Two Collections by International Art Centre

TWO COLLECTIONS

Two Collections

A Modern Collection of British Prints & Contemporary NZ Art 05 - 12 December A collectable sale embraces all fields, tastes and artistic endeavours and fall into a range of categories. Our specialist team care for, curate and present, as temporary custodians, these unique collections to the world.

Condition reports

Our December Collectable auction features two distinct collections of contemporary art. This diverse offering includes an outstanding collection of midcentury British prints which features works by Dame Barbara Hepworth, Sir Terry Frost, Patrick Caulfield, Sir Howard Hodgkin and other leading British artists.

Luke Davies luke@artctr.co.nz

The sale also features a collection of New Zealand modernist works. Highlights includes works by Julian Dashper, Seraphine Pick, Rohan Wealleans, Michael Parekōwhai, Billy Apple and John Nixon. The auction encompasses a wide array of works including painting, collage, sculpture & multimedia installations.

Viewing Times Tuesday 05 Dec - Friday 08 Dec, 9:00 - 5:00pm Monday 11 Dec - Tuesday 12 Dec, 9:00 - 5:00pm Please note we will not be open for weekend viewing (09 - 10 Dec)

Lot 95 (Detail) Andy Leleisi’uao, Clouded Diaspora, 2020

Grace Alty gracealty@artcntr.co.nz

Registrations Grace Harris grace@artcntr.co.nz 202 Parnell Road Parnell 1052, Auckland 09 379 4010

Consignments & Enquiries Grace Alty gracealty@artcntr.co.nz Grace Harris grace@artcntr.co.nz

Celebrating the perspectives, innovative dialogues and vital contributions of female artists, consignments are now invited to our May 2024 auction, Women. Early consignments include works by A. Lois White, Evelyn Page, Maud Sherwood & Eileen Mayo.

Maud Sherwood, The Camping Ground at Dee-Why, NSW

Important & Rare Art 26 03 24 Now Consigning C F Goldie, Ina Te Papatahi, Orakei Pa, 1913 (Important & Rare Art November 2023)

contemporary new zealand art

Tony De Lautour British Book Club c.1997 Oil on found book 19.5 x 13.5 $800 - 1,200

Provenance Acquired from Hamish McKay, Wellington

Tony De Lautour Untitled, Lion Candlestick Holder 2008 Glazed earthenware 12 x 19 $800 - 1,200

Provenance Acquired from Hamish McKay, Wellington

Tony De Lautour Web, 2007 Screenprint, edition 13/25 22 x 32 Signed, inscribed & dated 2007

Tony De Lautour Untitled, (Eagel Disc) Glazed earthenware 13 x 13.5 $500 - 700

$1,500 - 2,500

Provenance Acquired from Hamish McKay, Wellington

Tony De Lautour Liar Liar Oil on found saw 30 x 125 Signed, inscribed & dated 2003 $4,500 - 5,500

Provenance Acquired from Hamish McKay, Wellington

Rose Nolan I Don’t Know Who You Are But Can You Tell Me Where I Am? Embroidery cotton on cotton 17 x 18 $400 - 600

Provenance Acquired from Hamish McKay, Wellington

Rose Nolan Hard, But Fair Embroidery cotton on cotton 19 x 20 $400 - 600

Provenance Acquired from Hamish McKay, Wellington

Julian Dashper Untitled, Drumskin Orange & Blue, 1996 Vinyl on drumhead 53 x 53 $35,000 - 45,000

Provenance Acquired from Hamish McKay, Wellington Julian Dashper is one of the most renowned reductive artists of his generation. Working across a wide array of media for nearly three decades, Dashper produced conceptually and aesthetically rigorous paintings, works on paper, installations, albums, performances, and ephemera. Much of his work concerns the connection between abstract art and popular culture. One recurring theme is the reading of international Modernism in New Zealand art. Dashper’s artistic practice encompassed a wide range of disciplines, including painting, sculpture, installation, and conceptual art. He was known for his minimalist aesthetic and his ability to merge elements of abstraction, geometry, and popular culture into his works. One of Dashper’s notable contributions to the art world was his exploration of the relationship between art and music. He incorporated musical elements into his installations and performances, blurring the boundaries between visual and auditory experiences. This interdisciplinary approach earned him recognition and respect both within and outside the art community.

Saskia Leek Untitled, Ice Cream Truck 1997 Enamel on board 30 x 21 $2,000 - 3,000

Provenance Acquired from Hamish McKay, Wellington

Diena Georgetti Kite Acrylic on panel 54 x 49 Signed, inscribed & dated 2006 $8,500 - 9,500

Provenance Acquired from The Young, Wellington

Saskia Leek Blue Rose, 2003 Oil on board 29 x 20.5 $3,500 - 5,500

Provenance Acquired from Hamish McKay, Wellington

Mikala Dwyer IOU, 2005 Mirror acrylic on wood 37.5 x 15.5 $9,000 - 14,000

Provenance Acquired from Hamish McKay, Wellington

Michael Harrison In Tune, 2003 Acrylic on paper 29.5 x 20.5 Signed $2,500 - 4,500

Provenance Acquired from Hamish McKay, Wellington

Seraphine Pick Untitled, 1997 Acrylic on plastic radio 24 x 32 $3,500 - 5,500

Seraphine Pick Untitled Watercolour on paper 38 x 28 Signed & dated 2004 $1,500 - 2,500

Provenance Acquired from Hamish McKay, Wellington

Simon Attwooll Car Crash Compilation #5, 2015 Screenprint collage on dyed paper in artist frame 35.5 x 46 $600 - 800

Provenance Acquired from The Young, Wellington

Simon Attwooll Car Crash Compilation #19, 2015 Screenprint collage on dyed paper in artist frame 36 x 46.5 $600 - 800

