Important, Early & Rare 6:30pm Wednesday 20 November 2013
Important, Early & Rare 6:30pm Wednesday 20 November 2013
Directors: Grahame Chote, Richard Thomson & Frances Davies 272 PARNELL RD, AUCKLAND, PO BOX 37 344 TEL (09) 379 4010 FAX (09) 307 3421 www.fineartauction.co.nz
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Auction Contacts
Richard Thomson Ph: +64 9 379 4010 richard@artcntr.co.nz Mobile: 027 4751 071
Car Parking
Frances Davies Ph: +64 9 379 4010 fran@artcntr.co.nz
Parking During Auction: Limited parking is available on site. Use Scarborough Lane entrance beneath our main gallery to access these carparks on evening of sale. Parking on Parnell Road is free after 6:00pm. A secure two level pay and display carpark is located at 282 Parnell Road.
Auction assistants and administration Luke Davies Ph: +64 9 379 4010 luke@artcntr.co.nz James Watkins Ph: +64 9 366 6045 james@artcntr.co.nz
Location map
www.fineartauction.co.nz info@internationalartcentre.co.nz Skype: fineartauction
Auction Venue
International Art Centre, 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 16 & Sunday 17 November. Use Scarborough Lane entrance beneath main gallery. During other viewing times on site parking available on request.
Important, Early & Rare 6:30pm Wednesday 20 November 2013
Viewing times Wednesday
13 November
9:00am - 5:30pm
Thursday
14 November
9:00am - 5:30pm
Friday
15 November
9:00am - 5:00pm
Saturday
16 November 11:00am - 4:00pm
Sunday
17 November
11:00am - 4:00pm
Monday
18 November
9:00am - 5:30pm
Tuesday
19 November
9:00am - 5:00pm
Wednesday
20 November
9:00am - 1:30pm
Other times by appointment
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272 PARNELL RD, AUCKLAND, PO BOX 37 344 TEL (09) 379 4010 FAX (09) 307 3421 www.fineartauction.co.nz 3
JULY, AUGUST & SEPTEMBER Auction Highlights International Art Centre’s Important, Early & Rare auction held 31 July, attracted a large crowd of spirited and determined bidders. An extraordinary 85% of the offering sold under hammer including seven of the nine Ralph Hotere’s catalogued. Highlights included Raymond Ching’s Anzacs which fetched $53,900. Auction records of $34,000 were achieved for a work by Kees Bruin, and $16,700 for a Pamela Wolfe. A Len Castle bowl sold for $9,380 and Gordon Waters work on paper made $37,500. C F Goldie’s small but delightful oil entitled Memories Rakapa - An Arawa Chieftainess went for $234,500. Over $1.2 million changed hands. The Contemporary & Collectable Art auction held 29 August saw a large offering achieve one of the best results in this sale category to date. Confirmation that the acquisition of art, at all price levels, is more popular than ever. On 22 September International Art Centre conducted New Zealand’s first specialist print sale, Collectable Editions. This offering of over 200 lots resulted in bids from the internet and the floor achieving a sale rate of 76%.
GORDON WALTERS Sold $37,520
FRANCES HODGKINS Sold $38,100
RAYMOND CHING Sold $ 53,930
PETER MCINTYRE Sold $18,760
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FELIX KELLY Sold $9,190
CHARLES F GOLDIE Sold $234,500
PAMELA WOLFE Sold $16,700 Auction Record
ALVIN PANKHURST Sold $56,090 Auction Record
RALPH HOTERE Sold $36,340
JANE EVANS Sold $19,930 Auction Record
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Forthcoming Auction
Contemporary & Collectable Art February 2014
GORDON WALTERS Study for Black on White, Fetched $37,520 July 2013
RALPH HOTERE Winter Solstice, Lake Mahinerangi Fetched $43,960 July 2013
Consign Today Toll Free 0800 800 322 or +64 9 379 4010 Richard Thomson richard@artcntr.co.nz Luke Davies luke@artcntr.co.nz
272 Parnell Road Auckland New Zealand Tel +64 9 379 4010
www.fineartauction.co.nz KARL MAUGHAN Riverena Fetched $31,650 July 2013
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Experience Equals Results
Invitation Morning Tea & Lecture
10:30am - 11:30am Friday 15 November
Dr Angela Mackie of the Cathedral Lectures will discuss key works in this catalogue
Please RSVP Luke Davies 09 379 4010 luke@artcntr.co.nz
Dr Angela Mackie Cathedral Lectures www.duomo.ac.nz
272 Parnell Road Auckland New Zealand Tel +64 9 379 4010
www.fineartauction.co.nz
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Auction 20 November Wednesday 6:30pm Payment may not be made during sale Works purchased may be uplifted at close of sale or day after 10.00am - 5.00pm If attending sale, please register for bidding number at viewing Viewing Times p. 3 Absentee Bidding Form p. 96 Index p. 99 Conditions of Sale p. 100
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SIR PETER SIDDELL
1935 - 2011 The Northern Club Acrylic on board 26 x 29 Signed & dated 1969
ESTIMATE $3,000 - 5,000
PROVENANCE Acquired by the present owner directly from the artist
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EDWARD FRISTROM
1864 - 1950 Low Tide, Remuera, Auckland Oil on board 24.2 x 30 Signed Inscribed Low Tide, Remuera, Auckland verso
ESTIMATE $5,000 - 7,000
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GARTH TAPPER
1927 - 1999 Beach Training 11 Oil on board 30 x 40 Signed & dated 1970
ESTIMATE $4,000 - 6,000
provenance Acquired by present owners from One Man Festival Exhibition, April 1970, John Leech Gallery, Auckland
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GARTH TAPPER
1927 - 1999 Lunch Hour Oil on board 34 x 45 Signed & dated 1974 Inscribed verso
ESTIMATE $4,000 - 6,000
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OLIVIA SPENCER BOWER
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1905 - 1982 Kaikoura Country Watercolour 40 x 57 Signed. Inscribed Kaikoura Country verso
ESTIMATE $5,000 - 8,000
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MARY MCINTYRE
b. 1933 Portrait of Three Prominent Men Acrylic on board 38 x 43 Signed & dated 1982
ESTIMATE $2,500 - 3,500
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MARY MCINTYRE
b. 1933 Rangitoto and Limbs Oil on canvas 39 x 39 Signed & dated 2006
ESTIMATE $1,500 - 2,500
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JAN NIGRO
1920 - 2012 The Disintegration of the Bather Mixed media on four papers each 24.2 x 23 Signed, inscribed & dated 1984
ESTIMATE $4,000 - 6,000
ILLUSTRATED p. 90 - 91 Apple for the Teacher by Jan Nigro, Bateman
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JAN NIGRO
1920 - 2012 Acitore - Three Faces of Eve Prisma on paper 60 x 80.5 Signed, inscribed & dated 1985
ESTIMATE $2,500 - 3,500
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REUBEN PATTERSON
b. 1973 When I Fall to Pieces Glitter on canvas 76 x 76 Signed & dated 2007 verso
ESTIMATE $8,000 - 11,000
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JOHN WEEKS
1886 - 1965 Two Girls, Edinburgh Oil on canvas 24 x 30 Signed
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JAN NIGRO
ESTIMATE $2,000 - 3,000
1920 - 2012 Still Life Oil on board 61 x 43 Signed
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ESTIMATE $2,500 - 3,500
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LEN CASTLE
1924 - 2011 Branch Pot, Circa 1970 Earthenware with talc and tenmoku glazes 34 x 29 x 10 Impressed with artist’s seal
ESTIMATE $4,500 - 6,500
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PAUL BEADLE
ESTIMATE $800 - 1,200
Illustrated actual size
1917 - 1993 Beauty Queen Bronze sculpture 11 x 4 Signed
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BILLY APPLE
b. 1935 Untitled 1968 Neon light and aluminium box 33 x 45.5 Edition of 10 Signed and numbered on original artist’s label
ESTIMATE $10,000 - 15,000
REFERENCE Untitled was commissioned by the late contemporary art dealer Marian Goodman for Multiples, New York. Goodman established Multiples in 1965 to publish prints, multiples and books initially by leading American artists such at Roy Lichenstein and Andy Warhol. Billy Apple was one of the first artists to use neon as a conceptual art form, typically breaking new ground. Billy Apple says The Pasadena Art Museum, renamed and now known as the Norton Simon Museum had acquired an edition of Untitled. Barrie Bates was born in Auckland in 1935. By 1962, based in London he had created a new identity as Billy Apple and, as a member of the Young Contemporaries was at the vanguard of British Pop Art. In 1964, Billy Apple crossed the Atlantic, exhibiting regularly in New York’s museums and galleries such as Leo Castelli Gallery.
