Fine Art Including The Sir Robert Jones Estate

Sir Robert (Bob) Jones (1939 - 2025)

Bobs first foray into the art market began in the late 1960s after he’d discovered that a gestetner machine (an early form of the photocopier) would, as a byproduct, stain cardboard sheets with ink. He had some framed and launched an exhibition, explaining that these were the works of the “highly sought afte W. E Wilson”. While these works were not part of his blue wash period, explained the press release, having been developed during his time in Afghanistan, they were notably all verticals. Works for sale included “Silent Snow if People Sleep”, “Weed tangled fishing net” and “Euphrates Dialogue”. Unfortunately, Wilson had been unable to attend as he was at the time travelling through Iran, though that didn’t prevent a number from being sold.

It also didn’t prevent Bob from beginning his own collection which by the 1980s, encouraged by his friend Peter McLeavey, began to include artists such as Fomison, Woollaston, Smither, Illingworth, Hanly and Ellis, forming what became a substantial collection of highly regarded 1970s and 1980s New Zealand works. Some of that art has been kept by the family, some donated at Bob’s request to institutions.

Christopher Jones

NEW ZEALAND & INTERNATIONAL

FINE & APPLIED ART

LIVE & ONLINE

T hursday 26 March 2026 - 6pm start

Part One: L ots 1–54

TIMED ONLINE AUCTION ONLY

Friday 27 March 2026 - closing from 12noon

Part Two: L ots 100 - 181

Studio Ceramics & Applied Arts: Lots 182 - 208

Wellington Viewing Schedule

Friday 20 March 10am - 4pm

Sunday 22 March 11am - 3pm

Monday 23 March 9am - 4pm

Tuesday 24 March 9am - 4pm

Wednesday 25 March 9am - 4pm

Thursday 26 March 9am - 4pm

LOCATION

94 Featherston Street

Wellington CBD

ENQUIRIES

Joe Keate

+64 4 472 1367

art@dunbarsloane.co.nz

NEW ZEALAND & INTERNATIONAL FINE ART

PART ONE / EVENING SALE

LIVE & ONLINE

Thursday 26 March 6pm start

Lots 1 - 54

1

Lois McIvor (1930 - 2017)

Taoist Landscape with Waterfall oil on canvas

signed lower right

445 x 344mm

$2,000 - $4,000

PROVENANCE

Private collection, Wellington

2

Lois McIvor (1930 - 2017)

Passage I oil on canvas

signed lower right; dated 1999 verso

Ferner Galleries label affixed verso

405 x 405mm

$2,000 - $4,000

PROVENANCE

Private collection, Wellington

Michael Smither (b 1939) Island off Back Beach oil on board

Michael Smither (b 1939) Diary of a Summer Mountain I - V screenprint, five sections 150 x 820mm

$4,000 - $6,000 PROVENANCE Estate of Sir Robert Jones

5

Garth Tapper (1927 - 1999)

The Worker oil on board

signed & dated ‘68 lower right

340 x 290mm

$3,000 - $5,000

PROVENANCE Estate of Sir Robert Jones

6

Garth Tapper (1927 - 1999)

The Cellar oil on board signed lower right

290 x 367mm

$4,000 - $6,000

PROVENANCE Estate of Sir Robert Jones

Boat & Icebergs oil on canvas

signed & dated ‘00 verso

510 x 380mm

$3,000 - $5,000

PROVENANCE

Private collection, Nelson

Euan MacLeod (b 1956)

Cube Landscape I oil on canvas

signed & dated 10-11/98 verso

380 x 510mm

$3,000 - $5,000

PROVENANCE

Private collection, Nelson

9

9

Peter Siddell (1935 - 2011) House and Grass oil on hardboard

signed lower left; dated 1971 verso 317 x 480mm

$15,000 - $25,000

PROVENANCE

Private collection, Wellington

350

$15,000 - $25,000

PROVENANCE

Private collection, Auckland

12

Trevor Moffitt (1936 - 2006)

Reclining Nude II oil on board

signed & dated ‘75 lower right

600 x 600mm

$6,000 - $10,000

PROVENANCE

Private collection, Wellington

13

Trevor Moffitt (1936 - 2006)