Provenance Acquired from The Young, Wellington

Robin Neate Harlequin, 2004 Oil on canvas 69 x 49 $5,500 - 7,500

Provenance Acquired from Hamish McKay, Wellington

Rob Cherry & Seraphine Pick Las Vegas, 2008 Colour photograph, edition 2/10 19.5 x 10.5 $350 - 650

Provenance Acquired from Hamish McKay, Wellington

Rob Cherry & Seraphine Pick Karori, 2009 Colour photograph, edition 2/10 14.5 x 20 $400 - 600

Rob Cherry Boot, 2003 Acrylic on card 15 x 10 $350 - 450

Provenance Acquired from Hamish McKay, Wellington

Rob Cherry & Seraphine Pick Door, 2010 Colour photograph, edition 2/10 19.5 x 11 Signed by both Artists verso $400 - 600

Provenance Acquired from Hamish McKay, Wellington

Rohan Wealleans Star of Darkness, 2010 Mixed media in perspex box 33 x 32 Signed, inscribed & dated 2010 verso $1,400 - 1,800

Rohan Wealleans Spender, 2006 Acrylic on paper 59 x 41 $1,500 - 2,500

Michael Mare Tra C-Type 20.5 x 1 $1,500

Provenance Acquired from Mi

Anne-Marie May Untitled, 2003 Felt wool 20.5 x 20.5 $1,200 - 1,500

Provenance Acquired from Hamish McKay, Wellington

l Parekowhai anquillitatis: Sea Tranquility photographic print, edition of 100 14.5 - 2,500

ichael Lett Gallery

Anne-Marie May is an artist who works across sculpture, installation, design and textiles to explore spatial, perceptual and chromatic relationships. Her practice seeks to create both spatial and conceptual connections between an artwork and its architectural location.

John Nixon Untitled Enamel on jute 60 x 60 $15,000 - 20,000

Provenance Acquired from Hamish McKay, Wellington John Nixon is internationally recognised as a seminal figure in Australian art. For over 50 years, Nixon produced and exhibited abstract and conceptual works that extended the possibilities of radical modernism. Nixon explored the truth of materials and his tools, giving voice to found and pre-used objects. Throughout his six-decade long career, Nixon remained dedicated to the exploration and furtherance of radical modernism. With a focus on constructivist and minimalist principles, his work took many forms, including painting, collage, printmaking, drawing, photography, film, dance, experimental music, art theatre direction, graphic design, curating and teaching. He is also recognised as a frequent collaborator with and generous mentor to many artists across generations. Nixon’s works are held in every major state museum collection in Australia. Selected international public collections that hold his work include the Solomon R. Guggenheim Museum, New York, Muzeum Sztuki, Łodź, Foire National d’Art Contemporain, Paris, Stiftung fur Konkrete Kunst, Reutlingen, The Artists Museum, Łodź; Herning Kunstmuseum, Denmark, Daimler Chrysler Collection, Berlin, Kunstmuseum Esbjerg, Denmark, Espace d’Art Contemporain, Demigny; and National Gallery of Contemporary Art, Seoul.

Et Al Ibid. Public Projects, Rotoiti Lake Screenprint on vinyl 84 x 118 $3,000 - 4,000

Provenance Acquired from Hamish McKay, Wellington In 2001 the artist working under the pseudonym L. Budd resigned, re-signing thereafter simply as “et al.” meaning “and others”. While L. Budd had been an inclusive signature throughout the late 1990s often signing as “L. Budd et al.”, hinting at the collaborative of unnamed parties, this was nonetheless a new beginning, a birth with an implicit end. Not the death of the author but the death of the individual signatory, and the emergence of a new collective framework, also anonymous.

Matt Griffin Wasted (Pots and Rocks) Collage with corrugated card frame 33.5 x 45.5 Signed, inscribed Wasted (Pots and Rocks) & dated 2011 verso $1,500 - 2,500

Provenance Acquired from Hamish McKay, Wellington

Billy Apple Art for Youthline, 2006 Laser etched acrylic 23.5 x 14.5 Edition 13/24 $750 - 1,250

Provenance Acquired from Hamish McKay, Wellington

Billy Apple As Good as Gold 325ml bottle of Robard and Butler Wine 24 x 6 $275 - 425

Michael Stevenson How the Mighty Have Fallen Ink on newsprint screenprint 68 x 50 $2,200 - 4,200

Provenance Acquired from Hamish McKay, Wellington 33

Michael Stevenson Time for a Cup of Tea Ink on newsprint screenprint 68 x 50 $2,200 - 4,200

Provenance Acquired from Hamish McKay, Wellington Michael Stevenson uses historical research and reconstruction to produce installations and artworks that index social, economic and ideological global forces. Based in Berlin since 2000, he was born in the small town of Inglewood and graduated from Auckland’s Elam School of Fine Arts in 1986. Stevenson has exhibited widely and the subjects of his work range across late twentiethcentury political histories. He represented New Zealand at the 50th Venice Biennale (12 June-2 November 2003) with This is the Trekka (2003), an installation addressing colonial and Cold War influences on New Zealand nationalism. Stevenson has also exhibited at the Tate Modern, London, Witte de With, Rotterdam, The Power Plant, Toronto and the Sculpture Center, New York, as well as biennials in Berlin, Panama, Athens, Liverpool, Sydney and Auckland. The survey exhibition Michael Stevenson was held at Sydney’s Museum of Contemporary Art, 6 April-19 June 2011.

