JOIN US TO CELEBRATE THE GRAND OPENING OF OUR NEW GALLERY 330 ST ASAPH STREET CHCH
Ronnie van Hout Comin’ Down 2013. Reproduced courtesy of the artist
FINE ART, INTERIORS & COLLECTORS CARS DECEMBER 4 – ENTRIES INVITED
Allen Maddox, Untitled Grid Oil on Canvas, Signed and dated 1983 1070 x 1020mm $12,000 - $18,000
In 2009 Austen established the A A Deans Art Trust, in order that his private collection be managed professionally for the future benefit of his family and the community. The Trustees are pleased to present to the market, from this body of works, forty-five paintings covering nine decades of a lifetime committed to art.
Sale Day - THUR 6.30pm 24th OCTOBER 2013 VIEWINGS OCTOBER 19th - 24th SAT, SUN TUE WED THUR
11am 9am 9am 9am
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3pm 6pm 8pm 5pm
330 ST ASAPH STREET, CHRISTCHURCH 03 366 8396 info@wtmacalister.com WTMACALISTER.COM
Lots 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45
Rooftops Nude Torlesse from Abners Head Bottey on Laig Ghru Pass Bealey Broadstream, nr Bealey From Mt Potts, D’Archiac Totara Tree, Peel Forest Upper Waitaha Swiss Houses, Evolene Rakaia Hills Rakaia Hills Mt Peel and Bush Figures at Peel Forest Dog Trials Campsite, Whitcombe Pass Wanaka Nor’wester Over Mills Bush, Peel Forest Two Thumbs and Mt Sinclair From the Remarkables Moonlight on Stag Flat Lake Sarah, Waimak Mount’s Green & Walter from Tasman Glacier Rata, Peel Forest Wellington from The Crescent Te Mata Peak, Hawkes Bay Near Mt Hutt Mt Tasman from Pioneer Hut Totara Untitled / Artists Studio Verso Old Man Range from Mt Peel Station Hut by Mt Cook Station Tarn Cass, Mt Hutton Rotten Tommy, Mt Cook Rangitata from Mt Peel track Mt Peel from Arundel Breast Hill Station, Otago Ti point Northland Rural Oz, near Orange NSW Mt Canabolos, Orange, NSW Lake Hawea Near Athabraska Glacier, Canada Loch Lomond, Scotland Swingbridge by Lake Heron From St Winnifred’s Hut Mills Bush, Peel Forest Rangitata Gorge in Snow
1938 1938 1939 1945 1946 1947 1947 1948 1950 1951 1951 1952 1956 1956 1957 1959 1960 1960 1968 1969 1969 1969 1971 1971 1972 1973 1974 1974 1976 1976 1978 c1980 c1980 1980 1986 1989 1990 1991 1995 2001 2005 2005 2006 2007 2011
Watercolour Oil Watercolour Watercolour Oil Watercolour Oil Watercolour Oil Watercolour Watercolour Watercolour Watercolour Watercolour Oil Oil Watercolour Watercolour Watercolour Watercolour Watercolour Oil Watercolour Watercolour Watercolour Watercolour Oil Oil Oil Watercolour Watercolour Watercolour Watercolour Oil Watercolour Watercolour Watercolour Oil Watercolour Watercolour Watercolour Watercolour Watercolour Oil Watercolour
Welcome to W.T.Macalister’s fifth auction catalogue. W.T.M was established in February 2012. During W.T.M’s first year of trading in what can be referred to as ‘tumultuous’ times in the city of Christchurch we brought to the market three very significant collections. Our inaugural auction “40 years of Leo Bensemann” followed closely by the Sir Ronald & Lady Scott collection from Wellington and the R Geoffrey Bell Collection. All sales were highly successful and broke several New Zealand auction records establishing W.T.M as market leader of single owner collections. If you are looking to sell a collection consult the name you can trust W.T.Macalister. Now with two superb Galleries located in the Christchurch Art District, W.T.M opens with two exceptional collections, Grahame Sydney, Robin Judkins, 5 Decades (23rd October) and The AA Deans Art Trust Collection (24th October). November 3rd will see the largest private collection of Sterling Silver in New Zealand history go under the hammer all from a Canterbury gentleman. The Silver Sale promises to be a highlight for collectors. The Gow Langsford Gallery (from Auckland) will be exhibiting in our galleries from the 13th till the 23rd of November during New Zealand Cup and Show Week. December 4th sees the introduction of W.T.M Fine Arts, Interiors & Collectors cars, our first multiple vendor sale which includes Fine Jewels, Paintings, Period furniture, Silver, Ceramics, Modern Design and Collectors cars, Limited entries for this sale are invited. W.T.M Gallery will also exhibit and promote New Zealand artists from established, through mid career to emerging Artists. Finally I would like to thank all those that have supported the team of W.T.M, there are too many to mention individually, however thank you to all those highly skilled and professional people. To our clients we thank you for your support and look forward to bringing you superb sales, exhibitions and events at New Zealand’s newest gallery and auction house.