From 1969 until 1973 he established and ran Apple, one of the first alternative exhibition spaces, showing his own work, and that of other avant-garde artists. In 1974 London’s Serpentine Gallery hosted a survey of his work and in 2007 Billy Apple became a registered trademark. Billy Apple is widely represented Internationally in public collections such as the Guggenheim Museum, New York, Detroit Institute of Arts, Detroit, The Chrysler Museum of Art, Norfolk, Virginia and the Mayor Gallery, London. He is represented in major New Zealand art institutions, such as Te Papa Tongarewa, Museum of New Zealand, Wellington; Auckland Art Gallery, Toi o Tamaki, Auckland and the Govett-Brewster Art Gallery, New Plymouth.
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PAMELA wolfe
ESTIMATE $10,000 - 13,000
b. 1950 Hedonist Oil on canvas 110 x 200 Signed, inscribed & dated 2008 verso
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JUSTIN SUMMERTON
ESTIMATE $5,000 - 8,000
b. 1968 Colonial Painter, Taranaki Oil on canvas 121 x 167 Signed
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SIR PETER SIDDELL
ESTIMATE $15,000 - 20,000
PROVENANCE Private Collection, Auckland Purchased by current owner, 1987
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SIR PETER SIDDELL
1935 - 2011 Open Doorway Oil on board 63 x 42 Signed & dated 1982
ESTIMATE $24,000 - 28,000
PROVENANCE Private Collection, Auckland Purchased by current owner, 1982
1935 - 2011 Headlands Oil on board 49 x 33.5 Signed & dated 1987
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RATA LOVELL SMITH
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JOHN WEEKS
1864 - 1960 Canterbury Fields Oil on board 30 x 40 Signed ESTIMATE $2,500 - 3,500
1886 - 1965 Parisian Facades Ink and acrylic on paper 28 x 35 Weeks O’Connor studio stamp verso
ESTIMATE $1,500 - 2,500
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ROBIN WHITE
b. 1946 Sam’s Place, Bottle Creek Screenprint, edition of 25, 53 x 35 Signed, inscribed & dated 1971
ESTIMATE $3,000 - 5,000
ILLUSTRATED p. 94, Robin White New Zealand Painter, Alister Taylor, Martinborough 1981
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JOHN WEEKS
1886 - 1965 Maori Girls, Rotorua Oil on board 77 x 61 Weeks, O’Connor stamp verso ESTIMATE $5,000 - 8,000 23
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RALPH HOTERE
1931 - 2013 Untitled Diptych Oil on two glass panes 90 x 102 Signed & dated 1973 on underside of sash frame
ESTIMATE $75,000 - 100,000
PROVENANCE Private Collection, Auckland Purchased by current owners from Temple Gallery, Dunedin
REFERENCE Many believe Untitled Diptych is Ralph Hotere’s Ode to Colin McCahon. Ralph Hotere moved to Dunedin in 1969 to take up the Frances Hodgkins Fellowship at the University of Otago. In 1973 he was a tenant at 121 Forth Street, a small 1870s cottage on the corner of Forth and St. David Streets, at the time on the fringe of the university campus. The site is very steep and there is another floor below street level at the back of the building. It housed a laundry and Hotere built an extension and a studio there too, divided from the laundry by an internal partition. The present work was set in the partition, mounted in its own stripped wood frame by the artist. Nearby was another 1973 work, a Memoriam to Hotere’s mother, Ana Maria Hotere, who died in 1972. In a partition at the top of the stairs leading to the studio below, Hotere had set a multi-paned stained glass window apparently salvaged from a church, with the letters IHS as a central motif, in a gold ground with red glass in the spandrels.
Gregory O’Brien has pointed to an affinity Hotere feels with continental European culture, people and places arising from his family’s Catholic background and reinforced by the time the artist spent in Europe from the early 1960s. O’Brien specifically mentioned Hotere’s living near, and frequently visiting, Henri Matisse’s Chapelle du Rosaire in Vence in the south of France, drawing parallels between some of the works there and Hotere’s own productions. Matisse’s round-topped stained glass windows in the chapel seem echoed in Hotere’s diptych, although the geometry and the palette have changed. The closeness in time of his mother’s death to the making of the diptych, and its spatial and temporal proximity to the Memoriam to his mother also seem relevant. Round topped forms appear too in Hotere’s 1973 set designs for John Whiting’s play The Devils where they represent niches, as in a church wall, for statues of religious figures. The same form also appears in Hotere’s design for the cover of Landfall 100, December 1971. The diptych's panes have been reframed in separate sashes, although they still constitute a single work. They are best exhibited with a back light so as to be seen as illuminated windows. Excerpt from full provenance supplied to vendor by Temple Gallery, Dunedin - available on request.
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TREVOR MOFFITT
ESTIMATE $8,000 - 10,000
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LOUISE HENDERSON
ESTIMATE $20,000 - 30,000
PROVENANCE Private Collection, Australia
1936 - 2006 Language Fellowship in Japan Oil on board 59 x 43 Signed & dated 1995
1902 - 1994 Cubist Woman Composition Oil on masonite 82.5 x 100 Signed & dated 1954
EXHIBITED Object & Image, Auckland Art Gallery 1954 25
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PETER MCINTYRE
ILLUSTRATED plate 6 Peter McIntyre’s New Zealand W H & W J Reed 1964
1910 - 1995 Whangarei Harbour Oil on board 62 x 60 Signed ESTIMATE $15,000 - 20,000
REFERENCE That siren profile of hills still tempted me. In fact it halted me again as I left Whangarei and had me painting in a glare of changing light. My only regret was that the kauri forests that once grew here are gone. The hills, the skyline of those harbour hills seen through such trees, must have been a spectacular sight to the first white settlers who came here in 1839. In Whangarei I had called on some cousins and found them building a cabin cruiser, and I had felt a touch of envy at the thought of that harbour and that coast. Everyone in New Zealand, I believe, has a cousin or an aunt in every town; or at least a second cousin. Peter McIntyre, Peter McIntyre’s New Zealand, W H & W J Reed 1964
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SIR PETER SIDDELL
1935 - 2011 Two Palms Oil on canvas 66 x 91.5 Signed & dated 1988
ESTIMATE $100,000 - 135,000
ILLUSTRATED p. 152 - 153 The Art of Peter Siddell Godwit Publishing 2010 REFERENCE Sir Peter Siddell has long been recognized as one of New Zealand’s leading realist artists. Auckland born Siddell was educated at Mount Albert Grammar School and the Auckland College of Education. He began painting professionally in 1972. In 1990 Siddell was made a Companion of the Queen’s Service Order and was knighted in 2008, becoming the second only New Zealand artist to receive this honour. Siddell’s realist paintings are identified mainly with depictions of the environs of Auckland. While his works appear to be records of actual places, his paintings have a subjective component, and might be better described as imagined realism rather than truly realistic. The cityscapes and townscapes in Siddell’s paintings are rendered empty, sometimes with the suggestion of events occurring outside the picture area. In this sense, his work may be compared to the metaphysical works of Giorgio de Chirico. In 1978 Siddell won the Air New Zealand Travel Award and the Benson & Hedges Supplementary Art Award.
I like to achieve a stillness in my paintings. It's something to do with wanting to freeze a moment in time and regain a bit of the past. Peter Siddell The Art of Peter Siddell, Godwit Publishing 2010
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FELIX KELLY
1914 - 1994 First Act of Duel of Angels (Old Vic.1962) Oil on board 29 x 39 Signed ESTIMATE $8,000 - 12,000
Provenance Private Collection, Australia
REFERENCE Fix The Art and Life of Felix Kelly Donald Bassett, Darrow Press 2008
EXHIBITED London in the Country and other Paintings by Felix Kelly, Arthur Jeffress Gallery November 1962, Cat no. 23 Original Arthur Jeffress label affixed verso
Felix Kelly is one of New Zealand’s most interesting expatriate artists. Born in Epsom in 1914 he claimed to be two years younger most of his adult life. Kelly studied briefly, and even seems to have taught drafting at Elam School of Fine Art. He was only 21 when he left New Zealand in 1935. He never returned. In London Kelly continued his New Zealand occupation of graphic design, working for Lintas, the advertising wing of Unilevers. He also freelanced as an illustrator and cartoonist, especially for Lilliput. His cartoons are not unlike those of the slightly younger Ronald Searle. After the war and the RAF, the focus of his graphic art shifted to book illustration, dust-jacket design and contributions on interior decoration to such fashion magazines as Ideal Home and Harper’s Bazaar. In the 1950s and 60s he was acknowledged as one of England’s top designers for the theatre, working with the likes of Sir John Gielgud and Dame Sybil Thorndike. Kelly’s ambition had always been to succeed as a painter. Emerging in the context of Surrealism and British Neo-Romanticism, he exhibited alongside important British artists such as Lucian Freud, John Piper and Frances Hodgkins. He attracted the attention of the prominent critic and writer, Herbert Read. Kelly’s paintings are characterised by his interest in a world forgotten by progress, great houses falling into dilapidation, wind-blasted trees, abandoned locomotives often invested with an eerie watchfulness. Rapidly, Kelly assembled a client list resembling a page from Who’s Who or De Brett’s. In late career, his knowledge of architecture led to involvement in house design, most notably his collaboration on the redesign of Highgrove for the Prince of Wales. His most celebrated project was, however, the mural cycle at Castle Howard associated with the filming of Brideshead Revisited in the 1980s.