Jan Van Der Ploeg Untitled, Sale 2003 Paper, ready made multiple 23 x 31 $350 - 650

Jan van der Ploeg is well-known for his distinctive brand of lively pop-abstraction. He predominantly works between large-scale wall paintings, smaller paintings on canvas and board and print editions. Geometric patterns that often bring optical illusion into play have become increasingly synonymous with his practice. His work continues to be exhibited extensively across Europe, North America and Oceania. Institutional highlights include: Hammer Museum, Los Angeles, MoMA PS1, New York, Ludwig Forum for International Art, Aachen, Kunsthaus Baselland, Basel, Museum for Concrete Art, Ingolstadt, Stedelijk Museum, Amsterdam.

Et Al Untitled, Screenprint for the Venice Biennale Screenprint, edition of 100 116 x 78 $1,500 - 2,500

Provenance Acquired from Hamish McKay, Wellington

Marilyn Tweedle Merely to Breathe was Enjoyment Acrylic and ink on paper 30 x 85 $9,000 - 14,000

Provenance Acquired from Hamish McKay, Wellington

Peter Peryer Passion Flower, 2012 Photographic print, pigment ink on Hahnemuhle Photo rag Paper, edition of 3/25 16 x 16 Signed, inscribed & dated 2012 verso

Rob Cherry Untitled, Simon & Garfunkel Acrylic sheet and record 30 x 30.5 $350 - 650

$1,600 - 2,200 Provenance Acquired from The Young, Wellington

Hany Armanious Crop Circles Wax, shell, wood, resin & rubber 26.5 x 16.5 $9,000 - 14,000

Provenace Acquired from Michael Lett Gallery Egyptian-born artist Hany Armanious is best known for his sculptural work with casting. He was a key figure in Sydney’s grunge scene of the early 1990s and in 2011 was Australia’s representative at the Venice Biennale. One of the most persistent features of Armanious’s work has been his fascination with the process of casting. It has become the backbone of his enquiry, as both method and subject. His work exploits our tendency to make links between things which resemble one another in form, material, function and process. Armanious was born in Egypt and grew up in Australia, where he gained a Bachelor of Visual Arts from the City Art Institute, Sydney in 1984. He has exhibited widely throughout Australasia, Europe and United States over the past two decades.

Ben Buchanan Untitled, 1997 Vinyl adhesive tape on poster 61 x 44 $2,000 - 3,000

Provenance Acquired from Hamish McKay, Wellington

Jan Van Der Ploeg Grip Acrylic on card 16 x 18.5 $600 - 1,200

Provenance Acquired from Hamish McKay, Wellington

Iain Cheeseman Hextreemist Calf Skin 70 x 55 $750 - 1,250

Provenance Acquired from The Young, Wellington Cheeseman marries personal experience with a deeply critical and keen eye for what’s happening around the planet we call home. A published poet, as well as an established maker, Iain’s practice is wide-ranging and encompasses painting, carving, sculpture, embroidery, and woodworking The materials he uses are diverse and vary between bodies of work, from self-milled timber, felt, found objects, embroidery, stainless steel tube and rod, welded PVC rod and paint. The art can be small and demanding or large-scale and skeletal. For Iain it is the impact of the artwork that has bearing on its presence, not necessarily its scale.

Lionel Budd Lionel B is a Permanent Atom 1777 Acrylic on book shrinkwrap electrics 41 x 29 $1,200 - 1,800

Provenance Acquired from Hamish McKay, Wellington 44

Ronnie Van Hout Monster Type C print, edition 10/20 38 x 50 $2,500 - 3,500

Provenance Acquired from Hamish McKay, Wellington 45

Francesca Heinz Ponytail, 2014 Digital video on Sony Bravia tv, usb stick 67 x 42 $1,500 - 3,500

Gavin Hipkins The White Oval Rayogram photograph 40 x 30 Provenance Signed & dated 2000, edition 7/25 Acquired from The Young, Wellington verso $600 - 800

Provenance Acquired from Hamish McKay, Wellington Over the last two decades Hipkins has worked primarily within photography and moving image, exploring landscape traditions and postcolonial theory; digital montage and discourses of hybridity; photo and filmic experimental narrative structures. Early in his career, New Zealand artist Gavin Hipkins was described by fellow artist Giovanni Intra as a ‘tourist of photography’. This epithet has been used repeatedly by commentators on Hipkins’ work to describe two intertwined aspects of his practice. As art historian Peter Brunt puts it, Hipkins is a constantly travelling photographer, ‘an iconographer of desire, travel, time and … modern communities’, and a tourist within the medium, ‘a great manipulator of the photographic artifact itself’.

Tony De Latour 01 - 05

Rose Nolan 06 - 07

Diena Georgetti 09

Tony de Lautour is a painter whose practice

Rose Nolan is a Melbourne-based artist who

Diena Georgetti is an Australian contemp

with culture in its entirety, integrating disparate

painting, sculpture, photography and printmaking.

based in Melbourne, Australia. Her works

is characterised by a willingness to engage imagery and ideas in work that is insightful

and often provocative. He draws thematic and iconographical inspiration from such diverse sources as prison tattoos, corporate catalogues and post-quake rezoning maps. It is a unique

visual language that seeks to illuminate the social

and political realities of our time: the codes and contradictions, fears and follies that comprise an identity or a society.

De Lautour’s art is quirky and full of dark humour. His paintings have been included in numerous exhibitions in public galleries including the

Te Manawa (Palmerston North), The Waikato Museum of Art & History in Hamilton and the

Artist Bio’s

Govett-Brewster Art Gallery in New Plymouth.

works across a range of mediums including Her practice regularly oscillates between the

discrete and the monumental and is informed by a strong interest in architecture, interior and

graphic design combining formal concerns with the legacies of modernism.

Establishing her practice in the mid‑1980s, Nolan belongs to a generation of Australian artists who

grappled with what being an artist meant in the

wake of the end of the belief in the idea of an

artist born in Alice Springs, Australia and curr

been displayed in galleries across Aus

including the National Gallery of Victoria

Institute of Modern Art in Brisbane and th Gallery of South Australia.

