THE SPARK FOUNDATION COLLECTION 6:00pm Thursday 1 September 2022
Lot 28 Gretchen Albrecht
Directors Richard Thomson & Frances Davies 202 Parnell Road, Auckland, New Zealand Telephone + 64 9 379 4010 Toll Free 0800 800 322 www.internationalartcentre.co.nz THE SPARK FOUNDATION COLLECTION Live Auction 6:00pm Thursday 1 September Viewing times: 202 Parnell Road, Auckland Friday 26 August 10:00am - 5:00pm Saturday 27 August 11:00am - 3:00pm Sunday 28 August 11:00am - 3:00pm Monday 29 August 9:30am - 5:30pm Tuesday 30 August 9:30am - 5:30pm Wednesday 31 August 9:30am - 4:00pm Thursday 1 September 9:30am - 4:00pm For additional images of lots, including framed photographs and further detail visit our bidding platform https://auctions.internationalartcentre.co.nz
SPARK FOUNDATION COLLECTION
THE
Spark Foundation’s philanthropic mission is to accelerate towards digital equity. We are proud of our partnerships across Aotearoa that are making a real difference in ensuring the next generation of thinkers, our tamariki and rangitahi, have the digital access we take for granted, and are inspired by the opportunities the digital future presents.
Over the decades, the Spark art collection has proudly held an important place in New Zealand’s corporate art landscape. But we believe the time is right to move from on having valuable artworks on office walls, to be enjoyed by a relatively privileged few working at Spark. And in doing so, help fulfil our vision that no New Zealander is left behind in a digital world.
Ngā mihi nui Andrew Pirie Chair, Spark Foundation Board
Although the Spark Foundation Trustees were proud to become kaitiaki of the art collection, we have always kept an open mind towards selling the Collection and investing the proceeds into supporting our digital equity programme. A few years ago, the Foundation sold one significant work and we have now decided to offer the rest of the art collection for auction.
Primarily during the 1990s and 2000s, Spark New Zealand (then known as Telecom) supported the Aotearoa art community by investing in an impressive collection of works by some of our nation’s most gifted artists. In 2011, this art collection was gifted by the company to a dedicated Art Trust, with the works remaining on display within Spark premises. In 2017, as part of a rationalisation of charitable foundations associated with Spark, the Spark Art Trust was dissolved and the art collection was transferred to the Spark Foundation.
Lot 15 Nigel Brown
Contacts and Condition Reports Richard Thomson Ph +64 9 379 Pleasegrace@artcntr.co.nzPhGraceluke@artcntr.co.nzPhLukesummer@artcntr.co.nzPhSummerMobilerichard@artcntr.co.nz40100274751071Masters+6493794010Davies+6493794010Harris+6493794010registeronour bidding platform to participate remotely https://auctions.internationalartcentre.co.nz Note: Spark Foundation is proudly committed to equity for artists and have implemented a resale royalty of 5% of the hammer price for artworks by living artists that fetch $5,000 or more in this collection. Conditions of Sale p.91 Absentee & telephone bids p. 85 202 Parnell Road, Auckland, New Zealand Telephone + 64 9 379 4010 Toll Free 0800 800 322 www.internationalartcentre.co.nz
LINDA TYLER tyler
THE SPARK FOUNDATION COLLECTION linda
Every year during Auckland’s October Artweek, I take the public on tours around art collections in the city. Dubbed Unlocked Collections Tours in the Artweek calendar, these provide an opportunity for people to see “behind closed doors” and catch a glimpse of the paintings hung in usually off limits locations such as the campus of the University of Auckland, or in the members’ lounge at the Northern Club. Particularly popular were the tours of the city’s great corporate collections, the BNZ art collection in the tower in Shortland Street, and the Spark collection in Victoria Street West. In Dunedin I had been a judge of the art awards initiated by the Telecom Corporation of New Zealand in 1990. Moving to Auckland in 2006, I knew that Telecom had a collection of the winning artworks which were used on the covers of each of the 18 regions’ telephone directories from over the 21 years that the competition ran until it ended in 2011. These were hung in public areas at Spark in Victoria Street West, and when taking people on tours, I would often stop to reminisce about when the delivery of a new phone book would be eagerly anticipated to see what was on the cover. I was delighted that many of the great works in the Telecom Art Collection had been moved from Wellington up to Auckland as well. Along with the Electricorp (Rutherford Art Collection now at Aratoi Art Gallery in Masterton) and the BNZ, Telecom had formed one of New Zealand’s most important corporate art collections for display in its Wellington offices during the 1990s. This had come about following the privatisation of Telecom as New Zealand’s largest listed company when Sir Roderick Deane became Chief Executive of the new entity in 1992. From then until 1999 he had used his knowledge of New Zealand art to buy paintings and sculpture of the highest quality to enhance the Ian Athfield-designed headquarters of the organisation. As a Wellingtonian, Deane bought works by artists closely connected with the city such as Rita Angus and Brent Wong, but he also made sure to collect Auckland artists such as Gretchen Albrecht, Paul Hartigan, Pat Hanly and Richard Killeen, often guided by Peter McLeavey, the legendary Wellington art dealer, in his selections. His choice of paintings by Dunedin’s Ralph Hotere show the impact of Wellington’s City Gallery exhibition Out the Black Window in 1997 as several of the works of paper were included there as part of the focus on the artist’s collaboration with poets. As a snapshot of the major artists of the late twentieth century, the Spark Art Collection is both comprehensive and distinctive.
