife died in 1879, leaving him with five daughters to raise, he embarked on a career as a professional artist.

O’Brien was of a versatile and energetic disposition, travelling around southern New Zealand, but also a heavy drinker and immensely overweight.

His habits were bohemian and eventually his oldest daughter, now married, removed her younger siblings while O’Brien continued lodging with a sailor and his wife in a poorer part of the city. He spent a year in Auckland in 1887, but returned to Dunedin where he died in August 1888. His landlady inherited his residual collection and he was interred in a then unmarked grave in the northern cemetery.

This significant watercolour is possibly the best example to appear on the market. It was held for many years in the collection of the late Dr Neville Hogg until sold by auction in 1993.

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75

RARE WATERCOLOURS BY SIR WILLIAM FOX FROM THE WILKIE FAMILY COLLECTION The Wilkie Collection of watercolours by Sir William Fox was deposited on loan to the Alexander Turnbull Library in 1964 by Mr & Mrs J C Wilkie. The collection consisted of some three hundred and fifty paintings of which one hundred featured historic New Zealand subject matter.

The Wilkie’s lived and farmed at Ohingaiti, not far from Westoe, Sir William and Sarah Fox’s station in the Rangitikei.

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SIR WILLIAM FOX

1812 - 1893 Arthurs Point Shotover River Otago Showing the River Bed System Watercolour 35 x 24.5 Inscribed verso ESTIMATE $4,000 - 6,000

SIR WILLIAM FOX

1812 - 1893 Fox Glacier Watercolour 24 x 33 ESTIMATE $8,000 - 12,000

This watercolour of the lower end of the Fox Glacier was painted when Fox was Premier at the time of his visit in 1872. Originally called the Albert Glacier, it was renamed after Fox to honour him.

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67

SIR WILLIAM FOX

1812 - 1893 Near Westoe, Rangitikei Watercolour 35 x 24.5 Inscribed verso ESTIMATE $8,000 - 12,000

SIR WILLIAM FOX

1812 - 1893 At Maungatapere, Mr Waltons Place, Wangarei (sic) Whangarei Watercolour 25 x 35 Inscribed verso ESTIMATE $8,000 - 12,000

William Fox arrived in Wellington in 1842 and become editor of 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 in New Zealand Fox carried out much exploration in the Wairarapa and in 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 as 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 and engagements allegedly made by successive government officials to the Taranaki Maori, and into all the 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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69

SIR WILLIAM FOX

1812 - 1893 Niagara Falls, the Horseshoe with Terrapin Tower Watercolour 36 x 51 ESTIMATE $4,000 - 6,000

SIR WILLIAM FOX

1812 - 1893 Montmorency Falls Quebec Watercolour 24 x 33 Inscribed & dated 1852 verso ESTIMATE $4,000 - 6,000

William and Sarah Fox left New Zealand for England in 1852 and spent several months travelling through Canada, the United States and Cuba. On their return, Fox documented this trip in an impressive series of watercolours which included Niagara Falls, the Horseshoe with Terrapin Tower and Montmorency Falls Quebec

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70

SIR WILLIAM FOX

71

SIR WILLIAM FOX

1812 - 1893

Westoe, Rangitikei from Mountain 70 Miles 0ff, 9000 ft high (Ruapehu)

Watercolour 25 x 33

Inscribed verso

ESTIMATE

$3,000 - 5,000

1812 - 1893 Unidentified Waterfall Watercolour 39 x 26 ESTIMATE $2,000 - 3,000

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SIR WILLIAM FOX

1812 - 1893 Mirror Lake, Yosemite Watercolour 35 x 25 Inscribed on original label affixed verso

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SIR WILLIAM FOX

ESTIMATE $2,000 - 3,000

SIR WILLIAM FOX

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SIR WILLIAM FOX

ESTIMATE $2,000 - 3,000

ESTIMATE $2,000 - 3,000

SIR WILLIAM FOX

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SIR WILLIAM FOX

1812 - 1893 Rice Lake Canada Watercolour 23 x 34 Inscribed on original label affixed verso

1812 - 1893 Mont Cervin, Switzerland Watercolour 35 x 25 Inscribed verso ESTIMATE $2,000 - 3,000

RARE WATERCOLOURS BY SIR WILLIAM FOX FROM THE WILKIE FAMILY COLLECTION

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1812 - 1893 Lake Pontchartrain, Louisiana Watercolour 25 x 36 Inscribed verso ESTIMATE $2,000 - 3,000