Georgetti creates complex abstract pain

derived from diverse source material, inclu

early 20th century art historical movements as Constructivism, Cubism and Dada.

artistic avant‑garde.

Nolan typically employs a radically reduced

palette of red and white, and simple utilitarian materials and methods, in an exploration

of personal, playful and often self-effacing narratives.

Seraphine Pick 14 - 15

Simon Attwooll 16 - 17

Séraphine Pick’s original and imaginative practice

Slipping between mediums: not quite painting, or

regarded painters.

Attwooll manoeuvres between analogue and

figments of memory and explored the body as

practice.

She graduated from University of Canterbury’s

digitised form Attwooll encourages an alternative

established herself as an artist of note. After a

the nuances in our relationship to them and

the Olivia Spencer Bower Award in 1994 and

the photographic image and object.

has made her one of New Zealand’s most highly

printmaking, nor object-based practice, Simon

For the past thirty years, Pick has engaged with

digital using found photographs in his artistic

a site of consciousness in her painting practice.

In a time when photography often only exists in a

Ilam School of Fine Arts in 1988, and quickly

method of engagement. Attwooll’s works explore

number of strong showings, she was awarded

encourage us to re-examine our relationship to

Rohan Wealleans 23 -24 Rohan Wealleans is known for layering

colour upon colour, then carving into it.

Auckland-based artist is obsessed with p

literal, material qualities, but he is eq

concerned with metaphor. In his work, pa

always transforming, becoming something e

Wealleans completed a Master of Fine A painting at the University of Auckland in

and in the same year won the Waikato Art

In 2006 he was the winner of the 15th A

Wallace Art Award. Since 2001, Wealleans

exhibited regularly both in New Zealand internationally.

Rob Cherry 18 - 22, 38

the Rita Angus Residency in 1995. She followed

Rob Cherry is a self-taught, multi-media

Fellowship in 1999.

unorthodox watercolours and collages.

this up with the illustrious Frances Hodgkins

Pick’s paintings can be found in such public collections as Auckland Art Gallery Toi o Tāmaki, Christchurch Art Gallery Te Puna o Waiwhetū,

National Gallery of Victoria, Melbourne and Museum of New Zealand Te Papa Tongarewa.

whose work includes lyrically abstract mo

He has exhibited since 1988, participatin

group exhibitions at the City Gallery Wellin

Dunedin Public Art Gallery, Govett -Brewste

Gallery, New Plymouth and the Christchurc

Gallery. His exhibitions have been profiled i in America and Sculpture magazines.

Saskia Leek 10 - 11

porary

rently have

stralia,

a, the

he Art

ntings

uding

s such

Saskia

Leek’s

paintings

are

exercises

subterfuge. Generally small in size and painted

on board, Leek’s works repurpose imagery that is essentially stock to the Western canon. Often, the artist presents her subject matter

at a distance. Firstly, there is physical distance: the object of focus exists in the middle ground,

just out of reach of total comprehension. Then, through light and colour, these forms teeter towards abstraction.

Leek’s work is included in the collections of

Museum of New Zealand Te Papa Tongarewa, Wellington, Auckland City Art Gallery, Govett-

Brewster Art Gallery, New Plymouth and Dunedin Public Art Gallery. paint,

Mikala Dwyer 12

Michael Harrison 13

Mikala Dwyer is a Sydney-based artist known for

Michael Harrison’s light, ethereal works convey

matter and alchemical metamorphosis.

own personal iconography which draws on a

her playful, fantastical installations that explore Influenced by early 20th-century art movements,

including dada, constructivism and arte povera, her work pushes at the traditional limits of

performance, sculpture and installation. She integrates all kinds of materials – from plants,

mirrors, trinkets, fabric and perspex to clay, helium,

wood, paint and wool – in different combinations, exploring the relationship between viewers and

our relationship with them.

else.

Born in Porirua, Michael Parekōwhai is one of New

Peter Peryer began photographing in 1973 at the

2003

Images of camaraderie, tools for learning and

Annual

work. He makes popular culture, art history and

d and

of signifiers.

aint is

Arts in

Zealand’s most important contemporary artists.

Prize.

music are reoccurring motifs in Parekōwhai’s

s has

the everyday complex through a playful layering an Arts

Foundation Laureate Award, and a major survey of his work, *The Promised Land*, was staged at GOMA, Brisbane, in 2015.

er Art

ch Art

in Art

Jan Van Der Ploeg 41 Jan van der Ploeg is well-known for his distinctive brand of lively pop-abstraction. He predominantly

works between large-scale wall paintings, smaller

paintings on canvas and board, and print editions. Geometric patterns that often bring optical illusion into play have become increasingly synonymous with his practice.

contact, both physical and emotional and the loneliness of its absence.

making, music and popular culture has seen

him develop a highly idiosyncratic style and way

Peter Peryer 37

ngton,

the importance of relationships, the desire for

of making art. His current practice is primarily

sculptor, photographer and installation artist.

ng in

compositions of people and animals highlight

Buchanan’s obsession with abstraction, pattern

permeable and changeable nature of objects and

qually

obiles,

wash and subtle tonal modelling. His delicate

and experiential architectures that play with the

Michael Parekowhai is an Auckland-based

artist

each painting using layers of light watercolour

Ben Buchanan 40

Her installations and sculptures are experimental

. The

In 2001, Parekōwhai was given

wide range of influences. He gradually builds

objects.

Michael Parekowhai 25

paint’s

a beguiling sense of intimacy, developing his

focused on translating modernist abstraction into hyper contemporary context.

His fantastic sense of colour and form see

age of thirty-two after initially pursuing a teaching

career. His career which spanned over forty years was rich and varied, his photography practice taking him around New Zealand, Europe, USA and the sub Antarctic.