W.T.Macalister
Austen Deans - The Decades by Dr Warren Feeney
1930- 1939 Graduating from Canterbury College School of Art in 1938, Austen Deans belonged to a generation of regionalist painters that included Rita Angus, Doris Lusk, W. A. Sutton and Owen Lee. At Canterbury College, Deans’ skills as a plein-air painter and water-colourist were nurtured by Archibald Nicoll, tutor in painting. Nicoll had gained first-hand experience of impressionist painting, studying in Britain and Europe at the Glasgow School in 1913 and visiting Brittany, where he worked with his former teacher from Christchurch, Sydney Thompson. Although tutored in oil and life studies by Cecil Kelly, (Female nude on Green Sheet, Model – Art School 1937-38), Deans’ attention was resolutely focused upon landscape and refining his skills in watercolour. In Mt Torlesse from Abners Head (c. 1939), his early confidence and command of the medium are evident in the tonal and atmospheric relationships he establishes between land and sky, and in his ability to render the transient qualities of light in the local landscape. Deans attended Canterbury College over a period of five years and made the most of his time, extending his knowledge of the Canterbury landscape and high country, not only as a painter, but also as a member of the Canterbury University Tramping Club, familiarising himself with the region surrounding Mt Torlesse and the Rakaia Gorge. Even in his years as a student, his ability to respond to the land attracted serious attention. Reviewing his work at an annual exhibition of the Canterbury Society of Arts in the late 1930s, author and artist Ngaio Marsh commented in the Christchurch Star that Deans’ painting captured something of the essence of the New Zealand landscape.
1
Rooftops 1938 Watercolour 380 x 280 Signed $1,000 - $2,000
2 Nude 1938 Oil 300 x 320 $500 - $1,000
3 Torlesse from Abners Head 1939 Watercolour 270 x 380 Signed $2,000 - $3,000
4 Bottey on Laig Ghru Pass 1945 Watercolour 225 x 285 Signed $1,500 - $2,000
1940-1949 Austen Deans enlisted in the 20th Battalion of the 2nd Expeditionary Force (2NZEF) and entered Burnham Military Camp on 5th October 1939, arriving in Egypt at Maadi Camp in February 1940, and taking part in the 2NZEF’s first European campaign to repel the German invasion of Crete. It was during this conflict that he received official notification that he had been appointed assistant war artist to Peter McIntyre. However, caught under fire, Deans was treated for his wounds as the Germans took control of Crete and he was captured and remained a prisoner of war for the following four years, initially being confined to the POW hospital at Kokkinia in Piraeus. Although held captive, Deans met two other artists, Justin O’Brien and Jesse Martin and his work became increasing influenced by European Modernism, Post-Impressionism, the Fauves, and artists such as Gauguin and Matisse. His description of the landscape of Genshagen POW Camp in Poland in his paintings during this period revealed his newfound interest in rhythm, line and pure colour, assuming a prominence that would have been unfamiliar to the majority of his contemporaries in New Zealand. In these works, forms were contained in bold outlines that reduced the illusion of perspective on the surface of the picture plane, drawing attention to abstract rhythms and the painted surface. The spirit and formalism of this modernism was retained in later works completed following his return to New Zealand in 1945. In paintings such as Broadstream Bealey Nr Bealey (1946) and Totara Tree, Peel Forest (1947), Deans’ attention is as much upon the treatment of form and line, through a series of arabesque rhythms and patterns, as it is in capturing the changing qualities of light in the land and forest.