All Off? Yes, All Off oil on board

signed & dated ‘74 lower right

600 x 600mm

$6,000 - $10,000

PROVENANCE

Private collection Wellington

signed & dated ‘72 lower right

1210 x 750mm

$4,000 - $8,000

PROVENANCE Estate of Sir Robert Jones

14

Emma Camden (b 1966)

Passage cast glass

signed & dated 2010 on base

375 x 1025mm

$5,000 - $8,000

PROVENANCE

Private collection, Wellington

Alan Ingham (Attributed, 1920 - 1994)

Family Group

bronzed welded sculpture on wooden base

unsigned

415 x 320 x 540mm (widest points)

$10,000 - $20,000

PROVENANCE

Estate of Sir Robert Jones

16

Pah

oil on board signed & dated ‘82 lower right

890 x 790mm

$20,000 - $30,000

PROVENANCE

Estate of Sir Robert Jones 16

17

Michael Illingworth (1932 - 1988)

Untitled 1982 oil on board signed & dated ‘82 verso 164 x 240mm

$6,000 - $10,000

PROVENANCE

Estate of Sir Robert Jones

Purchased from Peter McLeavey Gallery, June 21 1984

EXHIBITED

Michael Illingworth: Paintings, Peter McLeavey Gallery, Wellington, 5 - 23 June 1984

18

Anneke Borren

Ceramic Totem Sculpture on wooden stand

595 x 595 x 1150mm

$2,000 - $4,000

PROVENANCE

Private collection, Wellington

19

Barry Brickell ‘Ooze’ Fountain semi-glazed earthenware impressed mark 1340mm High

$4,000 - $8,000

PROVENANCE

Private collection, Wellington

20

Robert Ellis (1929 - 2021)

Motorway Journey oil on board

signed & dated 1970 lower left

895 x 900mm

$30,000 - $50,000

PROVENANCE

Estate of Sir Robert Jones

21

Nigel Brown (b 1949)

Bedroom Painting 2 oil on board

signed & dated ‘76 lower right

745 x 627mm

$8,000 - $12,000

PROVENANCE

Estate of Sir Robert Jones

22

Nigel Brown (b 1949)

Cover These Inhuman Distances oil on linen

signed & dated 2003 lower right

745 x 1360mm

$8,000 - $12,000

PROVENANCE

Private collection, Wellington

Robyn Kahukiwa (1938 - 2025)

Taniwha

watercolour & acrylic on handmade Indian cotton paper

signed & dated ‘03 lower left

385 x 570mm

$8,000 - $12,000

PROVENANCE

Private collection, Wellington Purchased directly from the artist

24

Robyn Kahukiwa (1938 - 2025)

Hikoi 2004

watercolour & acrylic on handmade Indian cotton paper

signed & dated ‘04 lower right

385 x 580mm

$8,000 - $12,000

PROVENANCE

Private collection, Wellington Purchased directly from the artist

Peter McIntyre (1910 - 1995)

Wellington Harbour watercolour & ink on paper

signed lower right

500 x 730mm

$12,000 - $18,000

This work is being auctioned for the benefit of Tāngaro Tuia te Ora, the Endangered Species Foundation

27

John Drawbridge (1930 - 2005)

South Coast

watercolour & pastel on paper

signed & dated March 2002 lower left

570 x 755mm

$4,000 - $8,000

PROVENANCE

Private collection, Napier

28

Juliet Peter (1915 - 2010)

Easter Moon watercolour on paper

signed & dated ‘66 lower right

518 x 695mm

$10,000 - $15,000

PROVENANCE

Private collection, Wairarapa Sale, Dunbar Sloane, The David Carson-Parker Art Collection, 21/11/2016, Lot No. 2

Collection of David Carson-Parker

29

Juliet Peter Horse Candleholder salt-glazed stoneware original sticker affixed to base old repair to left hind leg

400mm H x 360mm L

$1,500 - $3,000

PROVENANCE

Private collection, Hawke’s Bay

30

Roy Cowan Floor Vase

stoneware decorated with an aquatic scene in polychrome underglaze incised mark

850mm H

$2,000 - $4,000

PROVENANCE

Private collection, Wellington

salt-glazed stoneware some faults to back

740mm W x 390mm D x 1070mm H

$10,000 - $15,000

Pat Hanly (1932 - 2004)