ONLINE BIDDING FOR AUCTIONTHIS • Visit https://auctions.internationalartcentre.co.nz to register on our online bidding platform • Apple users may download the International Art Centre App from the App store • Android users download from Googleplay • Our bidding platform allows you to browse catalogues, enjoy auctions in real time and place bids from anywhere in the world • Watch and participate in the auction remotely Bid anywhere from a device Bid from a computer
10 THE SPARK FOUNDATION COLLECTION 6:00pm Thursday 1 September 2022 Auction Highlights IMPORTANT & RARE ART held 3 AUGUST a a: Rita Angus Lake Wanaka, Pemrboke Realised $180,180 - an auction record for a Rita Angus b:watercolourKarlMaughan Nash-Ville Realised $84,490 c: Milan Mrkusich Painting Red 2000 Realised $90,090 d: Jacqueline Fahey The Lunch Box Realised $67,270 - an auction record e: Frances Hodgkins The Summit Realised $103,370 f: Ian Scott Five Miniskirts, 1969-70 Realised $144,140 - an auction record g: Colin McCahon North Otago Landscape Realised $156,160 - an auction record h: Charles F Goldie Rakapa Realised $540,000 i: Michael Smither Akmons Realised $153,150 j: Gottfried Lindauer Girl with Gourd Realised $348,360 - an auction record Sales of $4.266 million Prices include buyers premiumcb d
11feg hij
12 THE SPARK FOUNDATION COLLECTION 6:00pm Thursday 1 September 2022 Closing 6:00pm Monday 15 August ART at HOME 18 Online aucTION Join the auction and BID https://auctions.internationalartcentre.co.nz/auctions/4-6PA9HC/art-at-home-18-contemporaryNOW DENNIS KNIGHT TURNER, Untitled, 1952 Est. $4,000 - 6,000
13 COLIN MCCAHON, Northland, 1960 Est. $30,000 - 40,000 Closing 6:00pm Monday 15 August ART at HOME 18 Online aucTION https://auctions.internationalartcentre.co.nz/auctions/4-6PA9HC/art-at-home-18-contemporary
14 THE SPARK FOUNDATION COLLECTION 6:00pm Thursday 1 September 2022 Opening Noon, 13 Sptember closing 6:00pm Monday 19 September ART at HOME 19 Online aucTION - A SPRING OFFERING Register or Consign works to the auction https://auctions.internationalartcentre.co.nz Fiona Pardington, Tui Mountain, 2008, Pigment ink on Hanemuhle Photo rag 56 x 43.8cm
Douglas Badcock Central Otago Landscape Oil on board 43 x 59cm Register or Consign works to the auction https://auctions.internationalartcentre.co.nz
16 THE SPARK FOUNDATION COLLECTION 6:00pm Thursday 1 September 2022 2 ALLEN MADDOX (1948 - 2000) Blue Cross Lithograph edition 5/15, 40 x 29.7 $1,400Signed - 1,800 1 ALLEN MADDOX (1948 - 2000) Boxed Cross Oil on paper, 40.6 x 30.5 Signed & dated 12.10.84 $3,000 - 5,000
17 3 JENNY DOLEZEL (b.1964) Another Night at Home Lithograph on rag paper, 68 x 88 Signed & dated 1987 $1,000 - 1,500 4 JOHN DRAWBRIDGE (1930-2005) South Coast, 1994 Tapestry woven by Patricia Armour, 11.5 x 13 Signed by Patricia Armour and John $500Drawbridge-1,000 5 ELIZABETH THOMSON (b.1955) Twilight Zone Aquatint edition 5/20, 40 x 120 Signed & inscribed Twilight Zone $800 - 1,200 5 413
18 THE SPARK FOUNDATION COLLECTION 6:00pm Thursday 1 September 2022 6 KARL MAUGHAN (b. 1964) Untitled Diptych, 1988 (The First Garden Painting) Oil on board, 101 x 148 Signed $15,000verso-25,000 KARL MAUGHAN THE FIRST GARDEN PAINTING
19
Born in Otaki at the end of World War II, Brent Wong grew up in Wellington, living above his uncle’s shop in Vivian Street. Early paintings included the Victorian and Edwardian wooden and masonry buildings of the capital city, viewed from his bedroom window.
20 THE SPARK FOUNDATION COLLECTION 6:00pm Thursday 1 September 2022 7 BRENT WONG (b. 1945) Study for Anniversary, 1969 Acrylic on hardboard, 65.5 x 77.8 Signed, inscribed Study for Anniversary & dated 1969 verso $35,000 - 45,000
In addition to Angus, his early influences included the Belgian Surrealist artist Rene Magritte (1898-1967) and American Regionalist painter Andrew Wyeth (1917-2009). He worked in acrylic on hardboard using fine brushes to perfect his technique for rendering local landscapes sprawling beneath perfectly blue skies with a high degree of finish. The land shown seems overgrazed, parched and dry as if affected by drought after a long summer. His high viewpoint shows us the erosion of the cliffs into the sea below this hilltop. Study for Anniversary includes his characteristic white geometric architectural forms floating in the sky - two disks, a cube and a thinner plinth. Combined with the dark cavern of the open mine shaft, leaning fence post and shadow creeping over the scene from the left, the forms in the sky create a sense of contrast and mystery.
Although he studied at the Wellington Polytechnic School of Design under James Coe, Wong is largely self-taught as an artist, having been mentored by the painter Rita Angus (1908-1970) whom he met as an exhibiting artist at the New Zealand Academy of Fine Arts in 1967 while it still occupied a gallery in the National Art Gallery in Buckle Street.
21
Rather than using photographs or drawings in order to create his landscapes as painters such as Grahame Sydney do, Brent Wong worked from memory. His depictions evoked empty farmland, perhaps the Wairarapa or Hawke’s Bay, where human and animal presence was replaced by geometric constructions suspended in the sky. Impressed by his originality, Rita Angus encouraged him to exhibit with The Group, a progressive association of artists in Christchurch which she belonged to. By the age of 24 in August 1969, he had mounted his first solo exhibition of 12 paintings at the Rothman’s Cultural Centre in Wellington, and had four works published in the literary and arts journal Ascent. The Hocken Library in Dunedin bought a painting, and he was soon acclaimed as a major new talent.
Brent Wong was a finalist in the Benson and Hedges Art Award, 1970, which his brother Wong Sing Tai (Harry Wong) had won in its inaugural year. By 1971 when this work was made, Brent Wong was exhibiting nationally. While his brother showed at Peter McLeavey Gallery, Brent Wong showed his new work in the display space at Victoria University Library. The reviewer described his paintings as haunted by “some mechanical monster or robot ghost” which hovers above the New Zealand landscape, in a sky painted “a disquieting blue”. Soon Brent Wong had a grant from the QEII Arts Council to make an exhibition of new work for sale at the Barry Lett Galleries in Auckland and had won the $500 top prize in the Tokoroa Art Award. He stopped painting in 2008 to concentrate on musical composition, his other great love.