1812 - 1893 Landscape with Bridge, possibly Yosemite National Park, USA Watercolour 34 x 24

1812 - 1893 Brothers’ Water, Cumberland Watercolour 26 x 40 Inscribed & dated 1851 ESTIMATE $2,000 - 3,000

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77

83

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JOHN BARR CLARKE HOYTE

1835 - 1913 The White Terrace, Rotomahana Watercolour 34 x 60 Signed & dated 1873 ESTIMATE $15,000 - 20,000

JOHN BARR CLARKE HOYTE 1835 - 1913 Preservation Inlet, West Coast Watercolour 38 x 62 Signed & inscribed ESTIMATE $5,000 - 10,000

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80

MAUD SHERWOOD

81

MARGARET OLROG STODDART

1880 - 1956 Ma’mselle

Oil on canvas 72 x 57 Signed

ESTIMATE

$3,000 - 5,000

1865 - 1934

Flax Toi Toi Port Hills

Watercolour 35 x 50 Signed

ESTIMATE

$4,000 - 6,000

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82

MARGARET OLROG STODDART 1865 - 1934 Sweet Violets Watercolour 37 x 54 Signed & dated 1896 ESTIMATE $7,000 - 10,000 82

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83

A AUSTEN DEANS

ESTIMATE $4,000 - 6,000

84

DOUGLAS BADCOCK

ESTIMATE $4,000 - 6,000

85

EVELYN PAGE nee POLSEN

EXHIBITED Evelyn Page Seven Decades, Touring Exhibition Catalogue no. 13, 1988

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1915 - 2011 McKenzie Spur, Mount Peel, South Canterbury Oil on board 38 x 75 Signed & dated 1975

1922 - 2009 Early Gold Mining Site, Moke Creek, Wakatipu District Oil on board 50 x 70 Signed dated 1975

1899 - 1988

Governors Bay

Oil on board 35 x 45 Signed

ESTIMATE

$10,000 - 15,000

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87

88

86

ALFRED WILSON WALSH

86

1859 - 1916 Estuary

Watercolour 26 x 35

Signed & dated 1900

ESTIMATE

$1,800 - 2,600

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89

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87

THOMAS DARBY RYAN 1864 - 1927 Otira Valley Watercolour 38 x 62 Signed & dated 1878 ESTIMATE $2,000 - 3,000

88

CHARLES NATHANIEL WORSLEY

89

CHARLES DECIMUS BARRAUD

1850 - 1923

Lake Ada, Milford Sound

Watercolour 36 x 71 Signed

ESTIMATE

$4,000 - 6,000

90

1822 - 1897 Rangitikei River Watercolour 24 x 38 Signed & dated 1873 ESTIMATE $6,000 - 9,000

MARGARET OLROG STODDART 1865 - 1934 Pink and White Chrysanthemums Watercolour 67 x 50 Signed & dated 1894 ESTIMATE $7,000 - 10,000

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91

LAURENCE WILLIAM WILSON

ESTIMATE $2,500 - 3,500

92

LAURENCE WILLIAM WILSON

ESTIMATE $1,800 - 2,600

93

JAMES CROWE RICHMOND

ESTIMATE $5,000 - 8,000

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92

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1852 - 1904 Head of the Waimakariri River, West Coast Road Watercolour 34 x 52 Signed inscribed & dated 1899

1852 - 1904 Near Purakanui Watercolour 25 x 35 Signed inscribed & dated 1888

1877 - 1973 Bushmans Cottage, Taranaki Watercolour 34 x 50 Signed inscribed & dated 1873

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91

94

96

94

COLIN WHEELER

ESTIMATE $2,500 - 3,500

95

DOUGLAS BADCOCK

1919 - 2012

Cow Byre at Weston, North Otago

Oil on board 41.5 x 59 Signed

95

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1922 - 2009 Central Otago Farm Oil on board 43 x 59 Signed & dated 1968 ESTIMATE $4,000 - 6,000

96

ERNEST BUCKMASTER

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ERNEST BUCKMASTER

ESTIMATE $4,000 - 6,000

ESTIMATE $4,000 - 6,000

1897 - 1968

Lake Wakatipu and the Remarkables

Oil on canvas 78 x 105 Signed

1897 - 1968

Lake Manapouri

Oil on canvas 85 x 114 Signed

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98

UDAIPUR SCHOOL

Indian 19th Century Depiction of Maharana Sangram Singh on Horseback Watercolour on wasli 25 x 17 ESTIMATE $7,000 - 10,000