5 Bealey Broadstream, nr Bealey 1946 Oil 530 x 690 Signed $4,000 - $6,000
6 From Mt Potts, D’Archiac 1947 Watercolour 265 x 365 Signed $2000 - $3000
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Totara Tree, Peel Forest 1947 Oil 485 x 535 Signed $3,000 - $5,000
8 Upper Waitaha 1948 Watercolour 220 x 270 Signed $1,000 - $2,000
9 Swiss Houses, Evolene 1950 Oil 440 x 540 Signed $3,000 - $4,000
1950-1959 Like many returned servicemen to New Zealand, Deans initially found it challenging to resettle in his homeland. He set up a studio in Morven at Peel Forest and instinctively felt that his engagement with European Modernism seemed inappropriate to interpreting the New Zealand landscape. He did however, wish to establish a new life back in Canterbury and in January 1947 he married Elizabeth Hutton, the daughter of a family in a neighbouring farm. Yet, Deans also felt that he needed to gain further study in the fine arts and the couple decided to live in London, arriving early in 1948. He enrolled at the London Metropolitan University and studied under Nicholas Egon at the Sir John Cass College, acquiring greater knowledge of the European Old Masters. Fundamental to Egon’s tuition was a belief in traditional methods of representation and that the true artist must respond intuitively to the world in which they live. For Deans such sentiment ensured that when he returned to New Zealand in 1950, he came home with a deep affection for the local landscape. Like many of his countrymen, Deans appears to have discovered a new-found curiosity in his country. Former editor of publishing company A. H. & A. W. Reed in the 1950s, Ray Richards claimed that ‘New Zealanders at peace were deeply in love with their own land,’ and Deans’ painting throughout this period, communicated such a response. In Campsite, Whitcombe Pass (1956), Deans captures the grandeur of the high country, locating the shelter of camp in the immediate foreground as a reassuring gesture of comfort and security. The notion of a shared and empathetic relationship between humankind and the natural world that this watercolour reveals, would become a predominant theme in his work throughout the 1960s, at a time when painting and the visual arts acquired a greater popularity in New Zealand.
10 Inverary 1950 Watercolour 255 x 360 Signed $2,000 - $3,000
11 Rakaia Hills 1951 Watercolour 255 x 360 Signed $2,000 - $3,000
12 Mt Peel and Bush 1952 Watercolour 265 x 360 Signed $2,000 - $3,000
13 Figures at Peel Forest Dog Trials 1956 Watercolour 265 x 375 Signed $3,000 - $5,000
14 Campsite, Whitcombe Pass 1956 Watercolour 310 x 235 Signed $2,500 - $3,500
15 Wanaka Nor’wester Over 1957 Oil 550 x 700 Signed $4,000 - $6,000
16 Mills Bush, Peel Forest 1959 Oil 400 x 650 Signed $3,000 - $5,000
17 Two Thumbs and Mt Sinclair 1960 Watercolour 405 x 450 $2,000 - $3,000
1960-1969 Purchasing land in the early 1950s at Peel Forest, Deans contracted architect Paul Pascoe to design his home and by 1960s he had extended the house with an additional storey to accommodate his growing family of seven children. As one of the country’s few fulltime professional artists, Deans found a welcome audience for his work as New Zealanders began to purchase original works of art. Within this environment, Sir Henry Kelliher, entrepreneur and businessman, established the Kelliher Landscape Competition. As the country’s leading art award the annual competition and exhibition gave national prominence to artists such as Peter McIntyre, Owen Lee and Deans. In both 1962 and 1963, Deans won first prize and alongside his representation in the increasing number of dealer galleries and arts publications on New Zealand painting, he became one of the country’s best-known artists. In 1967, his reputation was consolidated as his life and art became the subject of a book. Pictures was published by A. H & A W. Reed and further increased the artist’s public profile, putting his art into the homes of numerous New Zealanders. Deans’ reputation during this period resided in his acute response to the detail of light and the landscape, his skill as a water-colourist and his ability to work within well-known traditions of landscape painting. Lake Sarah Mounts Green (1969) is typical of his work. Deans encourages the gallery visitor to seemingly take possession of an expansive landscape, (one that is entirely untouched by the presence of humanity), through the act of looking and by the convincing way in which his composition takes the viewer to the middle distance of the painting and to its dramatic record of Canterbury hills in deepening shadows.