22 THE SPARK FOUNDATION COLLECTION 6:00pm Thursday 1 September 2022 8 BRENT WONG (b. 1945) Matrix Study, 1971 Acrylic on hardboard, 63.2 x 77 Signed, inscribed Matrix Study & dated 1971 verso $30,000 - 40,000
23
24 THE SPARK FOUNDATION COLLECTION 6:00pm Thursday 1 September 2022 9 PAUL HARTIGAN (b. 1953) Holocaustinals Enamel on board, 79 x 148.2 Signed, inscribed & dated 1988 $8,000 - 12,000 Holocaustinals addresses the subject and potential threat of nuclear war during the late 20th century by irresponsible Superpowers and miraculous nuclear ‘frisson’ (depicted at right side in painting ie reactor core) rendered in characteristic neon colours - Paul Hartigan
25 10 PAUL HARTIGAN (b. 1953) Akkadian Passage Enamel on board, 43.8 x 59 Signed, inscribed Akkadian Passage & dated 1989 $4,000 - 6,000 Akkadian Passage is a typical Hartigan pictographic painting, it loosely represents cave drawing glyphs, the primitive script by early man and my obsession with glowing neon-line - Paul Hartigan
26 THE SPARK FOUNDATION COLLECTION 6:00pm Thursday 1 September 2022 11 GEOFF THORNLEY (b. 1942) No. 23, 1985 Construction, acrylic on primed 4mm MDF in 9 pieces laid over a similar piece recessed within a constructed backing, 81 x Signed81& dated 1985 verso $10,000 - 15,000 Born in Levin, Geoff Thornley studied at the Elam School of Fine Arts from 1960 to 1964, and had his first solo exhibition of figurative surrealist paintings at Barry Lett Galleries in Auckland in 1967. Such was his remarkable ability and talent that from this exhibition the Auckland City Art Gallery immediately acquired Ocean Within no.8 (1967), the first of 22 Thornley paintings now in their collection. Oceans Within shows a faceless man and a woman stepping towards the viewer, the besuited man holds his hand outstretched, palm upward, while behind them, the silhouettes of a trio of figures stride through the landscape. After being exposed to a plethora of Abstract Expressionist painting on his travels to London and the United States in 1968-69, Thornley returned to New Zealand and reestablished himself as an abstract painter. This construction shows the interest he had in making works where flat painted rectangular and trapezoid surfaces are combined to make three dimensional material objects. Dutch painter Piet Mondrian wrote about “counter-striving” where one element plays against the “tensing” of another to create dynamic compositions, and here we can see that concept in action. Placed on the magenta shape which acts as an anchor here are four smaller rectangles of primary and secondary colours which are activated by pairings of yellow and black (and in one case, white and black) blocks, all contained by a beige square base board.
27
28 THE SPARK FOUNDATION COLLECTION 6:00pm Thursday 1 September 2022 12 GEOFF THORNLEY (b. 1942) Tondo No 3 Acrylic on board 115 x 115 Signed, inscribed Tondo No 3 & dated 1983 verso $8,000 - 12,000 Geoff Thornley’s major Albus series of paintings from 1974-75 showed how monochromatic surfaces could be put into play against an underlying grid structure. He began showing at Petar/James Gallery in the Law Society Building at 56 Shortland Street in Auckland where influential gallerist Petar Vuletic provided critical support for fostering abstraction in painting. Alongside artists Ron Left, Milan MrKusich, Roy Good, Stephen Bambury, Richard Killeen, Gordon Walters and Ian Scott, Thornley showed works which were experiments in painted constructions. He ventured into the circular tondo format which became popular in Renaissance Italy during the 15th century, derived from round reliefs of subjects such as the Michaelangelo’s Madonna and Child. Always interested in the relationship of the painting to the wall, the tondo created a new dynamic of painting and frame. The curving arcs of blue, black and red around the periphery of the painting reinforce the round shape, but also draw attention to the edge of the work, setting it in motion for the viewer. Placed intuitively, these Bauhauslike building blocks indicate the artist’s interest in colour as an element in painting that activates an emotional response. These operate in contrast to the action of the expanse of white which creates a still centre to the work, balancing the momentum of the curves.
29
30 THE SPARK FOUNDATION COLLECTION 6:00pm Thursday 1 September 2022 13 GEOFF THORNLEY (b. 1942) Dyad Series Acrylic on wood construction, 112.5 x 107.5 Signed, inscribed & dated 1986 verso $10,000 - 15,000 In this work, artist Geoff Thornley contrasts the pictorial and material aspects of the work. The small rectangles are cut into the pinky-orange substrate which provides the field of colour for the work. Like elements in a terrazzo floor, these bright geometric shapes activate the surface, enlivening it with jazzy patterns. Four darker green diamonds at the centre are complemented by blocks of red, arranged like the points of a kite on the diagonal across the work. Two lighter green rectangles counter this on the opposing diagonal access, matched by a smaller black rectangle and larger white square. Thornley makes us aware of the chromatic visual effects, where certain colours enhance each other when placed in proximity, and how light colours appear to advance forward while darker colours recede.
The dynamism of this work with its asymmetry, disjunctions of hue and unlikely puce background make it an exceptional example of Thornley’s work from this era. The feeling in this painting is lively and joyous. Additionally, issues of compression and expansion as well as scale are being explored here. As the artist himself said in an interview with William McAloon for the catalogue to accompany the exhibition of his constructions from 1972-1982 at the Gus Fisher Gallery in 2007 - Each work is a link in the chain of discovery.
31
32 THE SPARK FOUNDATION COLLECTION 6:00pm Thursday 1 September 2022 14 GEORGE BALOGHY (b.1950) Mount Eden Oil on paper, 103.5 x 143.8 Signed & dated 1989 $4,000 - 6,000
33 15 NIGEL BROWN (b.1949) Aroha Triptych Acrylic on three sheets of paper, 63.9 x Signed,149inscribed Aroha Triptych B verso & dated 1988 $5,000 - 8,000
34 THE SPARK FOUNDATION COLLECTION 6:00pm Thursday 1 September 2022 16 MICHAEL SMITHER (b. 1939) Still Life with White Mug & Sliced Bread Oil on board, 48.3 x 38.4 Signed & dated 1961 $10,000CanterburyPROVENANCE15,000Gallery, original label affixed verso Spark Foundation Collection
Reproduced in the artist’s 1984 Govett-Brewster catalogue which accompanied the exhibition surveying his practice curated by Jim and Mary Barr, this early still life was painted when the artist was just 21 years old. It shows the influence of one of his lecturers at the Elam School of Fine Arts, John Weeks (1886-1965). The elements of the chair back, blue gingham tablecloth, knife, butter, mug, loaf and slices of bread are simple enough, but they are combined in a composition which is closely cropped and highly complex. Weeks was a Cubist who had studied with Andre Lhote in Paris. He encouraged his painting students to use layering and multiple perspectives. Smither has made it his business to paint what I know throughout his career, depicting people, landscapes and domestic environments which he understands.
Recording the makings of a sandwich lunch shows that there was always something that was happening in the home which was worthy of documentation as part of daily life. His palette is rich with Fauvist colour: dark greens for the shadows and vivid red outlines for the crust around the sliced bread. Attention has been lavished on all the parts of the composition so that the sheen on the crockery does not compete with the folds of the butter paper but is seen as equally interesting. The thickly-painted and directional brushstrokes lend dynamism to the painting which is tightly focused around a circular arrangement of simplified forms, viewed from above.