99

JOHN BARR CLARKE HOYTE

100

JOHN BARR CLARKE HOYTE

1835 - 1913

In the Sounds

Watercolour 20 x 34 Signed

ESTIMATE

$3,000 - 5,000

101

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1835 - 1913 Otira Valley Watercolour 38 x 62 Signed & dated 1878 ESTIMATE $5,000 - 10,000

FRANK HUDDLESTON

1844 - 1922 Glacier Creek, Kinloch, Wakatipu Watercolour 59 x 44 Signed & dated 12.7.1883 ESTIMATE $3,000 - 5,000

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100

101

95

103 102

102

103

104

105

CHARLES HENRY HOWORTH

ESTIMATE $1,000 - 1,500

1956 - 1945

Goss Hedge, Belmont Links, Wanganui

Oil on board 35 x 50 Signed

ESTIMATE

$1,500 - 2,500

WILLIAM MATTHEW HODGKINS

106

ALBERT EDWARD ALDIS

WILLIAM MATTHEW HODGKINS

1833 - 1898 The Entrance to the Mataura Gorge Watercolour 17 x 30 Signed & inscribed

1833 - 1898 Ashore Brighton Watercolour 34 x 65 Signed & inscribed verso ESTIMATE $2,000 - 3,000

LAURENCE WILLIAM WILSON

1852 - 1904

Exit of the Waiau River from Lake Manapouri

Oil on canvas 50 x 75 Signed

ESTIMATE

$2,500 - 3,500

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107

1869 - 1921 Lake Taupo with Ruapehu and Ngaruahoe Beyond Oil on canvas 39 x 60 Signed & dated 1889 ESTIMATE $4,000- 6,000

JOHN GIBB

1831 - 1909 Outward Bound off Lyttelton Heads Oil on board 12 x 16 Signed & dated 1891 ESTIMATE $800 - 1,500

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105

106

107

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109

JOHN KINDER

110

JOHN KINDER

1819 - 1903

Paihia, Bay of Islands

Watercolour 24.5 x 34.5 Inscribed

ESTIMATE

$4,000 - 6,000

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108

ALBERT NAMATJIRA

ESTIMATE $8,000 - 12,000

PROVENANCE Private Collection, Bay of Plenty Purchased December 1955 by current owner from E M Jenkins, artist’s agent, Alice Springs, Australia Original receipt affixed verso

1830 - 1902

On the Western Edge of the MacDonald Ranges

Watercolour 26 x 37 Signed

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1819 - 1903 Dr. Dalliston’s. Mahurangi Watercolour 24.5 x 34.5 Inscribed & dated 1856 ESTIMATE $4,000 - 6,000

111

JOHN KINDER

112

CHRISTOPHER AUBREY

1819 - 1903

Hokianga from Websters

Watercolour 25 x 33.5 Inscribed

ESTIMATE

$4,000 - 6,000

1830 - 1902 Lake Hawea Watercolour 35 x 59 Signed & dated 1887 ESTIMATE $10,000 - 14,000

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111

112

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Eight photographs

by Laurence Aberhart Nelson born Laurence Aberhart is acknowledged as one of the forefathers of New Zealand’s contemporary photographic history. Based in Russell, Northland since the early 1970s Aberhart has worked and exhibited internationally. His first solo exhibition was held at Peter McLeavey Gallery, Wellington in 1978.

Over the last forty years Aberhart has produced an unrivalled body of work.

Meticulously completing a number of photographic projects with subject matter ranging from topography to architecture exteriors and interiors, found objects, Maori carvings and portraits. Aberhart often works with an old-fashioned view camera using available light. Of his work, he says; I’m trying to make, in as gentle a way as possible, people in our society look at stuff in the social landscape.

His photographs are held in the collections of all public New Zealand galleries. International institutions include three Australian State galleries, Macau’s Museum of Art, Readers Digest Collection and Hallmark Card Collection, USA, Bibliotheque Nationale, Paris, and Stedelijk Museum, Amsterdam.

Laurence was the recipient of an Arts Foundation Laureate Award in 2013.

In 2015 Dunedin Public Art Gallery arranged a touring exhibition of Aberhart photographs of Australasian World War I memorials compiled over thirty years.