18 From the Remarkables 1960 Watercolour 255 x 175 Signed $1500 - $2500
19 Moonlight on Stag Flat 1968 Watercolour 190 x 280 $700 - $1200
20 Lake Sarah, Waimak 1969 Watercolour 260 x 370 Signed $1500 - $2500
21 Rata, Peel Forest 1969 Oil 400 x 580 Signed $3,000 - $4,000
22 Mount’s Green & Walter from Tasman Glacier 1969 Watercolour 290 x 390 $1,000 - $2,000
1970-1979 By the 1970s Deans’ family was growing up and leaving home and his career as a popular professional New Zealand artist continued to flourish. However, the success of his painting resided, not merely in his ability to observe and record the natural world, it was equally and implicitly concerned with a profound response to Nature. Informed by his religious faith, he revealed an understated comprehension of Nature as evidence of a divine presence. He commented about his painting: ‘Seeing something in Nature that intensifies my joy in being alive, I want to try to reproduce it in such a form that when I see it again I re-live my joy at that divine moment. By so painting I hope to share my own delight with other people.’ Certainly, the attention to light and the evocative luminosity in watercolours like Near Mt Hutt (1972), reveals such sentiments and this response is similarly evident in his attention to the detail and variety of his record of the natural world. Moreover, his love of Nature was not just confined to his painting. In 1974 at the age of 59 he climbed to the top of Aoraki/Mt Cook, and followed this achievement five years later, ascending to the peak of Mt D’Archiac at the head of the Rangitata Gorge. Deans continued to exhibit locally and nationally throughout the 1970s, gaining second place in the Kelliher Landscape Competition in 1970 and at the end of the decade, holding an exhibition with his sons, Paul, Nick, Peter Deans and sister-in-law Eva at the Canterbury Society of Arts Gallery in Christchurch. Deans commented on his work in this exhibition: ‘My aims, artistic or not, are simple and limited. If I can use tone, colour, proportion, to bring back the magic of existence in Canterbury’s clear, luminous atmosphere, particularly back country, I am happy.’
23 Wellington from The Crescent 1971 Watercolour 370 x 550 Signed $2,000 - $3,000
24 Te Mata Peak, Hawkes Bay 1971 Watercolour 300 x 470 Signed $2,000 - $3,000
25 Near Mt Hutt 1972 Watercolour 265 x 410 Signed $2,000 - $3,000
26 Mt Tasman from Pioneer Hut 1973 Watercolour 250 x 350 Signed $700 - $1,200
27 Totara 1974 Oil 190 x 110 Signed $500 - $700
28 Untitled / Artists Studio Verso 1974 Oil 390 x 450 Signed $4,000 - $5,000
29 Old Man Range from Mt Peel Station 1976 Oil 300 x 510 Signed $2,000 - $3,000
30 Hut by Mt Cook Station 1976 Watercolour 355 x 270 Signed $1,000 - $2,000
31 Tarn Cass, Mt Hutton 1978 Watercolour 270 x 380 Signed $1,500 - $2,500
32 Rotten Tommy, Mt Cook c1980 Watercolour 380 x 560 Signed $2,000 - $3,000
33 Rangitata from Mt Peel track c1980 Watercolour 170 x 190 $500 - $700
1980-1989 In 1981, Deans visited Antarctica, following –as he later admitted - in the footsteps of landscape painter and war artist Peter McIntyre who had been to the region in 1958. Over the next two years, Deans completed a series of studies of the Antarctica region, working in oil on a scale that remains among the largest works he completed. The exhibition of Deans’ paintings opened in Wellington at the Beehive, but attracted limited interest. Predominated by a range of cool blues and ochres, Deans rated this series among his best work, but it failed to attract the immediate admiration of his more popular landscapes, with belated attention only accorded to these paintings in 2008 when they were exhibited in the Christchurch Art Gallery’s Antarctica Gallery for a period of four months. Deans was challenged by the weather conditions of Antarctica and relied on his skills as a seasoned topographer and rapid note-taker, working in pencil and completing quick watercolour sketches. Indeed, the demands of painting this series in a hostile landscape served to again reveal that Deans’ sensitivity to observation remained as astute and skilful as it had always been. In his more familiar choice of subjects from this period such as Breast Hill Station Otago (1986), Deans captured the experience of watching the light and colours of the South Island landscape. In contrast, the watercolour, Ti Point Northland (1989) completed in a part of New Zealand less well known to the artist, Deans adopts an entirely different palette, yet it represents an equally sensitive and acute observation of the land, its flora and fauna and transient light.