35
Daughter of William McKenzie Angus, the owner of a successful Hawke’s Bay construction business, Rita Angus enrolled at Canterbury College School of Art in 1927. She later recalled - My father taught me as a child that whatever I wanted to make of my life I must do so, and not waste time talking about it. His focus on building also fostered an appreciation for architecture which became a a dominant theme in her painting.
Concerned about his eldest daughter’s precarious existence as an artist, her father bought her a Paul Pascoe-designed modernist house at 18 Aranoni Track in Clifton, Christchurch, with spectacular views over Sumner Beach. Nine years later, he gifted her a parcel of shares in his company, from which she derived an income for the rest of her life. She sold the Clifton house in 1955 and with the proceeds bought a 1877 cottage discreetly positioned at 194a Sydney Street, Thorndon.
The views to the north-east, over the city to the harbour (as seen in this work) were restful, and it was just a short walk to the Tinakori Road home of her friend, composer Douglas WellingtonLilburn.suited Rita Angus very well, and she created enough work in two years for her first solo exhibition which was held at the Architectural Centre Gallery in 1957. The next year, when she turned 50, she used an Association of New Zealand Art Societies Fellowship to fund travel to England and Europe, attending life drawing classes at the Chelsea School of Art. She painted several versions of the view of London rooftops from the window of her room in Oakley Street, Chelsea. On her return to Wellington, Colin McCahon requested her recent paintings for the exhibition Five New Zealand Watercolourists at the Auckland City Art Gallery where Kees and Tine Hos may have first become acquainted with her skill as a watercolourist. This painting of the view from her studio window shows her interest in geometricizing the structure of buildings with the front of the houses on the opposite side of Sydney Street West in the foreground, the back of Parliament Buildings in the midground and, across the harbour, Point Howard and Lowry Bay in the distance. It is a very similar composition to Early Morning, Thorndon (1962) a watercolour purchased for the Canterbury Public Library by Ron O’Reilly and now in the collection of the Christchurch Art Gallery, except for the salmon pink block of Cecil Wood’s 18 metre high Wellington Cathedral of St Paul in Molesworth Street which can be seen at upper left. Three years later, an extension to the motorway was underway and depictions of the soon-to-be demolished architectural features of Thorndon dominated Angus’s sketchbooks until her death in 1970.
of Mr Kees Hos, Melbourne. Kees and Tina Hos were owners of the New Vision Gallery in Auckland and pioneers in the fledgling market for contemporary New Zealand painting, promoting the works of many of the painters who now have established reputations.
36 THE SPARK FOUNDATION COLLECTION 6:00pm Thursday 1 September 2022 17 RITA ANGUS (1908-70) Wellington Rooftops Watercolour, 37.8 x 55.7 Signed & dated 1962 $80,000FromPROVENANCE120,000theCollection
37
Following tuition at the Canterbury College School of Art and a period working in Wellington, Hanly travelled to London where he studied at the Chelsea School of Art, and lived with fellow New Zealand artist, Gil Taverner, from 1958 until 1962. Returning to Auckland, he began teaching drawing at the School of Architecture part-time, which he continued to do for the next thirty years, while painting and exhibiting prolifically. Hanly’s work from the 1960s and early 1970s celebrate his return to the Southern Hemisphere. He relished having time to paint during the hot summers after the teaching semester ends in November. He created many joyous depictions of the abundant growth of partner Gil’s lush tropical plantings in the Windmill Road garden.
Small but powerfully painted, Summer Condition is an excellent example of Hanly’s gestural expressionism. With the word Summer emblazoned in thick yellow paint across the foreground, it maintains a representational division into sky, vegetation and earth.
1974 was a watershed year for Hanly. A retrospective exhibition of 52 paintings from 1958 to 1974, organised by the Dowse Art Museum in Lower Hutt toured the main four centres as well as Hamilton and New Plymouth, arousing huge interest and commentary, establishing him as one of the leading painters of his generation.
38 THE SPARK FOUNDATION COLLECTION 6:00pm Thursday 1 September 2022 18 PAT HANLY (1932-2004) Summer Condition Enamel on board, 29.5 x 29.3 Signed & dated 1974 Inscribed Summer Condition verso $12,000CanterburyPROVENANCE18,000Gallery, original label affixed verso Spark Foundation Collection
Here in Summer Condition, Hanly energises relationships between aspects of the garden with vibrant daubs of paint. In another work from the same year, Summer (1974) in the Jasmax Collection, he uses the same dark cerulean blue for the sky, interrupted with lighter blue cumulus cloud patterns. The primary colours of blue and yellow enhance each other, tying the painting together vertically. The complementary secondary colours of green and orange link together horizontally to tighten the composition.
39
Collection Windows are a frequent motif in Ralph Hotere’s work, carrying in their representation symbolic associations of illumination and hope. In 1997, the exhibition Out the Black Window curated by Gregory O’Brien for the City Gallery, toured nationally. With its focus on words and poetry in his art, it may have been the catalyst for Hotere creating this work as a return to pure painting. With its large white-framed black and small blue square set within a rust-coloured field, set off by the overlay of a bright red vertically-placed rectangle, this work appears like a series of windows with no transparency. Rather than offering a window on the world, it is a postpainterly abstraction: an exercise in establishing colour relationships, and the disruption of symmetry, without Ralphwords.Hotere (Te Aupōuri and Te Rarawa) was born in Mitimiti, in the Hokianga, and studied at the Dunedin School of Art, becoming one of Gordon Tovey’s chosen Education Department arts advisors in the Bay of Islands. In 1961, a New Zealand Art Societies Fellowship supported his study at the Central School of Art and Design in London and subsequent travel in France and Europe, before he returned to New Zealand in 1965. His overseas travel coincided with the ascendancy of Abstract Expressionism, and in particular, Colour Field painting which was characterised by large areas of stained canvas, where paint was applied to unprimed canvas to create the kinds of areas of flat saturated colour seen in this work.
Awarded the Frances Hodgkins Fellowship in 1969, he returned to Dunedin, eventually building a studio at Observation Point overlooking Port Chalmers (inscribed as the location for this work) before Port Otago’s bisection of the hill to provide more land for logs to be stored necessitated his move to Harbour Terrace in Carey’s Bay. His appreciation of the coastal environment and conservationist desire to protect it provided inspiration for much of his later work.