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Kelly travelled a great deal. Paintings of Spain and Italy in the 1940s were followed by West African scenes in the 50s and ante-bellum houses in America’s Deep South in the 60s. Trips to Russia, Thailand, India and Egypt in the 70s and 80s each led to an exhibition of exotic paintings. In late career, Kelly would execute a small sketch characterised by loose brushwork, which would then be converted into a carefully executed big-scale painting. Both types of work appear for sale from time to time. Perhaps most interesting for a New Zealand audience are the paintings of Auckland subjects done decades after he had left home. Auckland’s West Coast beaches or Takapuna with Rangitoto beyond, or paddle-steamers on the Waitemata, were evoked with an increasing degree of fantasy well into the 1960s. A quirky humour pervades his work. Felix Kelly has to be one of New Zealand’s most individual artistic exports. A comprehensive exhibition of his earlier work, curated by Donald Bassett and mounted by the Hawke’s Bay Museum and Art Gallery, toured several New Zealand centres in 2008-9. A second edition of Donald Bassett’s book Fix; The Art and Life of Felix Kelly, will be published later this year.
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FELIX KELLY 1914 - 1994 Walk by the Blue Shuttered Mansion Oil on panel 17 x 21 Original Partridge Fine Arts Ltd label affixed verso ESTIMATE $3,000 - 5,000 EXHIBITED Partridge Fine Arts Ltd, London, Cat no. 23
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PATRICK HAYMAN
1915 - 1988 Still Life with Flowers - double sided Oil on board 37 x 27 Signed, inscribed & dated 1946
ESTIMATE $800 - 1,200
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MICHAEL SMITHER
b. 1934 8 am Oil on board 83 x 62 Signed & inscribed New Plymouth verso
ESTIMATE $20,000 - 30,000
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ROZI DEMONT
b. 1985 Willows Oil on board 119 x 58 Signed
ESTIMATE $8,000 - 12,000
REFERENCE Rozi Demont’s work features in the international publication Dark Stories by Dark Artists 2013
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TOSSWALL WOOLLASTON
1910 - 1998 Golden Bay, c 1948 Oil on board 45 x 58 Signed
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ESTIMATE $24,000 - 28,000
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SIR PETER SIDDELL
1935 - 2011 Western Garden Oil on canvas 66 x 102 Signed & dated 1989
ESTIMATE $60,000 - 80,000
ILLUSTRATED p.154 - 155 The Art of Peter Siddell Godwit Publishing 2010 REFERENCE Western Garden was painted whilst Peter Siddell was living in Mount Eden. In this work the viewer is led along a lavender lined pathway to the front steps and porch of a villa. The sense of familiarity is further encouraged as we explore the intricately painted cottage garden of lilies, daisies and climbing roses. This well tended garden and neatly trimmed lawn convey a pride of ownership. From this homely front garden, bounded by a rockery, the viewer looks upon a distinctly Siddell landscape of suburban surrealism with Mt Roskill illuminated on the horizon line.
I suppose that what I’m trying to do in my work is to create a world from my imagination which will be immediately accepted by others as real. Peter Siddell The Art of Peter Siddell, Godwit Publishing 2010
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36 CHARLES FREDERICK GOLDIE’S FIRST MAORI PORTRAIT Kawhena 1892 Johnny Coffin Oil on canvas 77.3 x 67cm
Hone Kawhena aka Johnny Coffin b. 1825, of the Ngati Mahuta tribe was best known in the early days as a police constable of Auckland town. At the time, it was customary practice for a Maori and Pakeha constable to carry out their duties, patrolling the streets of Auckland in teams of two. In 1851 Hone Kawhea and his Pakeha colleague arrested a chief of the Ngati Paoa tribe. This event led to the historical Ngati Paoa invasion of Auckland.
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In 1892 Goldie painted Kawhena from life. With a stylistic maturity well beyond his years, the artist captures the strength, vitality and dignity of his sixty seven year old subject. Kawhena is adorned with status-defining huia feathers, intricately woven cloak and pounamu earring. Interestingly, the tattooing above his left brow is incomplete. Kawhena’s explanation for this, was that it was simply too painful to endure. Kawhena died in 1900 and is buried at Mangere Cemetery, Auckland
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CHARLES FREDERICK GOLDIE
1870 - 1947 Kawhena, native of the Ngati Mahuta Tribe known also as ‘Johnny Coffin’ 1892 Oil on canvas 77.3 x 67
ESTIMATE $600,000 - 800,000
PROVENANCE Private Collection, Wellington Formally in the collection of C F Goldie’s mother, Maria Partington Kawhena has hung on loan in the Wellington Club since 1999 EXHIBITED Auckland Academy of Fine Art - December 1892 - Silver medal winning entry
Bishop Suter Art Gallery Loan Collection, Nelson 1976 - c. 1984 GOLDIE - The Exhibition, 1997 - 1999 Auckland Art Gallery Toi O Tamaki, Te Papa Tongarewa, Christchurch Art Gallery, Dunedin Art Gallery, Art Gallery of NSW ILLUSTRATED p. 161 C F Goldie His Life & Painting, Alister Taylor & Jan Glen, Alister Taylor publishing 1977
p. 63 GOLDIE Roger Blackley, Auckland Art Gallery Toi o Tamaki, Bateman 1997
Goldie understandably stood aloof from the following year's exhibition of the Society of Arts. He was busy preparing for his overseas education, for which he had settled on Paris. Steele had trained at the Ecole des Beaux-Arts and subsequently worked as an artist in Paris, delighting Goldie with his tales of Bohemian life in the great city. Goldie also painted two outstanding works which appeared at the Academy's third and final exhibition of December 1892. One was an exquisite landscape depicting fern trees in Cemetery Gully, the area beneath the present Grafton Bridge, which received rave reviews for its exceptional detail. And for the first time he entered a work in the category of 'Maori Head', a depiction of Kawhena from Mangere (known also as Johnny Coffin). This is Goldie's first recorded Maori portrait and drew the following comment from the Star's jaded reviewer. Not knowing the original, one cannot say whether it is a good portrait of the individual or the reverse, but as a picture of a type it is fair. The painter has managed to fix in the eyes something of that expression of conscious mental inferiority which lurks in the eyes of the most intelligent of the lower animals and in semi-civilised man.
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He, however, has had some trouble to know what to do with his light. The figuring on the mat is a careful piece of work, and the effect is very successful. The writer evidently did not anticipate Kawhena numbering among the readers of his column. In the Academy's list of prizes, the result of a democratic ballot among the members, Goldie received a silver medal for both New Zealand Trees and Kawhena. Goldie missed the exhibition, receiving his medals in absentia, for he had already left Auckland. His first port of call was Sydney, where in late November he attempted to sell his still life painting through Callan and Sons, prominent art dealers in George Street. Text: p. 6 & 7, GOLDIE Roger Blackley, Auckland Art Gallery Toi o Tamaki, Bateman 1997
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JOHN GIBB
1831 - 1909 Port Chalmers Oil on canvas 29 x 45 Signed & dated 1891
ESTIMATE $15,000 - 20,000 reference Port Chalmers was originally named Koputai by Kai Tahu, the local Iwi. In the early 19th century it was an important trading port for sealers and whalers. By the 1860s, with the advent of the Otago gold rush, Port Chalmers became the third largest port in Australasia. Gibb captures the industrial development of New Zealand’s leading port at the time. Overlooking the shipbuilding and storage facilities is the Iona Presbyterian Church re-built in 1883. In 1873 railway revolutionised the transportation of goods between Dunedin and Port Chalmers. April 1878 saw the opening of the Dunedin to Christchurch line. This steam train can be seen in the hills top right en route north to Christchurch. In the foreground right is the old green cabin which features in early post card views of the area. This is a rare and detailed depiction of early Port Chalmers. Scottish born John Gibb began exhibiting at the Royal Scottish Academy in 1861and by 1868 at the more progressive Royal Glasgow Institute of Fine Arts. In 1876 he emigrated to New Zealand with his family, arriving in Canterbury in September, 1876. Within three months of his arrival he purchased land on the corner of Barbadoes and Worcester Streets, Christchurch where he established a studio. He gave lessons, exhibited at the Otago Society of Art and was a founding member of the Canterbury Society of Arts formed in 1880. Gibb exhibited in Auckland and Wellington as well as many inter-colonial exhibitions beyond New Zealand. By the 1880s Gibb was acknowledged as New Zealand’s foremost marine artist.