113

LAURENCE ABERHART

117

LAURENCE ABERHART

ESTIMATE $2,000 - 3,000

ESTIMATE $2,000 - 3,000

114

LAURENCE ABERHART

118

LAURENCE ABERHART

ESTIMATE $2,000 - 3,000

115

LAURENCE ABERHART

b. 1949 Te Waiherehere, Koroniti, Whanganui River, 29 May 1986, Gelatin silver print 19.6 x 24.6

b. 1949 Interior no 1. “Whitikaupeka” Moawhango, April 1982 Gelatin silver print 19.5 x 24.7

b. 1949 View of the interior of “Tau Henare,” Pipiwai, Norhtland Gelatin silver print 19.5 x 24.7

ESTIMATE $2,000 - 3,000

116

LAURENCE ABERHART

b. 1949 Interior, from the Upstairs Gallery, Catholic church, Motukaraka, Hokianga Harbour, Northland, 4 May 1982 Gelatin silver print 19.6 x 24.6 Signed & inscribed ESTIMATE $2,000 - 3,000

100 Important & Rare Art 6:30pm Wednesday 11 November 2015

b. 1949 Midway Beach, (Gisborne, 13th June),1986 Gelatin silver print 19.6 x 24.6

b. 1949 Lodge Concord #39, Papanui, Christchurch, December 1981, 1981, Gelatin silver print 19 x 24.5 ESTIMATE $2,000 - 3,000

119

LAURENCE ABERHART

ESTIMATE $2,000 - 3,000

120

LAURENCE ABERHART

ESTIMATE $2,000 - 3,000

b. 1949 Woods’ Interior, Russell, 1985 Gelatin silver print 19 x 24.5

b. 1949 Te Waihirere Gelatin silver print 19 x 24.5

113

118

116

Aberhart held the position of Artist In Residence at Tylee Cottage Wanganui in 1986 and the Dunedin Public Art Gallery in the late 1990s.

These works are from a Corporate Collection and are on the market for the first time since exhibited.

119

114

115

117

120

101

121

121

PETER PERYER

124

PETER PERYER

ESTIMATE $1,500 - 2,500

122

PETER PERYER

b. 1941 Untitled

Gelatin silver print 34 x 50

b. 1941 Punakaiki

Gelatin silver print 34 x 50

ESTIMATE $1,500 - 2,500

123

PETER PERYER

b. 1941 Tatau

Gelatin silver print, edition of 30, 11 x 17

Signed & dated 1998 inscribed: Was taken at

Auckland Museum verso

ESTIMATE $1,000 - 1,500

122

127

PETER PERYER

ESTIMATE $800 - 1,200

ESTIMATE $1,000 - 1,500

125

PETER PERYER

128

PETER PERYER

ESTIMATE $1,500 - 2,500

ESTIMATE $1,500 - 2,500

126

PETER PERYER

129

PETER PERYER

ESTIMATE $1,000 - 1,500

ESTIMATE $1,000 - 1,500

b. 1941 The Wind at Whenuapai, 1998 Gelatin silver print 10 x 15

b. 1941 Hercules over Herald Island Gelatin silver print 35 x 53

b. 1941 Viaduct

Gelatin silver print 30 x 45

102 Important & Rare Art 6:30pm Wednesday 11 November 2015

b. 1941 Lake Ferry Gelatin silver print 30 x 45

b. 1941 Trig, Rangitoto Island Gelatin silver print 35.5 x 52.5

b. 1941 Untitled - Snow Capped Peaks Gelatin silver print 27 x 40

00

125

126

128

127

129

123

124

103

130

TOM ESPLIN

131

GARTH TAPPER

1915 - 2005

A European Market Square

Oil on board 30 x 52 Signed

ESTIMATE

$2,500 - 3,500

1915 - 2005 Kotanui Before the Storm Oil on board 45 x 55 Signed. Inscribed on original label affixed verso ESTIMATE $3,500 - 4,500

130

132

133

131

104 Important & Rare Art 6:30pm Wednesday 11 November 2015

DOUGLAS MACDIARMID b. 1922 Paris on a Hot Day Oil on board 37 x 45 Signed & dated 1979 ESTIMATE $4,000 - 6,000

IDA EISE

1891 - 1978 Rangitikei River Oil on board 34 x 42 Signed & dated 1928 ESTIMATE $1,500 - 2,500