40 THE SPARK FOUNDATION COLLECTION 6:00pm Thursday 1 September 2022 19 RALPH HOTERE (1931- 2013) Untitled Oil & oil staining with pencil and orange crayon guides on selectively primed canvas, 105.4 x 105.8 Signed, inscribed Port Chalmers & dated 1997 verso $50,000SparkPROVENANCE75,000Foundation
41
42 THE SPARK FOUNDATION COLLECTION 6:00pm Thursday 1 September 2022 20 RALPH HOTERE (1931 - 2013) Turning in Leathery Water Watercolour, 57 x 36 Signed & dated 1972 $8,000 - 12,000 21 RALPH HOTERE (1931 - 2013) In the Labyrinth, at the Demolishing Watercolour, 57 x 36 $8,000Signed - 12,000
Pine: A Poem by Bill Manhire Watercolour on lithograph, 57.2 x 43.2 $8,000Signed - 12,000 Poet Bill Manhire, whom Hotere had met in Dunedin, was living in London in the early 1970s. Manhire would send postcards with the word PINE typed repeatedly on them, and a line of poetry.
Made by Thomas Long of Edinburgh about 1860, this press had been brought to Dunedin in the mid1860s by Henry Wise and was used to print street directories. Hotere combines serif and sans serif fonts for the column of PINE, making it appear like a tree trunk. He has run each piece of paper through the press several times to get overprinting effects, which also make the word PINE appear like a sound poem, echoing across the lightly toned green paper.
2223
43 22 RALPH HOTERE (1931 - 2013) In Your Wrists Watercolour on lithograph, 57.5 x 43.2 $8,000Signed - 12,000 23 RALPH HOTERE (1931 - 2013)
Although Manhire was thinking of pine plantations which he found rather scary, in response Hotere made a series of works on paper in which he plays on other meaning of the word pine, which is to lament the loss of someone or something. Pairing the black ink-outlined word PINE with a line of text from Manhire’s poem with a patch of bruise-coloured brushy watercolour marks, Hotere numbered these 1972 works one to fourteen, like the Stations of the Cross Two years later, in 1974, Hotere used the historic royal Columbian handpress in the Otakou Press room at the University of Otago Library to make a series of woodblock prints with ink annotations.
44 THE SPARK FOUNDATION COLLECTION 6:00pm Thursday 1 September 2022 24 IAN SCOTT (1945 - 2013) Shipping Lines Acrylic on canvas, 71 x 91.5 Signed & dated 1986 verso $10,000 - 15,000
45 25 IAN SCOTT (1945 - 2013) Navigation Light Acrylic on canvas, 91.5 x 152.4 Signed, inscribed Navigation Light & dated April 1987 on stretcher Signedverso. & dated 1987 on canvas $15,000verso-25,000
A portrait can be a still life, something unmoving, and in this way Killeen’s works allude to the title of James Joyce’s first novel, Portrait of the Artist as a Young Man (1916) with its hero, Stephen Dedalus, named after the Greek artist Daedalus who created the Labyrinth. He also made wings for himself and his son Icarus, but the wax that held them together melted causing Icarus to plunge to his death when he flew too close to the sun. Daedalus was a useful symbol for Joyce who was writing a new type of literature but was repeatedly shot down as he tried to get it published. Joyce himself is an exemplar for Killeen (who shares the writer’s Irish Catholic background) in his experimentation with a new painting language.
One of several works titled Still Life with James Joyce (another 79 piece iteration made in 1994 interrupted a line of Measuring Tools works and in 1995, Killeen made a 29 piece version), like the others, this one includes computer-generated images from Killeen’s codex. Each features conventional still-life objects rendered as patterns: fork designs, spiralling, or spreading like a fan, as well as teacups, bottles, spoons and distorted scissors and spoons. Joyce’s iconic wire-framed spectacles, evidence of his eyesight problems, which defined his image in photographs and caricatures, are reproduced prominently here, with arms folded across the lenses, silhouetted against a black cup background.
Sill Life with James Joyce Polyptych acrylic and collage on 20 aluminium pieces, 162 x 190 approx Signed & dated 1994 $30,000 - 40,000 Includes original storage case Following an early period as a realist painter in the 1960s, and a brief flirtation with camouflage patterns in the early 1970s, by 1974 Richard Killeen’s interest in patterns led him to become a grid painter. Beetles and butterflies began to infiltrate his work in the later 1970s, and by 1978 he had made his first cut-out painting, Across the Pacific, using cardboard stencils to cut out 15 aluminium shapes which were then coated in black acrylic lacquer.
46 THE SPARK FOUNDATION COLLECTION 6:00pm Thursday 1 September 2022 26 RICHARD KILLEEN (b.1946)
47
He was made a Member of the New Zealand Order of Merit in 2005 for services to sculpture, and his work is held in the collections of the Museum of New Zealand Te Papa Tongarewa, the Dowse Art Museum, Te Manawa in Palmerston North and the Christchurch Art PaulGallery.Dibble’s
Maori regarded the bird as tapu, and wearing its feathers was reserved for people of high status. A fashion craze started amongst Europeans in 1901 when photographs circulated of the visiting Duke of York wearing the feather he had been given by a guide in Rotorua in his hat band. As a result, the birds had been hunted to extinction by 1907. Born in Thames, Paul Dibble was raised on a farm at Waitakaruru and studied sculpture at the Elam School of Fine Arts, graduating with a Dip.F.A. (Hons) in 1967. He taught painting and sculpture in Palmerston North from 1977, establishing his own bronze foundry there in 2000.
Feather sculpture is a tribute to the memory of this remarkable bird with its 12 distinctivelystriped tail feathers. His scaled-up huia feather stands vertically like a monument, propped up by a forked stick like a crutch, and is a reminder of the frailty of all indigenous avifauna where their habitats are threatened by introduced predators.
In June 2010
a single huia tail feather sold at auction in Auckland for NZ$8,000 – making it the world’s most expensive feather. Always treasured, the feathers were once traded widely and stored in waka huia, but they are now extremely rare outside of museum collections.