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CHARLES FREDERICK GOLDIE
1870 - 1947 Te Aitu Te Irikau, An Arawa Chieftainess Oil on board 25.5 x 20.5 Signed & dated 1911
ESTIMATE $180,000 - 230,000
PROVENANCE Private Collection, Hawke’s Bay since 1930s
EXHIBITED Canterbury Society of Arts 1912 ILLUSTRATED p. 161 C F Goldie His Life & Painting, Alister Taylor & Jan Glen, Alister Taylor publishing 1977
REFERENCE Arawa Chieftainess Te Aitu Te Irikau, was a favoured subject of Charles Frederick Goldie. The artist painted her on at least eight occasions between 1911 and 1922. In this, her first portrait dated 1911, Te Aitu Te Irikau bears the symbols of her rank. The distinctive moko kauae, female chin tattoo, was received by women on the basis of their mana which was established through their lineage or whakapapa. The flax and feather cloak, hei tiki and pendant earrings or kuru, of pounamu/greenstone are important elements and traditional symbols of status worn by Te Aitu Te Irikau with dignity. This pristine work, never before offered for sale, is presented in its original Goldie frame.
In Polynesian portraiture Mr C F Goldie stands pre-eminent in the world today. New Zealand has every reason to be proud of him. Governor General Lord Bledisloe Quote from C F Goldie: His Life & Painting, Alister Taylor & Jan Glen, 1979 46 Important, Early & Rare Wednesday 20 November
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FRANCES HODGKINS 1869 - 1947 Country Colour, Purbeck Gouache on paper 49.5 x 65 Signed & dated 1944 Inscribed verso
ESTIMATE $45,000 - 65,000
PROVENANCE Ex collection of Sir Lennox Berkley, composer 1903 - 1989 Estate of New Zealand born pianist Colin Horsley OBE, 1920 - 2012, Isle of Man EXHIBITED The Leferve Gallery, London, original label affixed verso British Council Fine Arts Department Exhibition Paris 1945, cat no. 8, original label affixed verso REFERENCE p. 100 Four Vital Years, by Arthur R Howell, forward by John Piper, Rockliff 1951 Hodgkins spent the last years of her life in the Isle of Purbeck, Dorset, working mainly on still lifes, landscapes and domestic scenes.
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GRAHAME SYDNEY
b. 1948 St. Bathans Pond Working Drawing 1 Conte, crayon on paper 68 x 96.5 Signed, inscribed & dated 1995
ESTIMATE $10,000 - 20,000
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EVELYN PAGE
1899 - 1988 Grey Street, Wellington, 1949 Oil on canvas board 40.5 x 25 Signed Inscribed & dated 1949 verso ESTIMATE $30,000 - 40,000 PROVENANCE Private Collection, Wellington EXHIBITED Autumn Exhibition, New Zealand Academy of Fine Arts, cat no. 144 Evelyn Page Seven Decades Touring Exhibition 1986, cat no. 33 Robert McDougall Art Gallery, Christchurch An original label from that exhibition affixed verso REFERENCE p. 85 & 86 Evelyn Page Seven Decades, Janet Paul & Neil Roberts, Allen & Unwin New Zealand Limited 1986 published on the occasion of the exhibition Evelyn Page Seven Decades, Robert McDougall Art Gallery, Christchurch NOTES This painting was done from The Terrace, Wellington, looking through a narrow gorge between buildings to the harbour. Text from p. 86 Evelyn Page Seven Decades, Janet Paul & Neil Roberts, Allen & Unwin New Zealand Limited 1986
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JOHANNES GERARDUS KEULEMANS
1842 - 1912 Red Billed Gull & Black Billed Gull Watercolour 48 x 36 Signed
ESTIMATE $15,000 - 25,000
PROVENANCE Commissioned by the late Sir Walter Buller, author of Manual of Birds of New Zealand, and came by descent to his niece the late Gwendolin Buller, who bequeathed it to a close friend, Captain Charles Hamish Pelham Burn. See label affixed verso
John Gerrard Keulemans was born in Rotterdam in 1842. The son of a fashionable military tailor, he chose, at an early age, to reject what would have been an assured place in the family trade to pursue the less secure life of an artist and naturalist.
As he had collaborated with the English artist Richard Bowdler Sharpe in the past, whilst still working at the Leyden, his reputation was to some extent already established and in 1869 he moved to England where he was to spend the rest of his life.
Keulemans initial interest lay in ornithology, and he began his career at the Leyden Museum as a freelance taxidermist. It was whilst at the Leyden that he came under the guidance of Professor Hermann Schlegal, who had in the past been a strong influence on the career of the eminent illustrator Joseph Wolf. It was Schlegel who instructed Keulemans in lithography, a skill which was to be a valuable asset in his later career, and it was he also, who gave him his first professional commission illustrating. “Notes from the Leyden”
Keulemans skill as a Lithographer and his detailed and meticulous work were to create for him a reputation which made his name a by-word in ornithological illustration in the late 19th century. He succeeded Joseph Wolf as illustrator with the prestigious journal, Ibis, continuing to be in demand as a freelance illustrator working alone and in collaboration with other artists on several volumes. His most notable works, however, are; Sir Walter Buller’s, A History of the Birds of New Zealand, considered by many to contain some of his most beautiful and versatile illustrations, and the earlier volumes of Lord Lilford’s Coloured Figures of the Birds of the British Islands, a gargantuan task which, due to ill health he was finally to hand over to Archibald Thorburn who completed its illustration. In the early work, however, Keulemans skill is evident and he displayed not only the accurate eye of a naturalist but also the truly aesthetic sense of an artist.
As Keulemans skill as an artist grew, so naturally did his discontentment with the inanimate subject matter available to him at the Leyden, he wanted to travel and indulge his passion for bird painting using live subjects in their natural habitat. It was for this reason that he joined a collecting expedition to West Africa, but this journey was to be ill fated as he contracted yellow fever and was forced to return to Europe and the less lively, if safer, atmosphere of the Leyden Museum, where he was to remain until 1869. At this time London was the centre for ornithological and zoological journals and it was a natural progression for Keulemans to move to England to pursue his career.
52 Important, Early & Rare Wednesday 20 November
Keulemans continued to contribute to various journals, claiming that by the time he was fifty he had drawn over 20,000 species of birds. Although he wrote only one volume himself, A Natural History of Cage Birds, his illustrations for the works of others created for him an acknowledged reputation as one of the finest Victorian ornithological illustrators.
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BEATRIX DOBIE
1887 - 1944 Grey Hunter and Rangitoto Oil on canvas 40 x 60 Signed
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PROVENANCE Purchased by current owner from Sir Simon Lockhart, son of Sir Robert Lockhart Sinclair
MARY MORTON MASTERS 1884 - 1917 Sir Robert Lockhart’s Polo Pony Chimmie Oil on canvas 39 x 49 Signed & dated 1905
ESTIMATE $1,500 - 2,500
PROVENANCE Purchased by current owner from Sir Simon Lockhart, son of Sir Robert Lockhart Sinclair
1884 - 1917 Sir Robert Lockhart’s Grey Hunter ‘Waiuku’ - 9 Years Oil on canvas 50 x 65 Signed & dated 1908
MARY MORTON MASTERS
ESTIMATE $1,500 - 2,500
PROVENANCE Purchased by current owner from Sir Simon Lockhart, son of Sir Robert Lockhart Sinclair
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ESTIMATE $4,000 - 6,000
44 54 Important, Early & Rare Wednesday 20 November
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JOHN BARR CLARKE HOYTE
1835 - 1913 The Pink and White Terraces, Lake Rotomahana Watercolour 32 x 57 Signed ESTIMATE $15,000 - 20,000
PROVENANCE Private Collection, South Australia On the market for the first time
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JOHN BARR CLARKE HOYTE
1835 - 1913 Two Maori and Stockade Watercolour 40 x 68.5 Signed & dated 1873
ESTIMATE $12,000 - 16,000
56 Important, Early & Rare Wednesday 20 November
48
FRANCES HODGKINS
1869 - 1947 Woman with Children c. 1921 Charcoal, conte & pencil 26.5 x 40 Signed
ESTIMATE $20,000 - 25,000
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ARCHIBALD FRANK NICOLL
1886 - 1952 Peninsula, Winter, c. 1932 Oil on board 29 x 39 Signed
ESTIMATE $2,000 - 3,000
REFERENCE This painting is a half scale version of Archibald Frank Nicoll’s Peninsula Winter, National Art Gallery Collection. Reference, p. 76, New Zealand Painting, An Introduction, Gordon H Brown & Hamish Keith, Collins 1969. The person who probably, more than any other painter, represents the link between the period immediately following the first World War and the developments that were to take place in the 30s, especially in Christchurch, is Archibald Frank Nicoll, a man with decided views, whose style approached the best in the academic tradition. His influence as a teacher was considerable, and he did much towards establishing the crisp, clean-cut manner of portraying the landscape that was to be a hall-mark of the Canterbury school in the 1930s and 1940s.