133

132

134

NICHOLAS CHEVALIER 1828 - 1902 Forest Landscape Watercolour 32 x 46 Signed & dated 1879 ESTIMATE $4,000 - 6,000

134

105

136

135

135

VINCENZO CORONELLI

1650 - 1718

Nuova Zelanda 1642

Copperplate engraving, handcoloured

published Venice 1696 39.5 x 29.5 Inscriptions

ESTIMATE

$2,500 - 3,500

136

JAMES COOK

1728 - 1779

Riviere Tamises et Baye Mercure,

Nle Zéland from the French/German

edition of Cook’s first voyage

Lithograph 30 x 44 Inscriptions

ESTIMATE

$800 - 1,200

137

137

138

RIGOBERT BONNE

1727 - 1795

Esquisse de la Baye Dusky, dans la

Nouvelle Zeelande. I.Pitcairn.

I.de Pasques. I.D’Hervey. I.Sauvage.

I.Des Cocos. I.Turtle. Isles de Wallis, 1782

Original copper engraving 25 x 36 Inscriptions

ESTIMATE

$800 - 1,200

106 Important & Rare Art 6:30pm Wednesday 11 November 2015

138

RIGOBERT BONNE

1727 - 1795

1778 Map of New Zealand. French

copy of Cook’s chart

Hand coloured lithographic map 37.5 x 28 Inscriptions

ESTIMATE

$800 - 1,200

140

141

139

139

PETRUS VAN DER VELDEN

1837 - 1913

Rynsburg (near Leiden)

Charcoal on paper 56 x 38 Signed

ESTIMATE

$1,000 - 2,000

140

141

WILLIAM HENRY RAWORTH 1821 - 1904 Southern Landscape Watercolour 32 x 52 Signed & dated 1870 ESTIMATE $1,000 - 2,000

ARTIST UNKNOWN

Australian 19th Century Tasmanian Landscape circa 1860s Watercolour 30 x 40.5

142

142

CHARLES DUNCAN HAY-CAMPBELL

End of Sale - Thank you

Next auction 2 December

1867 - 1936

Wanganui River

Watercolour 18 x 12 Signed

ESTIMATE

$800 - 1,200

ESTIMATE $1,000 - 2,000

107

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109

Recent Prices Realised

The Barry Pilcher Collection 7 May 2015, Important, Early & Rare 22 July 2015, Contemporary & Modern Art 12 August 2015 Includes post auction negotiated sales. Prices quoted are fall of the hammer which attract buyers premium The Barry Pilcher Collection - 27 May 1 $4,750 2 $3,400 3 $1,200 4 $3,700 5 $3,750 6 $900 7 $10,300 8 $3,500 9 $5,000 10 $7,350 11 $700 12 $400 13 $3,000 14 $2,000 15 $2,200 16 $2,400 17 $2,200 18 $18,500 19 $800 21 $2,100 22 $8,000 23 $4,000 24 $4,500 25 $4,500 26 $6,000 27 $1,500 28 $4,250 29 $1,600 30 $600 31 $550 32 $1,000 33 $1,600 34 $1,600 35 $1,800 36 $800 37 $1,600 38 $1,200 39 $4,200 40 $2,100 41 $6,250 42 $3,500 43 $6,500 44 $500 45 $7,000 46 $3,750 47 $6,500 48 $1,800 50 $4,200 52 $900 53 $6,200

54 $5,000 55 $1,300 59 $1,350 60 $2,000 61 $1,450 62 $700 63 $4,250 64 $1,250 65 $750 66 $2,000 67 $1,300 69 $2,000 70 $5,300 71 $1,000 73 $800 75 $625 77 $500 78 $1,000 79 $800 83 $510 84 $800 86 $950 87 $3,350 88 $1,750 89 $3,825 90 $2,000 92 $500 93 $3,600 97 $1,200 98 $500 99 $500 100 $1,300 101 $500 102 $1,600 104 $800 106 $600 107 $300 108 $1,000 109 $460 110 $700 111 $300 113 $250 114 $260 115 $260 116 $300 118 $325 120 $660 121 $325 122 $75 123 $250 124 $350 125 $200 127 $650