48 THE SPARK FOUNDATION COLLECTION 6:00pm Thursday 1 September 2022 27 PAUL DIBBLE (b.1943) Feather Bronze, edition of 3, 189.2 x 29 Signed & dated 2014 $60,000SparkGowPROVENANCE80,000LangsfordGalleryFoundationCollection
49
50 THE SPARK FOUNDATION COLLECTION 6:00pm Thursday 1 September 2022 28 GRETCHEN ALBRECHT (b. 1943 ) Inlet West Coast 1974 Acrylic on canvas, 121.3 x 181 Signed & dated 1974 $40,000 - 60,000 After early figurative and expressionist works, Gretchen Albrecht turned to painting still-life compositions, before coming into her own as a robust colourist with a major series of large-scale landscapes in the mid-1970s. Her personal experience of the paintings of American Colour Field painter Morris Louis in an exhibition at the Auckland City Art Gallery in 1971 intensified her interest in the psychological and expressive effects of the use of flat areas of intense colour in painting. Living out west in Konini Road in Titirangi from 1973 until 1982 gave her the opportunity to visit the nearby beaches at Karekare and Piha soaking up inspiration from the wild west coast. Staining her canvas with acrylic paint allowed her to achieve light veils of transparent colour which lift and float like silk scarves in the wind. Here she has rendered a sunset brewing over the sea as bands of a brilliant rainbow. A sense of immensity is achieved in the horizontal expansiveness, but also the effect of movement, perhaps of the sea surging, and the clouds gathering as the sun dips below the horizon. Hovering between abstraction and representation, Albrecht’s paintings in this period were described approvingly by critic Hamish Keith as resembling the layers in a Victorian sand bottle.
51
52 THE SPARK FOUNDATION COLLECTION 6:00pm Thursday 1 September 2022 29 IAN SCOTT (1945 - 2013) Green Lines Acrylic on paper, 37.4 x 56.8 $2,500 - 3,500
53 30 IAN SCOTT (1945 - 2013) Untitled Acrylic on paper, 57 x 77 $2,500 - 3,500
54 THE SPARK FOUNDATION COLLECTION 6:00pm Thursday 1 September 2022 31 DON BINNEY (1940-2012) Pole Line, Te Henga Lithograph, edition 37/38, 50 x 70 Signed, inscribed Pole Line, Te Henga & dated 1989 $5,000 - 7,000 32 ROBERT ELLIS (1929-2021) Untitled Mixed media on paper, 99.8 x 64.6 Signed & dated 1989 $7,000 - 10,000
55
56 THE SPARK FOUNDATION COLLECTION 6:00pm Thursday 1 September 2022 33 ANN ROBINSON (b.1944) Cactus Vase Crystal vase, 61.5 x 15.5 Signed, inscribed 1/1 & dated 1998 on base $20,000 - 30,000
57 34 ANN ROBINSON (b.1944) Pod Cast lead crystal, 24.3 x 34 Signed, inscribed 1/1 & dated 1998 on base $18,000 - 24,000
58 THE SPARK FOUNDATION COLLECTION 6:00pm Thursday 1 September 2022 35 GEORGE BALOGHY (b. 1950) Higher Thought Temple Oil on board, 59.5 x 84.3 Signed & dated 1986 $4,000 - 6,000
59 36 GEORGE BALOGHY (b. 1950) Upper Queen St Oil on board, 59.5 x 79.5 $4,000Signed - 6,000
60 THE SPARK FOUNDATION COLLECTION 6:00pm Thursday 1 September 2022
61 37 IAN SCOTT (1945-2013) Untitled - Lattice Acrylic on paper, 76.2 x 56 $1,500 - 2,500 38 GEORGE BALOGHY (b. 1950) Shangri La Oil on paper, 131.5 x 151 Signed & dated 1989 $4,000 - 6,000
62 THE SPARK FOUNDATION COLLECTION 6:00pm Thursday 1 September 2022 39 PAT HANLY (1932 - 2004 ) Wonder Lithograph, edition 5/40, 47 x 59.8 Signed & dated 1982 $3,000 - 5,000
63 40 PAT HANLY (1932 - 2004 ) Hope Vessel and Fire, 1986 Eight colour screen print, hand finished with pencil and gouache on paper, 52 x Signed53.8& dated 1986 $3,000 - 5,000
64 THE SPARK FOUNDATION COLLECTION 6:00pm Thursday 1 September 2022 41 PETER ROCHE (1957-2020) Untitled Charcoal & pastel on paper, 148.5 x 83 $2,500 - 3,500411
65 421 42 SIMON MCINTYRE (b.1955) Boat Yards I & II Acrylic on paper, 99.5 x 64.5 $1,500 - 2,500 421
66 THE SPARK FOUNDATION COLLECTION 6:00pm Thursday 1 September 2022 43 DAVE GOODWIN (1950 - 2013) Onewhero I Acrylic on canvas, 84 x 48 Signed on label affixed verso $1,500 - 2,500 44 DAVE GOODWIN (1950 - 2013) Onewhero II Acrylic on canvas, 84 x 48 Signed on label affixed verso $1,500 - 2,500
67 45 NEIL DAWSON (b.1948) Circular Staircase and Clouds Sculptured black & blue painted steel & mesh, 20 x 20 $8,000 - 12,000
68 THE SPARK FOUNDATION COLLECTION 6:00pm Thursday 1 September 2022 46 THOMAS ARTHUR MCCORMACK (1883 - 1973) Still Life with Belladonna Lilies Watercolour, 49.3 x 30.3 $1,000Signed - 2,000 47 BARRY BRICKELL (1935-2016) Spiromorph Ceramic, 113 x 65 $8,000 - 12,000
69
70 THE SPARK FOUNDATION COLLECTION 6:00pm Thursday 1 September 2022 48 JOHN NICOL (b. 1946) Water Step Acrylic with turps based varnished on five wood panels, 206.7 x 244 Signed & dated September 1988 $2,000 - 4,000
71 49 JOHN NICOL (b. 1946) Window Knot Acrylic with turps based varnished on three wood panels, 200 x 164 Signed & dated July 1988 verso $2,000 - 4,000
72 THE SPARK FOUNDATION COLLECTION 6:00pm Thursday 1 September 2022 50 MICHAEL DELL (b.1960) The Hayshed, 1986 Watercolour, 48.5 x 58.7 $1,500Signed - 2,500
73 51 HELEN BROWN (1917 - 1986) Low Tide Oil on board, 45.5 x 55.6 Signed & dated 1958 $2,500CanterburyPROVENANCE3,500Gallery, original label affixed verso
74 THE SPARK FOUNDATION COLLECTION 6:00pm Thursday 1 September 2022 52 BRIDGET BIDWILL (b.1956) Composition in Green Mixed media on paper, 53 x 71.5 Signed & dated 1989 $800 - 1,200 53 BRIDGET BIDWILL (b.1956) Untitled Mixed media on paper, 71.6 x 53.2 Signed & dated 1989 $800 - 1,200 521
75 531
76 THE SPARK FOUNDATION COLLECTION 6:00pm Thursday 1 September 2022 54 RUSSELL JACKSON (b.1947) Gannet, Hauraki Gulf (and Shag) Enamel on board, 120 x 75.7 Signed, inscribed & dated 1996 verso $2,500 - 3,500