58 Important, Early & Rare Wednesday 20 November
50
ARCHIBALD FRANK NICOLL
1886 - 1952 Balcairn Downs, North Canterbury Oil on board 30 x 40 Signed
ESTIMATE $2,000 - 3,000
Most of Nicholl’s landscapes were painted around Banks Peninsula and the Canterbury Plains near Christchurch. He had a particular interest in the behaviour of sunlight and the colours associated with the local landscape, plus a bold sure technique which, with his concern for local light conditions, saved his work from becoming too dryly academic. The Canterbury landscapes, such as Peninsula, Winter, demonstrate qualities most sought after by other local painters.
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JOHN BARR CLARKE HOYTE
1835 - 1913 Milford Sound Watercolour 40 x 72 Signed
ESTIMATE $20,000 - 25,000
PROVENANCE Purchased by private treaty from International Art Centre, 1990. Held in a private collection, Auckland since then.
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LOUIS JOHN STEELE
1843 - 1918 Orakei Creek, Auckland Watercolour 6 x 6 Signed, inscribed ‘Auckland’ & dated 1905 verso
ESTIMATE $800 - 1,200
60 Important, Early & Rare Wednesday 20 November
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JOHN WEEKS
1886 - 1965 Sunlit Sails, St Tropez Pastel on paper 38 x 44
ESTIMATE $3,000 - 5,000
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PETER MCINTYRE
1910 - 1995 Goat Island Beach, Near Leigh Oil on board 50 x 60 Signed ESTIMATE $10,000 - 15,000
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62 Important, Early & Rare Wednesday 20 November
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SYDNEY LOUGH THOMPSON 1877 - 1973 Saint Jeannet Village Oil on canvas 50 x 60 Signed & dated 1964
ESTIMATE $16,000 - 22,000
PROVENANCE Private Collection, South Island
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LOUIS JOHN STEELE
1843 - 1918 Duke of Marlborough Oil on canvas laid on board 88 x 69 Signed
ESTIMATE $8,000 - 12,000 PROVENANCE Private Collection, Waikato Purchased from the Nathan Estate circa 1930s
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RAYMOND CHING b. 1939 Weka - (gallirallus australis) Stewart Island Acrylic on paper 71.1 x 55.2 Signed & dated 1980
ESTIMATE $14,000 - 18,000
PROVENANCE: Private Collection, London Purchased from International Art Centre, 2000
ILLUSTRATED p. 58 Ray Harris-Ching Journey of An Artist Text by Carol Sinclair Smith, Gulf Publishing 1990
p. 118 New Zealand Birds, An Artist’s Field Studies Raymond Ching and Grahame Turbott QSO, Reed Methuen Publishers Ltd 1986
Anyone who has camped out in the New Zealand forests will know these handsome rails to be inveterate camp raiders. I’ve tried to imply the bold personality of these birds, so long isolated from danger that they have lost the power of flight and have confidence enough to rummage through tents and take food direct from your plate. I wanted the painting to acknowledge the conventions of a 19th century ornithological stone lithograph by its general composition, texture and colour. Raymond Ching p. 59 Text Ray Harris-Ching Journey of An Artist
64 Important, Early & Rare Wednesday 20 November
58
VERA CUMMINGS
1881 - 1949 Harata Rewiri Tarapata Oil on canvas 19.5 x 14.5 Signed ESTIMATE $4,500 - 6,500
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PROVENANCE Private Collection, UK since 1930s
VERA CUMMINGS
1881 - 1949 Maori Chief Oil on canvas 19.5 x 14.5 Signed ESTIMATE $4,500 - 6,500
PROVENANCE Private Collection, UK since 1930s
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PETRUS VAN DER VELDEN 1837 - 1913 Study of a Miner also known as Portrait of a Man in Profile Oil on canvas 109.5 x 89 ESTIMATE $8,000 - 12,000
PROVENANCE Private Collection, Auckland - on the market for the first time
EXHIBITED Auckland City Art Gallery, November 1959 - 1960
ILLUSTRATED Catalogue number 3.2.2.5 Petrus van der Velden A Catalogue RaisonnĂŠ, Chancery Chambers Publishers 1979
reference p. 23 P van der Velden, Paintings 1870- 1912, P A Tomoroy, Auckland City Art Gallery, 1959 Van der Velden is as an artist of purpose and considerable merit. Legend has made him so - it is a reassurance for serious art in New Zealand that facts prove the legend true. P A Tomory
ESTIMATE $8,000 - 12,000
61 60
66 Important, Early & Rare Wednesday 20 November
WALTER ARMINGER BOWRING 1874 - 1925 Hioani Ngapuhi Watercolour 20.5 x 15 Signed, inscribed & dated 1912 ESTIMATE $1,500 - 2,500
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WALTER ARMINGER BOWRING
1874 - 1925 Infantry Soldier on Horseback Oil on canvas 50 x 40 Signed & dated 1902 ESTIMATE $2,000 - 3,000
62
Research suggests this is probably Field Marshal Edmund Henry Hynman Allenby 1861 - 1936. He was an English soldier and British Imperial Governor who fought and survived the Second Boer War and also fought in World War I.
67
A Private Collection of Paintings, Photographs and Geological Samples of the Pink and White Terraces, Rotomahana, New Zealand This unusual collection, reflecting a fascination with the lost Pink and White Terraces was amassed over a ten year period. It comes to the sale room from a property on the shores of Lake Tarawera. Paintings by the German artist, William Binzer, a rare1884 work by Joseph Gaut of a Maori maiden bathing in the shadow of the Pink Terrace Umbrella Buttress are offered. Works by J D Perrett, J C Hoyte and the master of terrace portrayal, Charles Blomfield also feature. These artworks and others are complemented by a selection of original photographs by Charles Spencer, Josiah Martin and Burton Brothers Studio.
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63
JOSEPH GAUT
1860 - 1934 Nature’s Adornment, Umbrella Buttress, Pink Terrace, Rotorua Oil on canvas 41 x 55 Signed Signed, inscribed & dated 1884 on canvas verso 63
Together with a 14 x 19cm framed Burton Brothers photo inscribed Umbrella Buttress, Pink Terrace
and a framed Black & White photo of the same subject
ESTIMATE $2,500 - 3,500
63
68 Important, Early & Rare Wednesday 20 November
As well as artworks, a large authentic collection of geological samples from the terraces themselves is offered. They include fossilized flora and small branches embedded with silica and silica sinter formations from the collection of civil engineer and surveyor, James Stewart (1832-1914). In 1880 Stewart explored a road link from Rotorua to Cambridge, and later was involved in the planning of an early rail link from Rotorua to Morrinsville. Stewart collected the specimens prior to the eruption that destroyed the terraces in the early morning of 10 June,1886. The collection was stored at the Stewart family bach on Rangitoto Island until 1970 when it was sold to a private collector. The Pink Terraces, or Otukapuarangi and the White Terraces, Te Tarata were natural wonders. They were destroyed by the 1886 eruption of Mount Tarawera. The Terraces were formed by geothermally heated water containing large amounts of silicic acid and sodium chloride from two large geysers. These geysers were part of a group of forty geysers in the nearby area. The Pink and the White Terraces were nearly a kilometre apart. The White Terraces were at the north end of Lake Rotomahana and faced away from the lake at the entrance to the Kaiwaka stream. They descended to the lake edge forty metres below. The additional sunlight received from facing north created their bleached, white appearance. The Pink Terraces were about two thirds of the way down the lake, sheltered from the harsh sun on the western shores, facing south-east. Their pink appearance was largely due to less sunlight reaching them and therefore less bleaching. In February 2011 a team including researchers from New Zealand’s Institute of GNS Science were mapping the lake floor when they discovered part of the Pink Terraces. The lowest two tiers of the terraces were found in their original place at a depth of sixty metres. A part of the White Terraces was rediscovered in June 2011.