128 $130 129 $450 130 $440 132 $275 133 $130 134 $900 135 $50 Important, Early & Rare - 22 July 2015 1 $4,250 2 $7,000 3 $3,250 4 $3,750 5 $28,000 9 $25,000 10 $20,000 12 $57,500 14 $37,500 15 $30,000 16 $3,200 17 $20,000 18 $6,250 19 $5,000 20 $17,000 21 $8,500 22 $5,500 23 $9,250 24 $3,000 25 $800 26 $1,400 27 $3,250 28 $2,500 29 $15,000 30 $320,000 31 $45,000 32 $20,000 34 $420,000 35 $32,000 36 $4,000 37 $2,800 38 $2,000 39 $3,000 40 $800 42 $800 43 $170,000 44 $67,500 45 $30,000 46 $16,500 47 $12,000 48 $11,000 49 $17,500

50 $1,500 51 $6,000 53 $29,000 55 $3,250 56 $4,750 57 $2,750 58 $11,000 60 $12,500 61 $6,500 64 $9,500 68 $6,750 69 $2,700 70 $6,500 71 $550 73 $2,000 74 $2,200 75 $2,500 76 $2,500 77 $1,700 78 $7,600 79 $3,100 80 $5,000 81 $2,000 82 $600 83 $1,800 84 $3,800 86 $4,500 87 $1,700 88 $6,250 90 $4,500 91 $1,000 92 $2,700 93 $2,600 94 $1,600 95 $7,500 96 $4,000 97 $1,200 98 $800 99 $550 100 $440 101 $650 103 $200 105 $2,000 Contemporary & Modern Art Art -12 August 1 $850 2 $3,500 3 $5,500 4 $1,900 5 $700

www.fineartauction.co.nz 110 Important & Rare Art 6:30pm Wednesday 11 November 2015

6 $1,600 7 $1,800 8 $2,200 9 $2,000 10 $2,750 11 $5,500 13 $1,500 14 $700 15 $2,100 16 $1,800 22 $2,700 23 $4,750 24 $4,000 25 $800 26 $500 27 $9,500 28 $400 29 $500 31 $3,150 32 $1,000 33 $850 34 $650 35 $1,400 36 $1,000 38 $800 40 $425 41 $12,000 42 $3,000 43 $2,200 44 $2,850 45 $2,300 49 $2,800 51 $1,600 53 $1,400 55 $2,600 56 $550 57 $375 58 $400 59 $700 60 $1,700 61 $400 62 $150 63 $400 64 $550 66 $700 67 $750 68 $800 70 $500 72 $450 73 $3,000 75 $3,500 77 $1,350 79 $2,200

80 $1,000 81 $7,250 82 $1,600 83 $1,500 84 $2,200 85 $1,800 86 $5,000 87 $1,600 88 $6,000 90 $3,250 92 $2,000 94 $900 96 $8,500 97 $3,700 98 $325 99 $800 100 $300 104 $2,200 105 $1,200 106 $575 109 $200 111 $1,200 113 $650 116 $600 117 $400 118 $1,100 119 $1,850 120 $1,850 121 $800 122 $800 126 $1,800 127 $550 129 $340 130 $340 131 $1,400 132 $1,900 133 $325 134 $700 135 $200 136 $250 137 $320 139 $1,400 141 $650 142 $300 143 $225 144 $650 145 $900 146 $600 147 $300 148 $600 149 $450 150 $1,300 151 $400

152 $2,750 153 $200 154 $300 155 $400 156 $1,000 157 $310 158 $420 159 $200 160 $400 161 $100 162 $100 164 $1,000 166 $300 167 $2,000 169 $2,100 170 $1,300 171 $2,800 172 $1,100 174 $1,900 175 $400 176 $2,750 177 $600 179 $50 181 $1,100 182 $3,700 183 $200 184 $900 187 $650 188 $500 189 $650 191 $340 192 $1,600 193 $320 194 $1,050 196 $1,300 197 $600 198 $300 199 $1,000 200 $400 202 $500 203 $1,075 205 $200 206 $600 207 $1,100 208 $1,100 209 $50

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. Any person participating or registering for the Auction agrees to be bound by and accepts these Terms and Conditions of Auction.

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.

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.

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.

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

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

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

Each lot shall be paid for and removed at the buyers expense by no later than 5pm Friday 13 November 2015 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.

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: Please ask for our bank details to be sent by fax or email if you wish to pay by direct debit. Quote the Lot number(s) purchased as reference.

Cheques: Accepted by known clients of International Art Centre or at our discretion. When posting cheques please ensure they are sent to the following address. International Art Centre PO Box 37 344 Parnell, Auckland 1151. Make cheque payable to ‘International Art Centre’. International Art Centre reserves the right to release goods once cheque proceeds have been cleared.