His work played a key role in the recognition

of the medium in the New Zealand art world

and particularly in the New Zealand art market. Peryer seldom worked in series, preferring to

make unique images of specific subjects—his definitive image of this or that.

His works are widely collected and are held

in all major New Zealand institutions, and internationally,

including

the

Bibliotheque

Nationale in Paris and the Australian National Gallery in Canberra. Peryer is a New Zealand Arts Foundation Laureate.

the works shift and pulsate through a myriad of colour combinations and effects creating a psychedelic and hypnotic vibe. Through his

hand crafted process the hard edges of the cut

vinyl initially appear as grid like perfection but on closer inspection the works slowly reveal

an organic quality, warming up and creating an open ended space which responds to the

viewers perceptions. Buchanan’s practice swings between the intimate and the monumental,

ranging from small works on paper to huge site specific installation.

Heather Straka Play Date I Oil on canvas 97.5 x 77.5 Titled inscribed, signed and dated 2011 verso $10,000 - 15,000

Andre Hemer Paint Monster (Two hundred a fortyeight grams of candy to schmooze) Acrylic on canvas 180 x 180 Signed and dated ‘07 $5,000 - 8,000

and

Philip Trusttum Jump Acrylic on canvas 131 x 91 Dated 9/11/17 $4,500 - 6,500

modern british prints

Patrick Caulfield CBE, RA Large White Jug Screenprint on wove paper, edition 2/45 107 x 81 Signed $3,500 - 4,500

Published by Waddington Graphics, London 1990

Pa Lu Sc 2/ Si

Published b 1990

atrick Caulfield CBE, RA ung Ch’uan Ware and Black Lamp creenprint on wove paper, edition /45 107 x 81 igned

3,500 - 4,500

by Waddington Graphics, London

Patrick Caulfield CBE, RA Lamp and Lung Ch’uan Ware Screenprint on wove paper, edition 2/45 107 x 81 Signed $3,500 - 4,500

Published by Waddington Graphics, London 1990

Patrick Caulfield CBE, RA Arita Flask Screenprint on wove paper, edition 2/45 107 x 81 Signed $3,500 - 4,500

Published by Waddington Graphics, London 1990

Patrick Caulfield CBE, RA Lamp and Kuan Ware Screenprint on wove paper, edition 2/45 107 x 81 Signed $3,500 - 4,500

Published by Waddington Graphics, London 1990

Patrick Caulfield CBE, RA Ipanema Glazed lithograph on bone china, edition 203/500 30 x 30 $500 - 800

Sir Terry Frost Spirals Silkscreen print and collage on arches paper, edition 52/125 55 x 68 Signed $2,000 - 4,000

Provenance The Mall Galleries, London

Albert Irvin R.A Concordia II Screenprint with woodblock on wove paper, edition 62/195 52 x 68 Signed, inscribed & dated 1997 $1,000 - 2,000

Published by Advanced Graphics, London

Albert Irvin R.A Concordia III Screenprint with woodblock on wove paper, edition 145/195 52 x 68 Signed, inscribed & dated 1997 $1,000 - 2,000

Published by Advanced Graphics, London

Albert Irvin R.A Concordia I Screenprint with woodblock on woven paper, edition 54/195 52 x 68 Signed, inscribed & dated 1997 $1,000 - 2,000

Published by Advanced Graphics, London

Albert Irvin R.A O’Connell Screenprint with woodblock on wove paper, edition 50/225 59 x 75 Signed, inscribed & dated 1995 $1,500 - 2,500

Published by Advanced Graphics, London

Albert Irvin R.A Montcada II Screenprint on wove paper, edition AP IV/X of 90 86 x 70 Signed, inscribed & dated 1993 $2,000 - 3,000

Published by Advanced Graphics, London

Albert Irvin R.A Merrion Screenprint with woodblock on wove paper, edition 96/225 59 x 78.5 Signed, inscribed & dated 1996 $1,500 - 2,500

Published by Advanced Graphics, London

Barbara Hepworth Three Forms, from Opposing Forms 1969 Screenprint in colours on TH Saunders paper, edition A/P 77.5 x 58 Signed $4,500 - 6,500

Printed & publ. Curwen Studio, London

Patrick Heron CBE Six in Vermillion with Green in Yellow 1970 Screenprint, edition 38/100 77.5 x 59 Signed & dated 1970 5,500 - 7,500 $4,500 - 6,500

John Piper Eye and Camera - Red, Blue, Yellow Screenprint on Grand Vélin Arches Paper, edition of 150 59 x 75 Signed & dated 1980 $2,000 - 3,000

Published by Kelpra Editions and the Tate Gallery

William Tillyer Living by the Esk - De Stijl Woodcut with collage print, edition 4/60 70.5 x 80.5 Signed & dated 1983 $1,500 - 2,500

Published by Bernard Jacbson, London, 1983

Stanley Hayter Aquarius Suite IV Silkscreen, edition of 150 71 x 58.5 Signed & dated 1970 $1,000 - 2,000

Stanley Hayter Aquarius Suite I Silkscreen, edition of 15 71 x 58.5 Signed & dated 1970 $1,500 - 2,000

50 XX/XXX

Howard Hodgkin Artist and Model (in green and yellow) Soft-ground etching & watercolour on wove, edition of 100 81 x 102 Initialled & dated 1980 $4,500 - 6,500

Published by Petersburg Press, London

Jacob Love Green P6MA Press, From the Interior Profile Series 2014 Inkjet print, edition 1/5 45 x 45 Signed $1,000 - 1,500

Jacob Love Red P6MA Press 1/5, From the Interiro Profile Series 2014 Inkjet print, edition 2/5 45 x 45 Signed $1,000 - 1,500

Jacob Love Orange P6MA Press, From the I Profile Series 2014 Inkjet print, edition 2/5 45 x 45 Signed $1,000 - 1,500