77 55 TONY LEWIS Laundry Day Watercolour, 48 x 72 Signed & dated 1988 $800 - 1,200 56 TONY LEWIS House by the River Watercolour, 48 x 72 Signed & dated 1988 $800 - 1,2005655
78 THE SPARK FOUNDATION COLLECTION 6:00pm Thursday 1 September 2022 157 16061 115859 162
79 57 STANLEY PALMER (b. 1936) Afternoon, Maungawhau Monotype, edition 5/5, 56.5 x Signed,85.9inscribed Afternoon, Maungawhau & dated 1988 $1,000 - 2,000 58 STANLEY PALMER (b. 1936) Tankers, Newmarket Junction Monotype, edition 2/6, 63.4 x Signed,91.5inscribed Tankers, Newmarket Junction & dated 1988 $1,500 - 2,500 59 STANLEY PALMER (b. 1936) Maungawhau, Waharoa Bamboo engraving & lithograph, edition 13/100, 40.8 x Signed,62.3inscribed Maungawhau, Waharoa & dated 1988 $800 - 1,200 60 STANLEY PALMER (b. 1936) Arrival - Western Viaduct Bamboo engraving & lithograph, edition 19/100, 42.0 x Signed,61.5inscribed Arrival - Western Viaduct & dated 1988 $800 - 1,200 61 STANLEY PALMER (b. 1936) Towards Maungarei Bamboo engraving & lithograph, edition 13/100, 41.5 x Signed,58.3Towards Maungarei & dated 1988 $500 - 1,000 62 STANLEY PALMER (b. 1936) Marae, Pahaoa Bamboo engraving & lithograph engraving, edition 2/100, 53 x 75 Signed, inscribed Marae, Pahaoa & dated 1988 $800 - 1,200 63 STANLEY PALMER (b. 1936) Chelsea Bamboo engraving & lithograph, edition 8/100 43 x 65.5 Signed, inscribed Chelsea & dated 1988 $800-1,200 64 STANLEY PALMER (b. 1936) Bus, Maraenui, 1988 Bamboo engraving & lithograph, edition 11/100 40.6 x Signed,60.3inscribed Bus, Maraenui & dated 1988 $800 - 1,200 63 64
80 THE SPARK FOUNDATION COLLECTION 6:00pm Thursday 1 September 2022 65 GORDON CROOK (1921-2011) Reunion Screenprint, edition 9/10, 87.3 x 66 Signed, inscribed & dated 1988 $800 - 1,200 66 GORDON CROOK (1921-2011) Looking up the Legs Hieroglyph, edition 9/10, 89.6 x 61.6 Signed, inscribed & dated 1988 $800 - 1,200 67 GORDON CROOK (1921-2011) They Have Opened the Gates of Curtained Places Screenprinted elements, edition 7/10, 105.5 x 75 Signed & dated 1988 $800 - 1,200 65 67 66
81 68 CLAUDIA POND EYLEY (b. 1946) Earth, Sea & Sky Still Life Hand coloured Screenprint, edition 28/50, 96 x 67 Signed & inscribed $500 - 1,000 69 CLAUDIA POND EYLEY (b. 1946) Picnic Table Screenprint, edition 12/30, 75 x 60 Signed & dated 1988 $500 - 1,000 70 CLAUDIA POND EYLEY (b. 1946) Peninsula and Constellation Screenprint, edition 9/65, 83 x 60.5 Signed & dated 1987 $500 - 750 68 7069
82 THE SPARK FOUNDATION COLLECTION 6:00pm Thursday 1 September 2022 71 CYNTHIA TAYLOR (b. 1947) Aerial Boundaries Watercolour, 46.4 x 67.5 Signed & dated 1988 $500 - 1,000 72 ANNA PALMER (b. 1963) Beach Scene Pastel on paper, 49.4 x 64 Signed & dated 1995 $500 - 1,000 73 CYNTHIA TAYLOR (b.1947) Aerial Boundaries II Watercolour, 46.4 x 67.5 Signed & dated 1988 $500 - 1,000 74 MALCOLM WARR (b. 1939) Mt Cook from Glentanner Screenprint, edition 128/150, 52.6 x 79.1 Signed & dated 1987 $200 - 40072715
83 735 745
84 THE SPARK FOUNDATION COLLECTION 6:00pm Thursday 1 September 2022 75 TONY OGLE (b.1959) O’Neills, Bethells, West Coast Screenprint, edition 41/100, 68.2 x 53.5 Signed & dated 2005 $400 - 600 76 PAT PATERSON Untitled Tripytch Mixed media on canvas, 152 x 115 $500 - 1,000 Thank you - end of sale7675
Lot 21 Ralph Hotere
COLLECTABLEART ALWAYS CONSIGNING ENTRIES NOW INVITED
88 THE SPARK FOUNDATION COLLECTION 6:00pm Thursday 1 September 2022 &ImportantRareArt
Important & Rare Art auctions are the proven, preeminent sale category for major works of art offered for sale in New Zealand. These auctions take place three times annually. Now in our 51st year in business, experience continues to equal results. 2014 saw Important & Rare auctions realise five of New Zealand’s top ten auction prices. The following year saw new records set with the two top prices in Auckland achieved. With the addition of the record $1.7 million paid for a C F Goldie in November 2021 sale, International Art Centre achieved the three highest art auction prices in New Zealand’s history. Due to an appreciative, and greatly valued clientele of nationwide and international buyers and sellers we look forward to breaking new ground.
The buzz generated by our Collectable Art auctions reflects the popularity of these sales: an event at which seasoned connoisseurs and budding collectors alike converge to appreciate one of the most eclectic and diverse offerings available to the market. Works span the vital period from mid-century modernism through to the cutting-edge of today’s Contemporary art in New Zealand. This sale category is an increasingly significant event in our auction calendar. Offering a number of lowerpriced works from highly-sought after artists in print and edition form, as well as quality works from artists whose presence on the secondary market is just beginning to crystallise.
A quick, easy and reliable solution to affordable consignments. During the 2020 nationwide lockdowns we stayed connected to our clients, keeping them close to our art. The time was spent productively, resulting in the development of our own online bidding platform and App, successfully auctioning works of art with no exhibition viewing, no printed catalogue, while using state-of-the-art technology.
All transactions were contactless and we reduced our carbon footprint along the way. While the personal service, excitement and atmosphere of our famous live Parnell Road auctions remain and will continue to grow, the success of this online only platform has encouraged us to retain this as a permanent sale category.