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GEOLOGICAL SAMPLES OF THE PINK AND WHITE TERRACES An extremely rare cross section of fossilised flora and silica sinter samples from the Pink and White Terraces. 35 individual samples. The largest offering ever to be sold as one lot. Presented in custom made display cabinet 35 x 120 x 11 deep Additional research and provenance details included ESTIMATE $15,000 - 20,000 PROVENANCE Ex Collection of James Stewart Civil Engineer and Surveyor 1832 - 1914
CHARLES BLOMFIELD 1848 - 1926 View of White Terrace with Tarawera Beyond Oil on canvas 41 x 57 ESTIMATE $10,000 - 15,000 65
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WILLIAM BINZER
German, work 1870 - 1900 Pink Terrace and White Terrace - A Pair Oil on board 44 x 60 Signed ESTIMATE $1,000 - 2,000
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70 Important, Early & Rare Wednesday 20 November
66
67
JOHN BARR CLARKE HOYTE
1835 - 1913 Pink Terrace - Otukapuarangi Watercolour 25 x 46 Signed ESTIMATE $4,000 - 6,000
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68
68
ARTIST UNKNOWN
ESTIMATE $800 - 1,200
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New Zealand 19th Century Pink Terrace and White Terrace, New Zealand - A Pair Oil on shell 20 x 22 One signed MS and both inscribed 69
69
70
70
PROVENANCE Ex Wagner Museum Collection
CHARLES SPENCER 1854 - 1933 Pink Terrace and The White Terrace, Rotomahana - A Pair Hand coloured photographs 16 x 42 Signed & inscribed ESTIMATE $600 - 1,000
PROVENANCE Ex Wagner Museum Collection
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JOHN DOUGLAS PERRETT
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ARTIST UNKNOWN
1859 - 1937 Pink Terrace and White Terrace - A Pair Pastel on paper 28 x 49.5 Signed ESTIMATE $800 - 1,200
New Zealand 19th Century The White Terrace Destroyed by Eruption, June 1886 Oil on canvas 70 x 110 Inscribed ESTIMATE $1,000 - 3,000
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71
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73
ESTIMATE $800 - 1,200
72 Important, Early & Rare Wednesday 20 November
ESTIMATE $400 - 800
PHOTOGRAPHER UNKNOWN
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1866 - 1914 Hot Baths, Rotomahana and Sulphur Crater, Rotomahana Two albumen silver prints 13.5 x 19.5 One signed with studio stamp and both inscribed
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BURTON BROTHERS
New Zealand 19th Century Four original photographs featuring views of Rotomahana Thermal region Four albumen silver prints 13.5 x 19.5 Mounted together
JOSIAH MARTIN 1843 - 1916 White Terrace, Rotomahana Albumen silver print 15 x 20 Signed and inscribed ESTIMATE $300 - 600
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GEORGE EDMUND PRUDEN Exhibited CSA 1905-12 White Terraces with Bathers Oil on canvas 68 x 107 Signed & dated 1913 ESTIMATE $6,000 - 8,000
Post eruption the landscape surrounding Tarawera was stripped of vegetation. Thick mud and ash blanketed hundreds of square miles of land, and large cracks crossed the region. The Pink and White Terraces had vanished, reduced to dust and fragments of sinter. The site of the terraces became a crater over 100 metres deep. Steam eruptions continued in the crater for several months, but within 15 years it filled with water, forming the new Lake Rotomahana, much larger than its predecessor. The chain of craters at the Waimangu end of the rift became the site of many new geothermal features, including Waimangu Geyser, the largest in the world, and New Zealand’s largest hot spring.
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GEOFF WILLIAMS
b. 1966 The Dinghy Acrylic on board 90 x 75 Signed ESTIMATE $8,000 - 12,000
PROVENANCE Private Collection, Auckland H Fisher & Son Ltd, label affixed verso
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WILLIAM GEORGE BAKER
1864 - 1929 Maori Village, Waikato River - Nocturn Oil on board 75 x 110 Signed
74 Important, Early & Rare Wednesday 20 November
ESTIMATE $8,000 - 12,000
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80
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JOHN WEEKS
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JOHN WEEKS
80
SAM STUART
1886 - 1965 Marrakesh Watercolour 48 x 63 Weeks, O’Connor studio stamp verso ESTIMATE $3,000 - 5,000
1886 - 1965 Gypsy Caravans Watercolour 27 x 38 Signed ESTIMATE $1,500 - 2,500
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76 Important, Early & Rare Wednesday 20 November
1855 - 1920 Judges Bay Pencil on paper 16 x 29.5 Signed, inscribed & dated May 8th 1876
ESTIMATE $2,000 - 2,800
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JOHN BARR CLARKE HOYTE
1835 - 1913 North Island River Settlement Watercolour 41.5 x 60.5 Signed ESTIMATE $12,000 - 16,000
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83
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JOHN GULLY
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CHARLES DECIMUS BARRAUD
1819 - 1888 Mitre Peak Watercolour 38 x 30 Signed ESTIMATE $10,000 - 15,000 82
1822 - 1897 Abbotts Creek Crossing Watercolour 36 x 51 Signed ESTIMATE $8,000 - 12,000
78 Important, Early & Rare Wednesday 20 November
84
84
SAM STUART 1855 - 1920 Maori Chief Watercolour 25.5 x 20 Signed & dated 1901
ESTIMATE $2,000 - 4,000
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EDWARD FRISTROM
1864 - 1950 Bush Camp Oil on board 33 x 17 Signed ESTIMATE $2,500 - 3,500
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JOHN WEEKS
ESTIMATE $2,000 - 4,000
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JOHN TOLE
1890 - 1967 Tree Lily Oil on board 49 x 39 Signed
ESTIMATE $2,500 - 3,500
80 Important, Early & Rare Wednesday 20 November
1886 - 1965 Untitled - Jetty with Mountain Beyond Watercolour 52 x 63 Weeks, O’Connor studio stamp verso
88
PHOTOGRAPHER UNKNOWN
Nine original photographs of Focke-Wulf Factory and an Embassy dinner. Gunner Keith Gordon Richardson pay book, prayer book & discharge notice; Various medals and POW tag: newspaper clippings; Three service photos of Keith Gordon Richardson; Red Cross map of POW camps and a typed copy of the Unknown Soldier’s Prayer.
ESTIMATE $1,000 - 2,000
Gunner Keith Gordon Richardson of the 4th Field Reg., New Zealand Artillery, Second New Zealand Expeditionary Force was captured in the Battle of Crete. Included in this lot is a map of Prisoner of War Camps issued by the Red Cross. Pencil markings indicate the long march from Greece to Germany completed by Gunner Richardson despite having sustained a shrapnel wound. Gunner Richardson was imprisoned at Stalag VIII B camp for approximately four years. During his time there, Gunner Richardson was handed these photographs and asked to hide them by a German guard. The guard was fearful of being shot should the photographs be found in his possession. As neither Richardson or his fellow POW’s saw the guard again the photographs returned to New Zealand with Richardson at the end of the war. They have never before been seen by the public. Three of the photographs are stamp dated 1941verso. They provide a historical record of a visit by Japanese representatives meeting with members of the German Military hierarchy. This meeting included a tour by the Japanese of their German allies aircraft facilities.
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89
1915 - 2011 Rangatata Valley Looking Towards the Two Thumbs Oil on board 33 x 54 Signed & dated 1971
ESTIMATE $2,500 - 3,500
90
ESTIMATE $1,000 - 2,000
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DOUGLAS BADCOCK
ESTIMATE $4,000 - 6000
82 Important, Early & Rare Wednesday 20 November
COLIN VERNON WHEELER
1919 - 2012 Near Wanaka - double sided Lake Wanaka verso Oil on board 32.5 x 42.5 Signed
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AUSTIN A DEANS
1922 - 2009 Shotover River, Skippers Canyon, Near Deep Creek, Summer Morning Oil on board 60.5 x 80.5 Signed & dated 1968
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AUSTIN A DEANS
1915 - 2011 Walter Peak Wakatipu Watercolour 26 x 36 Signed & dated 1957
ESTIMATE $1,000 - 1,500
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b. 1939 Brown Quail, 1979 Pencil on paper 54 x 36.5 Signed
84 Important, Early & Rare Wednesday 20 November
RAYMOND CHING
ESTIMATE $2,500 - 3,500 EXHIBITED Halcyon Gallery for Wildlife & Conservation ‘97, at the Gas Hall Birmingham Museum & Art Gallery ILLUSTRATED p. 117 New Zealand Birds, An Artist’s Field Studies, Raymond Ching, Reed Methuen Publishing 1986
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Gallery
RAYMOND CHING b. 1939 Dusky Moorhen Pencil on paper 48.6 x 35 Signed, inscribed & dated August 1980 ESTIMATE $2,500 - 3,500
95
b. 1939 Kaka Pencil on paper 55 x 38 Signed & inscribed
EXHIBITED Halcyon Gallery for Wildlife & Conservation ‘97, at the Gas Hall Birmingham Museum & Art Gallery Art ILLUSTRATED p. 129 New Zealand Birds, An Artist’s Field Studies, Raymond Ching, Reed Methuen Publishing 1986
RAYMOND CHING
ESTIMATE $2,500 - 3,500
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RAYMOND CHING
b. 1939 Black Shag ,1984 Pencil on paper 47.5 x 38 Signed & inscribed
ESTIMATE $2,500 - 3,500
EXHIBITED Halcyon Gallery for Wildlife & Conservation ‘97, at the Gas Hall Birmingham Museum & Art Gallery
ILLUSTRATED p. 168 New Zealand Birds, An Artist’s Field Studies, Raymond Ching, Reed Methuen Publishing 1986
ILLUSTRATED p. 67 New Zealand Birds, An Artist’s Field Studies, Raymond Ching, Reed Methuen Publishing 1986
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98 British born Andrew Coates was just three when his family emigrated to Christchurch, New Zealand. The land of blue skies and amazing vistas was a major influence on the young artist, although, early on he was more interested in cubism than the refined landscapes he is now known for. Coates entered a number of art competitions where he was awarded first prize at the Dunedin Public Art Gallery. He studied fine arts at Ilam.During this time, Andrew became the youngest Merit Member of the Canterbury Society of Arts (CSA) in New Zealand. He went on to hold three one man exhibitions at the CSA.