Interior

Jacob Love Red P6MA Press, From the Interior Profile Series 2014 Inkjet print, edition A/P 17.5 x 17.5 Signed $250 - 350

Jacob Love Blue P6MA Press, From the Interior Profile Series 2014 Inkjet print, edtion 1/5 45 x 45 Signed $1,500 - 2,000

Stanley Hayter Aquarius Suite III Silkscreen 71 x 58.5 Signed & dated 1970 $1,000 - 2,000

Gerald Laing Pendulum Screenprint on woven paper, edition 39/70 89 x 58.5 Signed & dated 1987 $1,000 - 2,000

Published by Marlborough Fine Art, London

John Lethbridge The Ring Cycle Series, I - V Etching, edition 21/40 44 x 59.5 Signed, inscribed & dated 1988, 5 etchings Unframed in folder $800 - 1,200

Bruce Mclean Burnt Serigraph, edition 25/75 94 x 74 Signed & inscribed $1,800 - 2,800

Allen Jones Woman-Splash (Kneeling Woman) Lithograph in colours on Arches Paper, edition 51/65 66 x 50 Signed & dated 1970 $1,000 - 2,000

Published by Edition Galerie, Wolfgang Ketterer, Munich

Allen Jones Head Lithograph on Rives wove paper, edition 67/75 76 x 56.5 Signed & dated 1967 $1,500 - 2,500

Artist Bio’s

Patrick Caulfield CBE, RA 50 - 55

Sir Terry Frost 56

Albert Irvin R.A 57 - 62

Patrick Caulfield was born in Acton, West London.

Sir Terry Frost was born in Leamington Spa,

Albert Irvin studied at Northampton School

1960) and at the Royal College of Art (1960-

prisoner of war, and then studied under Victor

navigator in the RAF during World War II. He went

He studied at the Chelsea School of Art (19563) where his contemporaries included David

Hockney and Allen Jones. He subsequently taught at Chelsea School of Art (1963–71), and

in 1964 was included in the New Generation exhibition at the Whitechapel Gallery, which

resulted in him being associated with the Pop art movement. Caulfield was and remained opposed

to this label, seeing himself rather as “a ‘formal’ artist”.

White Ware Prints is a portfolio of eight screenprints published in an edition of 45, with 13 proofs of each image, by Waddington Graphics,

London. The subject of each print is a single white ceramic pot set against a dark background.

England. He started painting in 1943 when a

Pasmore at the Camberwell School of Art in

London (1947-50). At Camberwell he came into

contact with the work of the St Ives artists Ben Nicholson, Barbara Hepworth, Peter Lanyon and Roger Hilton who, among others, influenced the development of his own abstract style.

Frost believed that painting and printmaking were

inseparable, and that each medium informed the other. Prints were therefore an essential element of his oeuvre, which encompassed etching, linocut, woodcut and drypoint etching, while

bold colours and simplified geometric forms distinguished both his paintings and prints.

Caulfield explained that the inspiration for this

Stanley Hayter 67 - 68

in particular its published catalogues of oriental

Stanley William Hayter CBE was an English

from print to print, while there are accents of

1930s with surrealism and from 1940 onward

series came from the Victoria & Albert Museum,

ceramics. The colour of the background varies other, brighter hues, and an dominant part of the

composition in several prints is a strong source of light emanating from top right.

Howard Hodgkin 69 Sir Gordon Howard Eliott Hodgkin CH CBE was a British painter and printmaker. His work is most often associated with abstraction.

Soft-ground etching from two copper plates

printed in sepia, with hand colouring in water

colour (a yellow wash background) and green gouache. On Stonebridge mould-made etching paper.

painter and master printmaker associated in the with abstract expressionism. Regarded as one of the most significant printmakers of the 20th

century, in 1927 Hayter founded the legendary Atelier 17 studio in Paris.

John Lethbridge 77 John Lethbridge studied at the Wellington

Design School and the Elam School of Fine Arts in Auckland before moving to Australia in 1975,

where he has since established a successful

career as an artist. Well-regarded for his sculpture, photographs and drawings, Lethbridge

has also held an interest in printmaking since his early period in New Zealand. The subconscious, dreamlike imagery of Lethbridge’s Ring Cycle

series centres around a floating ring with pipes

protruding from the sides while various surreal dramas take place in each work.

of Art from 1940 to 1941, before serving as a

on to study at Goldsmiths College where he later returned to teach between 1962 and 1983. He also taught at art colleges throughout Britain.

Irvin’s first solo exhibition was held in 1960 at 57 Gallery, London. A major retrospective of his work

from 1960 to 1989 was held at the Serpentine

Gallery, London in 1990. He continued to exhibit regularly at Gimpel Fils, London. Irvin was awarded

a Travel Award to America by the Arts Council in 1968 and later received an Arts Council Major

Award. He was elected a Royal Academician in 1998 and lived and worked in London.

Paul Moorhouse, Tate curator and author of the

book Albert Irvin: Life to Painting, wrote of him:

“even to those familiar with his work, seeing a new painting by Irvin can be an extraordinary

experience akin to discovering a young, energetic artist in the first flush of ambition. Given the force

of its restless energy, its freshness and the

sense it communicates of an artist in love with his chosen activity, it is even more surprising to realise that this is the work of an artist in his late seventies.”

Irvin’s work developed from a time when he considered that in order to give the necessary gravitas to a painting it had to be dark and

sombre, through to a growing realisation that high

key colour can be crucial in the achievement of full expressive and communicative force.

His work was exhibited in the Sir Hugh Casson Room for Friends at the Royal Academy in 2011.