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

American Express cards not accepted.

EXPORTING As a general rule, anyone exporting New Zealand works over 60 years of age should apply for an export certificate from the Ministry for Culture and Heritage to avoid disputes with customs. This does not apply to non New Zealand works. For full details visit www.mch.govt.nz FREIGHT & PACKING International Art Centre arrange door to door delivery both nationally and internationally. Please arrange insurance on your items prior to them leaving our premises.

OTHER ENQUIRIES Should you have any questions relating to the sale or if we can be of any other assistance please contact us during business hours on (09) 379 4010, Toll Free 0800 800 322 or email info@internationalartcentre.co.nz BUYERS PREMIUM 15% Buyers premium plus GST on premium applies to all lots.

(Total buyers premium is 17.25% including GST) www.fineartauction.co.nz

111

Index ABERHART L..... 113, 114, 115, 116, 117, 118, 119, 120

FRIZZELL D..................................................................11

RANDERSON G.........................................................22

ALBRECHT G....................................................6, 33, 38

GIBB J.......................................................................107

RAWORTH H W........................................................140

ALDIS A E.................................................................106

HAMMOND B......................................................20, 36

REYNOLDS J..............................................................30

AUBREY C................................................................112

HAY-CAMPBELL C D ...............................................142

RICHMOND J C.........................................................93

BADCOCK D.......................................................84, 95

HODGKINS W M..............................................102, 103

RITCHIE R....................................................................17

BARRAUD C D...........................................................89

HOTERE R.............................................................23, 42

RYAN T D....................................................................87

BINNEY D....................................................................35

HOWORTH C H........................................................105

SCHOOL OF UDAIPUR..............................................98

BIRCH S J L.................................................................45

HOYTE J B C...........................................78, 79, 99, 100

SHERWOOD M..............................................59, 60, 61

BONNE R.......................................................... 137, 138

HUDDLESTON F........................................................101

SMITHER M...............................................................4, 5

BROWN N..................................................................29

KENNEDY D................................................................15

STODDART M O............................................. 81, 82, 90

BUCKMASTER E....................................................96, 97

KILLEEN R...................................................................39

STRAKA H.....................................................................1

BURGE M ............................................................ 57, 58

KINDER J..................................................109, 110, 111

TAPPER G......................................... 12, 26, 27, 62, 131

CHEVALIER N...........................................................134

KING V.......................................................................16

TAYLOR E M..................................................................3

CLARK R.....................................................................34

MACDIARMID D......................................................132

THOMPSON S L..........................................................46

COOK J...................................................................136

MAUGHAN K.............................................................32

TRIPE M E....................................................................80

CORONELLI V..........................................................135

MCCAHON C............................................................13

TRUSTTUM P..........................................................24, 25

DEANS A A................................................................83

MCINTYRE P......... 47, 48, 49, 50, 51, 52, 53, 54, 55, 56

UNKNOWN ARTIST...................................................141

DIBBLE P.....................................................................18

MCLEOD A................................................................21

VAN DER VELDEN P................................................139

EISE I.........................................................................133

MIDDLEBROOK J.......................................................37

WALSH A....................................................................86

ELLIS R........................................................................28

NAMATJIRA A .........................................................108

WHEELER C V............................................................94

ESPLIN T....................................................................130

NICOLL A...................................................................44

WILLIAMS M ................................................................8

EVANS J.....................................................................14

OBRIEN G...................................................................63

WILSON L W................................................. 91, 92, 104

FOMISON T................................................................19

PAGE E.................................................................43, 85

WORSLEY C N............................................................88

FOX W............................. 64, 65, 66, 67, 68, 69, 70, 71,

PALMER S...................................................................10

.....................................................72, 73, 74, 75, 76, 77

PERYER P................................. 121, 122, 123, 124, 125,

FRANCE P.................................................. 2, 31, 40, 41

......................................................... 126, 127, 128, 129

FRAZER N.....................................................................7

PETRE M.......................................................................9

112 Important & Rare Art 6:30pm Wednesday 11 November 2015

272 PARNELL RD AUCKLAND NEW ZEALAND TEL +64 9 379 4010 FAX +64 9 307 3421 PO BOX 37 344 PARNELL AUCKLAND 1151 www.fineartauction.co.nz

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