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ANDREW COATES
b. 1955 Sunlight over Ploughed Fields Oil on board 75 x 60 Signed
ESTIMATE $1,500 - 2,500
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ANDREW COATES
b. 1955 Road in Snow Oil on board 39 x 59.5 Signed
ESTIMATE $1,500 - 2,500
86 Important, Early & Rare Wednesday 20 November
The inclusion of his work for the first time in the annual Summer Exhibition at the CSA brought the following review: Among the many oils and water colours are accomplished works by the young A.S. Coates which show his technical brilliance. In 1975 he held his last one-man exhibition at the CSA and then made preparations to send a large selection of his paintings to the UK. He left New Zealand in 1976 and travelled overland through Asia and Europe for the next four months. In 1989, Coates was awarded the Goldline prize for best landscape painting in the Mall Galleries Annual Exhibition in London. Coates now lives in Devon. New Zealand, the people, the open way of life, freedom and the remarkable landscape, gave me the most wonderful childhood. It was full of adventure and opportunities but ultimately my painting had to take precedent - A Coates
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vera emily whiteman
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ARCHIBALD NICOLL
1873 - 1952 A Hunt Oil on board 28 x 39 Signed ESTIMATE $3,000 - 5,000
1886 - 1952 Mount Taylor, Canterbury Oil on board 29.5 x 39.5 Signed ESTIMATE $2,000 - 3,000
101
frank barnes
1859 - 1941 SS Kennedy in Heavy Seas off Terawhiti Oil on board 37 x 60 Signed, inscribed & dated 1905
ESTIMATE $2,000 - 3,000 101
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102
JOHN BARR CLARKE HOYTE
1835 - 1913 Lake Manapouri Watercolour 36 x 51 Signed ESTIMATE $8,000 - 12,000
88 Important, Early & Rare Wednesday 20 November
103
104
103
CECIL FLETCHER KELLY
105
CECIL FLETCHER KELLY
1878 - 1954 New Brighton Watercolour 32 x 45 Signed ESTIMATE $1,500 - 2,500
104
CECIL FLETCHER KELLY
1878 - 1954 Mirror Lakes, Fiordland Oil on board 24 x 34 Signed ESTIMATE $1,000 - 1,500
1878 - 1954 Dunes, New Brighton Oil on board 27 x 33 Signed ESTIMATE $1,000 - 1,500 105
89
108 106
106
DOUGLAS BADCOCK
1922 - 2009 Autumn, Larches on the Frankton Arm, Lake Wakatipu Oil on board 40 x 51 Signed
107
107
90 Important, Early & Rare Wednesday 20 November
ESTIMATE $2,000 - 3,000
DOUGLAS BADCOCK
1922 - 2009 Autumn, Bush Creek Oil on board 45 x 60 Signed & dated 1989
ESTIMATE $2,500 - 3,500
108
ALEXANDER ROSELL
1859 - 1922 Afternoon Stroll Oil on canvas 46 x 61 Signed & dated 1904
ESTIMATE $800 - 1,200
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109
CHARLES NATHANIEL WORSLEY
110
TOM ESPLIN
110
1862 - 1923 Hohenthal, Switzerland , 1892 Oil on board 29 x 45 Signed ESTIMATE $800 - 1,200
1915 - 2005 St Malo, France Oil on board 29 x 42 Signed
111
ESTIMATE $4,000 - 6,000
TOM ESPLIN
1915 - 2005 Basel Oil on board 30 x 47 Signed
ESTIMATE $4,000 - 6,000
111
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113
112
112
92 Important, Early & Rare Wednesday 20 November
MARGARET OLROG STODDART 1865 - 1934 Gum Trees Watercolour 46.5 x 32 Signed & dated 1894
ESTIMATE $4,500 - 6,500
113
ALEXANDER HOGG
1841 - 1920 A Fortified Town, or Village, called Ahippah, built on a perforated rock, at Tolaga Hand coloured engraving 24 x 34 Inscribed ESTIMATE $500 - 1,000
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114
115
H PRATT 19th Century New Zealand Lake Wakatipu Watercolour 26 x 45 Signed & dated 1877 ESTIMATE $800 - 1,200
CEDRIC SAVAGE 1901 - 1969 In the Sounds Watercolour 17 x 22 Signed & dated 1932
ESTIMATE $800 - 1,200
116
DOUGLAS BADCOCK
115
1922 - 2009 Old Stone and Brick Cottages Miner’s Relics at Gibbston, Central Otago Oil on board 50 x 71 Signed & dated 1972. Inscribed & dated December 1972 verso
ESTIMATE $2,500 - 3,500
116
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117
1939 - 1990 Tarawera Eruption Lithograph, edition of 13, 65 x 38 Signed & dated 1986 ESTIMATE $1,000 - 1,500
118
M A MAJORIE FORAN
118
Thank You - End of Sale
TONY FOMISON
New Zealand 20th Century Waterfall I Oil and acrylic on board 82.5 x 110 Signed verso ESTIMATE $2,000 - 3,000
119
JAN NIGRO
120
PIERA MCARTHUR
1920 - 2012 Sunbather Pastel on paper 82 x 82 Signed ESTIMATE $1,800 - 2,500
117
b. 1929 Vase Of Flowers Acrylic on canvas 46 x 36 Signed ESTIMATE $800 - 1,200
119
120
94 Important, Early & Rare Wednesday 20 November
At the Going Down of the Sun, and in the Morning Auckland War Memorial Museum, 2013 Oil on board 100 x 118cm
BRIAN DAHLBERG 2013 EXHIBITION Te Ika a Maui - The North Island Journey Exhibition opens 5 December - View online from early December www.internationalartcentre.co.nz
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Absentee Bid Form Important, Early & Rare Wednesday 20 November 2013 I instruct International Art Centre to bid on my behalf for the following lots up to the prices indicated below. My bids are to be executed at the lowest attainable price level. All bids are subject to Conditions of Sale printed in this catalogue.
Alternatively, register then bid online www.fineartauction.co.nz
Registration Bidding Number Name Address Mobile
Telephone
Lot Number
Signature
Artist & Title
...........................................................................................