34 Mt Peel from Arundel 1980 Oil 675 x 1120 Signed $10,000 - $15,000
35 Breast Hill Station, Otago 1986 Watercolour 260 x 360 Signed $2,000 - $3,000
36 Ti point Northland 1989 Watercolour 280 x 405 Signed $2,000 - $3,000
37 Rural Oz, near Orange NSW 1990 Watercolour 360 x 545 Signed $2,000 - $3,000
1990-1999 In the 1990s, Deans received recognition for his lifelong commitment to landscape painting. In 1995 he was awarded the Order of the British Empire for services to the arts and his work also formed the subject of a survey exhibition, encompassing 60 years of painting, at the Canterbury Society of Arts Gallery. This comprehensive show, featured 130 works by the artist from his graduate years in the late 1930s to his war paintings and Antarctica series in the 1980s. Interviewed in The Press, he reaffirmed his commitment to painting, noting that at 79 years of age he was currently looking forward to painting in the Copland Pass, but he might ‘have left it too late. I’ll get the boys to carry some of my gear. It’s a three day trip.’ Director of the CSA Gallery, Nigel Buxton praised Deans as an artist who excelled in watercolour; ‘a superb draftsman with an excellent eye.’ The exhibition highlighted his skills as one of New Zealand’s most accomplished water-colourists and landscape painters and was complemented in December 1996 by a further survey exhibition of paintings sourced from private collections throughout the South Island, held at the Aigantighe Art Gallery. Deans continued to demonstrate that Peel Forest and South Canterbury remained a favourite subject. In an untitled watercolour of the Geraldine district from 1995 he acutely renders the reflections of light, permeating the sky and lake in the foreground of the painting, capturing not only the detail of the landscape, but equally a sense of the artist’s presence and personal history and connection to this environment.
38 Mt Canabolos, Orange, NSW 1991 Oil 485 x 645 Signed $3,000 - $5,000
39 Lake Hawea 1995 Watercolour 295 x 415 Signed $2,000 - $3,000
2000-2011 The death of his wife in 2004, after 57 years of marriage was a shock to Deans and in 2005, he immersed himself in travelling to the United Kingdom and watching the centenary of the All Blacks-Wales Rugby match. During this decade however, he also continued to paint, exhibiting regularly with the South Canterbury Art Society in its annual exhibitions. Although claiming that he now preferred to focus on his home in Peel Forest, in April 2007 he attended the opening of the National Collection of War Art in Wellington held by National Archives. Deans was an important guest, representing New Zealand’s last living war artist from the Second World War. Memories of the war remained a part of his life, and in 2009 following his second marriage, this time to his long-time friend Margaret Alpers, with his son Paul he revisited Greece and Crete, returning to the site where he had fought the German invasion and been captured. Like Peel Forest and Geraldine, the Rangitata River had also been a favourite subject of Deans’ watercolours and it remained so in his later years. The Rangitata had been the subject of his entry in the Kelliher Landscape Competition in 1970 in which he had received second prize. It was ideally suited to Deans for such an award exhibition, allowing the artist to take advantage of its panoramic views and the accompanying drama of such a scene. It was a subject ideally suited to a competition. Certainly, the grandeur of nature, evident in the scale of Deans’ Rangitata paintings remains evident in this late work by the artist, Rangitata Gorge Looking to Mesapotamia from White Rock Station (2011), completed in the year of his death.
40 Near Athabraska Glacier, Canada 2001 Watercolour 295 x 210 Signed $700 - $1,200
41 Loch Lomond, Scotland 2005 Watercolour 205 x 295 Signed $1,000 - $1,500
42 Swingbridge by Lake Heron 2005 Watercolour 170 x 275 Signed $1,000 - $1,500
43 From St Winnifred’s Hut 2006 Watercolour 150 x 210 $500 - $1,000
44 Mills Bush, Peel Forest 2007 Oil 440 x 340 Signed $2,000 - $3,000
45 Rangitata Gorge in Snow 2011 Watercolour 295 x 945 Signed $4,000- $6,000
termS and ConditionS DEFINITIONS 1.1 “Auctioneer” includes and means the person authorised as agent to conduct a sale and his, her, its or their employees or agents in any way assisting in the auction or the recording of it. 1.2 “Bidder” means any Person (whether present or not) and his, her or its agent or employee placing or making bids or leading the auctioneer to believe that person, agent or employee is making bids. The bidder shall be deemed a principal and personally liable to complete any purchase including for absentee bids. 1.3 “Lot(s)” means the Property for sale by way of Auction at any one time. 1.4 “Person” means any company, firm or legally recognised body whether incorporated or not. 1.5 “Property” means the goods, items, chattels, land, estates or interests being auctioned. 1.6 “Purchaser” means the person to whom the Property is knocked down by the auctioneer in an at that time uncontested auction. 1.7 “Vendor” means the person placing the property with the auctioneer for sale and includes such a person’s actual or purported agents or employees. 2 Registration All Purchaser’s must register with the Auctioneer prior to bidding by completing a registration card with their correct details and particulars. 3 Bidding The highest Bidder shall become the Purchaser subject to the Auctioneer having the right to refuse any bid or resolve any dispute by putting such
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The
Silver Sale
Sunday 3rd November 11am
A lifetime collection from a Canterbury Gentleman
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