SingleAuctionsOwner CONTACT Richard Thomson Ph +64 9 379 4010 M. 0274 751 071 E. 202www.internationalartcentre.co.nzE.PhGraceE.PhLukeE.PhSummerrichard@artcntr.co.nzMasters+6493794010summer@artcntr.co.nzDavies+6493794010luke@artcntr.co.nzHarris+6493794010grace@artcntr.co.nzParnellRoad,Auckland ART AT HOME ONLINE only Auctions
89
From time to time, the secondary market is fortunate enough to be exposed to one of those rare collections which transcends the value of its individual works of art, and stands to represent something iconic in its entirety. Our team is well-versed in the process of offering single-owner collections for sale, and take pride in the process of curating a single-owner sale when the opportunity arises. We offer a targeted marketing campaign and maximise the use of both electronic and print-based collateral to effectively showcase such collections to maximum effect. The strong networks we have established locally and internationally are reflected in some of the private collections which have been entrusted to us in recent years.
90 THE SPARK FOUNDATION COLLECTION 6:00pm Thursday 1 September 2022 valuation SERVICES International Art Centre provides formal valuations for insurance purposes, specialising in the preparation of catalogued and photographed inventories. Written valuations can be arranged by appointment. We provide free informal, verbal estimates for any of the works in your collection. For valuation enquiries & quotes contact Grace Harris auctions@artcntr.co.nz 202 Parnell Road, Auckland, New Zealand Telephone + 64 9 379 4010 Toll Free 0800 800 322 www.internationalartcentre.co.nz International Art Centre | Appointed Valuers of The Fletcher Trust Collection PETER SIDDELL Self-Portrait (diptych) Acrylic on canvas 1205 x 1590mm Reproduced Courtesy of The Fletcher Trust Collection
91 Absentee Bid Form THE SPARK FOUNDATION COLLECTION 6:00pm Thursday 1 September 2022 MAXIMUM BID $NZ excluding buyers premiumLOT TELEPHONENUMBERNAME Signature ........................................................................................... / / 2022 I have read and understand the Conditions of Sale. International Art Centre offers this service to clients unable to attend sale and is not responsible for error or failure to execute bids. Email to info@internationalartcentre.co.nz before 3pm day of sale Alternatively, visit our website www.internationalartcentre.co.nz and place absentee bids online or our bidding platform to participate in the auction live and remotely https://auctions.internationalartcentre.co.nz REGISTRATION NUMBER We will allocate a bidding number if you don’t already have one EMAIL I instruct International Art Centre to bid on my behalf for the following lots up to the prices indicated below. I understand my bids are to be executed at the lowest attainable price level. All bids are subject to Conditions of Sale printed in this catalogue. ARTIST NAME 202 Parnell Road, Auckland, New Zealand Tel + 64 9 379 4010 www.internationalartcentre.co.nz ADDRESS
92 THE SPARK FOUNDATION COLLECTION 6:00pm Thursday 1 September 2022 Index ALBRECHT G 28 ANGUS R 17 BALOGHY G .................................................... 14 BALOGHY G 35, 36, 38 BIDWELL B 52, 53 BINNEY D 31 BRICKELL B 47 BROWN H ....................................................... 51 BROWN N 15 CROOK G 65, 66, 67 DAWSON N ..................................................... 45 DELL M 50 DIBBLE P .......................................................... 27 DOLEZEL J 3 DRAWBRIDGE J 4 ELLIS R ............................................................. 32 GOODWIN D 43, 44 HANLY P 18 HANLY P 39, 40 HARTIGAN P 9, 10 HOTERE R ................................ 19, 20, 21, 22, 23 JACKSON R 54 KILLEEN R 26 LEWIS T 55, 56 MADDOX A ................................................... 1, 2 MAUGHAN K 6 MCCORMACK T A 46 MCINTYRE S 42 NICOL J 48, 49 OGLE T ............................................................ 75 PALMER A 72 PALMER S 57, 58, 59, 60, 61, 62, 63, 64 PATERSON P .................................................... 76 POND EYLEY C 68, 69, 70 ROBINSON A ............................................ 33, 34 ROCHE P 41 SCOTT I 24, 25, 29, 30, 37 SMITHER M...................................................... 16 TAYLOR C 71, 73 THOMSON E 5 THORNLEY G 11, 12, 13 WARR M 74 WONG B ....................................................... 7, 8
Lot 32 Robert Ellis
Lot 53 Bridget Bidwell
95
Lot 22 Ralph Hotere
ABSENTEE BIDS
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.
Absentee bidding arranged - please refer to absentee bidding in back of catalogue. Email to info@internationalartcentre.co.nz 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.internationalartcentre.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.
PAYMENT FACILITIES
The auctioneer acts as the agent of the seller and neither he nor the seller shall be responsible for any defects or faults in any lot or for any errors of description or for genuineness or authenticity of any lot and no compensation shall be paid in respect of same. From the time of lot being sold, such lot will be the responsibility of the Successfulbuyer.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 EachCentre.lotshall be paid for and removed at the buyers expense by no later than 4:00pm Friday 8 April 2022 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.
EstimatesESTIMATESare 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.
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.
TELEPHONE BIDS Telephone bidding available to subscribers and registered bidders. There is no charge for this service.
Eftpos: Available for transactions depending on your daily limit. Bank deposits: Bank instructions on invoice if paying by direct debit. Quote the Lot number(s) purchased and surname as Creditreference.cards: Visa and Mastercard with a
2% surcharge. International Art Centre no longer accepts cheques. PROTECTED OBJECTS ACT Art objects over 50 years old made by an artist or maker born in or related to New Zealand may be protected New Zealand objects, and therefore require permission from the Ministry for Culture and Heritage in order to be exported. Applications for permission to export can be made at https://mch.govt.nz/nzidentity-heritage/protected-objects/exporting FREIGHT & InternationalPACKINGArtCentre arrange door to door delivery both nationally and internationally. Please arrange insurance on your items prior to them leaving our premises. Uber deliveries within the wider Auckland area can also be arranged. 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@ 17.5%BUYERSinternationalartcentre.co.nzPREMIUMBuyerspremiumplus GST on premium applies to all lots. (Total buyers premium is 20.12% including GST)
Conditions of Sale and A Guide to Buyers
Lot 16 Michael Smither
101
102 THE SPARK FOUNDATION COLLECTION 6:00pm Thursday 1 September 2022 202 Parnell Road, Auckland, New Zealand Tel + 64 9 379 4010 www.internationalartcentre.co.nz