Max. Bid $NZ excluding buyers premium
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/ 2013
International Art Centre offers this service to clients unable to attend sale and is not responsible for error or failure to execute bids. Fax +64 9 307 3421 or post to PO Box 37344 Parnell, Auckland 1151 before 3pm day of sale
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96 Important, Early & Rare Wednesday 20 November
Prices Realised Important, Early & Rare held 31 July and Contemporary & Collectable held 29 August 2013. Includes post auction negotiated sales. Prices quoted are fall of the hammer which attract buyers premium 31 July Important, Early & Rare Lot Result 1 $9,000 2 $3,000 3 $2,950 4 $3,000 5 $3,250 6 $3,600 7 $2,750 8 $8,500 9 $1,600 10 $2,000 11 $6,500 12 $2,900 13 $5,000 14 $8,000 15 $37,500 16 $29,000 17 $8,000 18 $1,000 19 $14,250 20 $4,300 21 $4,000 22 $6,400 24 $31,000 25 $32,000 27 $7,000 28 $27,000 31 $5,250 32 $14,500 33 $4,250 37 $47,000 38 $25,000 39 $20,000
40 $32,500 41 $9,000 42 $4,500 43 $46,000 44 $16,500 45 $200,000 46 $7,400 47 $9,750 48 $3,000 49 $8,000 50 $40,000 51 $3,000 52 $10,000 53 $13,500 55 $5,250 56 $30,000 57 $27,000 60 $8,000 61 $5,250 62 $7,250 63 $2,000 64 $3,750 65 $15,000 67 $2,750 68 $850 69 $7,000 72 $8,500 73 $3,100 74 $7,500 75 $16,000 76 $11,000 77 $2,500 78 $2,500 81 $6,500 82 $3,500 83 $2,000
86 $2,400 88 $5,000 89 $5,000 90 $1,800 91 $2,250 92 $1,300 94 $2,000 95 $7,000 96 $2,800 29 August Contemporary & Collectable Art Lot Result 1 $16,500 2 $2,100 3 $1,400 4 $6,000 6 $1,200 7 $4,250 8 $3,000 9 $1,100 10 $500 11 $1,800 12 $800 13 $1,500 14 $800 15 $950 16 $2,000 17 $1,000 18 $8,000 20 $2,100 21 $11,700 22 $7,500 24 $3,000
25 $500 26 $600 27 $3,750 28 $2,000 30 $450 31 $2,200 32 $5,500 36 $3,300 37 $6,500 38 $7,000 40 $5,500 43 $7,500 44 $2,800 47 $5,500 48 $1,000 49 $9,000 50 $2,600 54 $650 55 $500 56 $1,350 59 $6,000 61 $2,000 62 $2,800 63 $500 64 $500 65 $1,000 66 $360 67 $450 68 $225 69 $160 70 $140 71 $1,100 72 $300 73 $1,300 74 $200 75 $80
76 $2,250 77 $300 78 $1,650 79 $1,500 81 $500 82 $10,500 83 $1,700 84 $2,400 85 $3,500 86 $1,300 87 $17,000 88 $800 89 $1,700 90 $1,600 91 $6,250 92 $2,100 93 $1,800 94 $1,300 95 $800 96 $6,400 97 $550 99 $275 100 $2,250 101 $1,700 103 $1,000 104 $2,100 107 $4,000 108 $1,300 109 $1,300 111 $600 112 $220 114 $765 115 $800 116 $625 117 $1,300 119 $900
120 $450 121 $700 123 $2,250 124 $1,400 126 $770 127 $800 128 $1,000 129 $10,000 131 $600 132 $1,400 133 $410 134 $550 135 $450 139 $1,300 141 $1,400 142 $450 146 $1,100 147 $170 148 $500 149 $100 150 $1,600 152 $1,100 153 $1,300 154 $1,700 156 $650 157 $625 158 $385 159 $375 160 $1,400 161 $400 162 $1,100 163 $700 164 $1,500 165 $1,000 167 $250 168 $1,500
169 $750 170 $600 171 $500 174 $500 175 $320 176 $380 177 $950 178 $1,450 180 $900 181 $650 183 $300 184 $225 186 $1,000 188 $500 189 $250 191 $400 192 $800 193 $540 194 $590 196 $600 199 $600 201 $700 202 $400 203 $50 204 $100 Results from 22 September Collectbale Editions Specialist Print Auction available online at www.fineartauction.co.nz
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98 Important, Early & Rare Wednesday 20 November
www.fineartauction.co.nz
Index APPLE B.....................................................................15
HAYMAN P................................................................31
SMITHER M ...............................................................32
BADCOCK D....................................91, 106, 107, 116
HENDERSON L..........................................................26
SPECIMENS G...........................................................64
BAKER W G...............................................................77
HODGKINS F.......................................................39, 48
SPENCER C...............................................................69
BARNES F................................................................101
HOGG A.................................................................113
SPENCER BOWER O...................................................5
BARRAUD C D..........................................................83
HOTERE R..................................................................24
STEELE L J............................................................52, 56
BEADLE P J................................................................14
HOYTE J B C..............................46, 47, 51, 67, 81, 102
STODDART M..........................................................112
BINZER W...................................................................66
KELLY F.................................................................29, 30
STUART S..............................................................80, 84
BLOMFIELD C............................................................65
KELLY C F.................................................103, 104, 105
SUMMERTON J.........................................................17
BOWRING W A...................................................61, 62
KEULEMANS J G.......................................................42
SYDNEY G.................................................................40
BROTHERS B..............................................................72
LOVELL S R................................................................20
TAPPER G................................................................3, 4
CASTLE L...................................................................13
MARTIN J...................................................................74
THOMPSON S L.........................................................55
CHING R...........................................57, 93, 94, 95, 96
MASTERS M M.....................................................44, 45
TOLE J.......................................................................86
COATES A...........................................................97, 98
MCARTHUR P..........................................................120
UNKNOWN A......................................................68, 71
CUMMINGS V.....................................................58, 59
MCINTYRE P................................................6, 7, 27, 54
UNKNOWN P......................................................73, 88
DEANS A A.........................................................89, 92
MOFFITT T R...............................................................25
VAN DER VELDEN P .................................................60
DEMANT R................................................................33
NICOLL A F.................................................49, 50, 100
WEEKS J................................11, 21, 23, 53, 78, 79, 87
DOBIE B.....................................................................43
NIGRO J....................................................8, 9, 12, 119
WHEELER C V...........................................................90
ESPLIN T...........................................................110, 111
PAGE E......................................................................41
WHITE R.....................................................................22
FOMISON T.............................................................117
PATTERSON R............................................................10
WHITEMAN V E.........................................................99
FORAN M A M........................................................118
PERRETT J D...............................................................70
WILLIAMS G..............................................................76
FRISTROM E...........................................................2, 85
PRATT H...................................................................114
WOLFE P...................................................................16
GAUT J......................................................................63
PRUDEN G E.............................................................75
WOOLLASTON T.......................................................34
GIBB J........................................................................37
ROSELL A................................................................108
WORSLEY C N.........................................................109
GOLDIE C F........................................................36, 38
SAVAGE C...............................................................115
GULLY J.....................................................................82
SIDDELL P............................................1, 18, 19, 28, 35
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99
Conditions of Sale and A Guide to Buyers The highest bidder shall be the buyer. In the event of any dispute as to the bidding in respect of any lot, that lot may be offered again at the discretion of the auctioneer whose decision shall be absolute and final. The auctioneer has the right (i) to refuse any bid; (ii) to advance the bidding at his absolute discretion; (iii) to place a reserve on any lot; (iv) to place a bid or bids on behalf of the seller; (v) to withdraw any lot from sale; (vi) to require a successful bidder to pay forthwith the whole or any part of the purchase price. The auctioneer acts as the agent of the seller and neither he nor the seller shall be responsible for any defects or faults in any lot or for any errors of description or for genuineness or authenticity of any lot and no compensation shall be paid in respect of same.
ABSENTEE BIDS Absentee bidding arranged - please refer to absentee bidding in back of catalogue. Fax to (09) 307 3421 or post to PO Box 37 344 Parnell before 3pm day of sale. Please do not be offended if a member of our staff ask for your credit card details as security. Absentee bids can also be left via our website to registered members. Our website www.fineartauction.co.nz acts as a useful auxiliary to the catalogue but we recommend inspection or a condition report prior to leaving a bid. Our staff will gladly supply you with a condition report on any lot. TELEPHONE BIDS Telephone bidding available to subscribers and registered bidders. There is no charge for this service. PAYMENT FACILITIES Eftpos: Available for transactions depending on your daily limit.
From the time of lot being sold, such lot will be the responsibility of the buyer.
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.
Successful bidders are required to pay for purchases immediately on completion of sale unless otherwise arranged.
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.
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 22 November 2013 unless otherwise arranged failing which the auctioneer and/or the seller shall have the right to forfeit any deposit paid by the buyer and to resell the lot either by public or private sale and any deficiency on costs of resale shall be borne by the defaulting buyer. No lot may be collected whilst auction is in progress. Payment can also not be made until completion of auction. SUBJECT BIDS When the auctioneer declares a lot ‘subject’ this means the bid is below the set reserve and is subject to vendor accepting, rejecting or negotiating the bid. International Art Centre will endeavour to make contact with the vendor immediately after sale or the following day. If the bid is accepted, the highest bidder is obligated to make purchase. ESTIMATES Estimates are provided for each entry and act as a guide only. They are prepared well in advance of sale and are subject to revision at any time. Estimates are based on hammer price and do not include buyers premium.
100 Important, Early & Rare Wednesday 20 November
Credit cards: Visa and Mastercard accepted with a 2% surcharge. American Express cards not accepted. EXPORTING As a general rule, anyone exporting New Zealand works over 60 years of age should apply for an export certificate from the Ministry for Culture and Heritage to avoid disputes with customs. This does not apply to non New Zealand works. For full details visit www.mch.govt.nz FREIGHT & PACKING International Art Centre arrange door to door delivery both nationally and internationally. Please arrange insurance on your items prior to them leaving our premises. OTHER ENQUIRIES Should you have any questions relating to the sale or if we can be of any other assistance please contact us during business hours on (09) 379 4010, Toll Free 0800 800 322 or email info@internationalartcentre.co.nz BUYERS PREMIUM 15% Buyers premium plus GST on premium applies to all lots. (Total buyers premium is 17.25% including GST) www.fineartauction.co.nz
272 PARNELL RD AUCKLAND NEW ZEALAND TEL +64 9 379 4010 FAX +64 9 307 3421 PO BOX 37 344 PARNELL AUCKLAND 1151 www.fineartauction.co.nz
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