Bruce McLean 69 & 103

Allen Jones 79 & 80

William Tillyer 65

Bruce McLean (born 1944) is a Scottish sculptor,

Painter and sculptor Allen Jones was a seminal—

William Tillyer was born in Middlesbrough,

McLean was born in Glasgow and studied at

art movement; he’s renowned for highly sexual

Middlesbrough College of Art (1956–9), before

performance artist and painter.

Glasgow School of Art from 1961 to 1963, and at

Saint Martin’s School of Art, London, from 1963

to 1966. At Saint Martin’s, McLean studied with Anthony Caro and Phillip King. In reaction to what he regarded as the academicism of his teachers he began making sculpture from rubbish.

McLean has produced paintings, ceramics, prints, work with film, theatre and books. McLean

was Head of Graduate Painting at The Slade School of Fine Art London He has had one man exhibitions including Tate Gallery in London, The Modern Art Gallery in Vienna and Museum of Modern Art, Oxford.

In 1985, he won the John Moores Painting Prize. McLean lives and works in London

Gerald Laing 75 Gerald Laing was one of the most significant artists in both the American and British Pop art

and controversial—member of the British Pop figurative works that raise questions about the representation and objectification of women. Jones rose to infamy in the 1960s with a series

of sculptures that depicted women as furniture, posed for submission and clad in fetishwear.

Feminists derided these pieces, yet the female form remained Jones’s primary subject. He has

made photographs—notably of Kate Moss in a gold breastplate of his design—and stylized oil paintings, watercolors, and prints that

reference fashion, dancing, and cabaret. Jones

has exhibited in London, Zürich, Hong Kong,

Shanghai, St. Louis, and Lisbon. His work sells for millions on the secondary market and belongs in the collections of the Museum of Modern Art,

the Tate, the National Portrait Gallery in London, the Stedelijk Museum, the Whitney Museum

of American Art, the Hirshhorn Museum and Sculpture Garden, and the Nagaoka Museum, among other institutions.

Jacob Love 70 - 74

painting style depicting newspaper images

Jacob Love was born in the U.K. and studied at

portrait of Brigitte Bardot, BB (1968), is his most

2005) and Goldsmiths, University of London

of pop culture icons on large canvases. His recognizable work. On a visit to New York, he met

and later exhibited with Pop artists Andy Warhol, Roy Lichtenstein, and Robert Indiana, the latter of whom he worked for as a studio assistant. After

a 30 year focus on sculpture, Laing resumed painting in the newspaper style to create works

critiquing the war crimes at Abu Ghraib and commenting on celebrity culture with a series of

Amy Winehouse images like Gethsemane (2008). His work is in the collections of the Tate Modern, the Museum of Modern Art, and the Whitney Museum of American Art.

moving south to London in the 1960s to study

at the Slade School of Art, with painting as his main subject and printmaking as his subsidiary. Following his time at the Slade, Tillyer took up a

French Government Scholarship to study gravure

under Stanley William Hayter, at Atelier 17 in Paris. In 1963 he returned to England. In 1959 two of

Tillyer’s paintings were accepted for the Young Contemporaries, the tenth in a series of annual

exhibitions showcasing the best work done by students in England’s art schools.

Tillyer’s first major exhibition was held at

the Arnolfini Gallery in Bristol in 1970 and consisted of 33 etchings, three of which were

immediately purchased for the British Council Collection. Those prints were created by a

variety of techniques, including etching and

five-tone screenprinting. In addition to printing

and painting in watercolors, oils and acrylics, Tillyer has used a variety of other materials and

techniques, such as three-dimensional panels

movements. He studied at the Saint Martin’s

School of Art, where he established the newsprint

northern England, and studied painting at the

and canvases stretched together with string. His

the University of the West of England (BA(Hons),

work is distinguished by its changing nature, and its concern with the very nature of painting itself.

(MA, 2008). Since 2008 he has been a lecturer

Barbara Hepworth 63

spans photography, video, film, design, installation

Hepworth used the process of printing to work

in photography at Goldsmiths. His art practice

and dance, and his work deals with sex, sexuality,

interior worlds, interior design, loneliness and the obsessive culture of photographic image production and consumption.

Love’s interest in the power of photographic images to transcend matters of representation

has been examined in his series of prints, based

on wallpaper patterns. His inkjet print, Blue P6MA

Press, consists of a grid of images of repeated images,

presented

kaleidoscopically,

which

on closer inspection are found to consist of assemblages of parts of the male anatomy.

on ideas which would eventually translate into sculpture, creating an abstract sense of space,

form and texture through the use of transparent smooth layers and bold mark-making.

collectable

Maurice Picaud (Pico) Folies Bergeres Bas-relief 49.5 x 48 $3,000 - 5,000

Maurice Picaud Pico was a French architect, interior designer and one time designer for Ruhlmann furniture who created the dancing lady facade over the entrance to the Folies Bergere building in Paris in 1926. The facade depicts the dancer Lila Nikolska, who posed for the sculpture. A comprehensive account of this decoration can be found in the book by Gilles Neret entitled ‘The Arts of the Twenties’.

Bob Carlos-Clarke Marco with Meat Cleaver 1990 Giclee print, edition of 3/25 99.5 x 73.5 Signed & dated April 2008 verso $4,000 - 6,000

A limited edition print released by The Estate of Bob Carlos Clarke, to coincide with the 25th anniversary edition of the classic book ‘White Heat’ by Marco Pierre White and Bob Carlos

Tony Fomison Fidelio: Leonora Screenprint, edition 1/20 27 x 36.5 Signed, inscribed & date 1986 $1,000 - 2,000

Els Noordhof Egg Shells Oil on board 23.5 x 26 Signed $800 - 1,200

Tony Lane Hill, Clouds, Trees Oil on linen 40 x 50 Signed & dated 8.10 $3,000 - 5,000

Alan Pearson Tightrope Walkers Symphony Oil, oil pastel & graphite on paper 47 x 64 Signed & dated 1988 $3,000 - 5,000

Alexander Calder Homage to Euclid Lithograph 52 x 72 Certificate of authenticity affixed verso $3,000 - 5,000

Roy Good McCahon Logo, 1995 Acrylic & varnish on canvas 68 x 50 $7,000 - 9,000

89 90

Don Binney Kotuku, Puketotara Screenprint, edition 9/25 42 x 55.5 Signed, inscribed & dated 2005 $4,000 - 6,000

Michael Parekowhai Kapa Haka, 2014 Automotive paint on fibreglass 42 x 14 $34,000 - 38,000

Peter Siddell Auckland Oil on board 42 x 35 Signed & dated 1970 $3,000 - 5,000

Philip Clairmont The Cold War Graphite and ink on paper 20 x 31.5 Signed & dated $1,800 - 3,200

Steve Harris Bushell’s Tea Acrylic on board 44 x 75 Signed lower right $5,000 - 8,000

Steve Harris Chinese Bowls with Spoons Oil on board 86 x 55 Signed lower left $5,000 - 8,000

Andy Leleisi’uao Clouded Diaspora, 2020 Acrylic on canvas 41 x 60.5 Signed $4,000 - 5,000

Andy Leleisi’uao Crepuscular Walk, 2023 Acrylic on canvas 50 x 40 Signed $3,800 - 4,800

Ralph Hotere Otago Peninsula from the Studio at Port Chalmers Ink and wash 44 x 69 Signed & dated 3-1972 Titled, inscribed ‘to Maria from Ralph’ and dated 72 lower right $7,000 - 10,000

Piera Mcarthur The Pianist, 1997 Acrylic on canvas 71 x 61 Signed & dated 1997 $3,500 - 5,000

Pat Hanly Arabian Nights, RNZ Ballet 1995 Screenprint, edition 91/101 0 x 0 Signed, inscribed & dated 1995 $2,500 - 3,500

100

Elisabeth Frink Resting Horse, 1981 Color lithograph, on wove paper, edition 7/100 59 x 78 Signed lower right $3,000 - 5,000

102

Iliya Kabakov The Ghosts in the Morning Screenprint, edition 93/100, 48 x 68 Signed, numbered & inscribed $200 - 400

101

Mary Barker Untitled Cloisonne enamel and gilt leaf on copper 22.5 x 9.5 $1,200 - 1,400

103

Bruce Mclean Passed the Tang Glazed Lithograp edition 203/500 $350 - 750

gerine Test ph on bone china, 0 30 x 30

104

Jenny Dolezel Good Life Lithograph on paper, edition 50/100 69 x 50.5 Signed, inscribed & dated 2008 $3,000 - 4,000

105

John Pule Pulenoa Lithograph, edtion 19/24 76 x 64 Signed & dated 1995 $1,500 - 2,500

106

Toss Woollaston Untitled Watercolour 27.5 x 34 Signed & dated 1965 lower right $3,500 - 4,500

107

Toss Woollaston Untitled Watercolour 26 x 35 Signed lower right & dated (indistinct) 69 $3,500 - 4,500

Conditions of Sale 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 forth with the whole or any part of the purchase price. The auctioneer acts as the agent of the seller and neither he nor the seller shall be responsible for any defects or faults in any lot or for any errors of description or for genuineness or authenticity of any lot and no compensation shall be paid in respect of same. From the time of lot being sold, such lot will be the responsibility of the buyer. Successful bidders are required to pay for purchases immediately on completion of sale unless otherwise arranged. All intending buyers are required to register for a bidding number prior to auction commencing. Subscribers can use their permanent bidding number. We reserve the right to ask for identification if you are a first time client of International Art Centre. Each lot shall be paid for and removed at the buyers expense by no later than 4:00pm Friday 27 October 2023 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.

Absentee Bids 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. Telephone Bids Telephone bidding available to subscribers and registered bidders. There is no charge for this service. Payment Facilities Eftpos: Available for transactions depending on your daily limit. Bank deposits: Bank instructions on invoice if paying by direct debit. Quote the Lot number(s) purchased and surname as reference. Credit cards: Visa and Mastercard with a 2% surcharge. International Art Centre no longer accepts cheques or cash. 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/nz-identity-heritage/ protected-objects/exporting 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. 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@internationalartcentre.co.nz Buyers Premium 17.5% Buyers premium plus GST on premium applies to all lots. (Total buyers premium is 20.12% including GST)

Always Consigning Important & Rare Art

Collectable

Important & Rare 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. With over 50 years in business, experience continues to equal results. Due to an appreciative, and greatly valued clientele of nationwide and international buyers and sellers we look forward to breaking new ground. Charles Frederick Goldie, Colin McCahon, Felix Kelly, Gottfried Lindauer and Frances Hodgkins are just some of the highlighted artist’s we seek for these sales.

The buzz generated by International Art Centre’s Collectable Art auctions reflects the popularity of this sale: 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. Because this auction specifically caters to the more affordable end of the market, this is an exciting opportunity to unearth some real treasures. The Collectable Art sale offers 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. These sales present an exciting offering of both painting and sculpture by a range of our modern and contemporary greats.

Single Owner Collections 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. International Art Centre 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 which have been established by International Art Centre both locally and internationally are reflected in some of the private collections which have been entrusted to us in recent years, namely: the sale of the John Leech collection, Treasures from the Dame Kiri Te Kanawa Collection, the Spark Foundation Collection, and a selection of works from the Fletcher Trust Collection.

ART at HOME Our Art at Home sale offer astute collectors the opportunity to browse and acquire a diverse array of contemporary art, from emerging newcomers to established staples. Artists shown in this auction practice across a diverse range of media including photography, painting and printmaking.

auctions@artcntr.co.nz 09 379 4010