32

Pat Hanly (1932 - 2004)

Love Scene

oil and enamel on hardboard signed & dated ‘68 lower right 1205 x 1205mm

$80,000 - $150,000

PROVENANCE

Estate of Sir Robert Jones

EXHIBITED

Creation Works | Barry Lett Galleries, 1971

Pat Hanly Retrospective | Dowse Art Museum and Christchurch Art Gallery, 1974

‘I am trying genuinely to love everyone and can see now that is all there is and if one could succeed in this thing alone there will be peace and understanding in my heart.’

It’s 1968, and Patrick Hanly’s father, Jim, has recently died of a heart attack. Following his father’s death, Hanly suffered from depressive episodes and was considering his own mortality with recent heart palpitations. Perhaps it is in the essays of Meher Baba’s and D. T. Suzuki’s essays of Zen Buddhism where Hanly found solace in his grief. However, more notably, Hanly discovered Buddhism’s core tenant of love as continual practice of compassion and kindness, not just to lovers, but to everyone. This belief profoundly impacted Hanly through his outlook on his personal life, as well as altering his painting practice.

Following an LSD experience in February of 1968, Hanly began his “Molecular Aspect” series. Included in the group is the monumental Love Scene (1968). It is Hanly’s only work he ever meticulously recorded executing in his personal journal. Step by step, he took inspiration from a print in a 17th century Japanese “Pillow Book” and made it his own, painting his figures in stages with particularly random or chosen colours to represent their individual chemistry but similar molecular makeup.

Henri Matisse and Jackson Pollock’s work certainly influenced Hanly’s “Molecular Aspect” series. Raw outlines of reclining figures, reminiscent of Matisse’s “Bathers” works which took influence from the subjects of Japanese woodblocks. Meanwhile Hanly borrows Pollock’s drip technique to convey the depth of molecules found in every individual.

Hanly began practicing intentional passivity after his father’s heart attack, which ultimately revolutionised his practice – fittingly also recorded in his journal dated 6 March 1967 were the two words; ‘NO RULES.’ He was able to break down his composition to its basic molecular makeup and reconstruct them through mindfulness;

‘I have been to the ends of the earth and the beginning of the universe seeing or understanding the possibility of all aspects, fantastic in simplicity and wholesomeness, real and definite. I am less afraid now.’

Lily McCowan

Robert Ellis (1929 - 2021)

33

Robert Ellis (1929 - 2021)

Motorway Journey oil on board

signed & dated 1969 lower right; Ferner Galleries label affixed verso 1200 x 1200mm

$80,000 - $120,000

PROVENANCE

Estate of Sir Robert Jones

In 1957, when Robert Ellis emigrated to New Zealand, London‘s population was more than double the entire population of our island nation. An opportunity to rebuild after the Blitz, the highways above ground and tube below became the essential “circulatory” system for the body of London city.

Delayed in developing its own infrastructure, Robert lived in Auckland with his wife Elizabeth Aroha Mountain and daughters Ngarino and Hana. They were witness to the city’s industrialisation, especially as Robert learned to drive on Auckland’s new motorways and commute into work to lecture at Elam School of Fine Arts. What is at stake when an artist transplants himself into a country, into an art history? What does he bring with him, and what does he take?

Heavily inspired by Māoritanga through his wife Elizabeth, Ellis’ works sought to bring together the iconography of Māori and Pākehā culture to promote biculturalism. His adaption of Māori weaving forms with his motorways demonstrates this unification visually.

The vantage point is unique in the space it occupies in New Zealand’s art history. Painted as if above Auckland, the motorways stretch across the horizon like scars upon skin. Before his transition to New Zealand, Ellis was stationed in the RAF Photographic Unit for two years after World War Two. The images released which were taken by Ellis reveal the wreckage from ceaseless bombings, bringing other kinds of damage to the landscape. This vantage point became essential for the “Motorway Journey” series.

Painted in 1969, many works in the Motorway Journey series juxtaposes the landscape meeting between suburb and bush, a dualistic encounter often painted by Ellis through dramatically lush greens to man-made reds, blacks and oranges to demonstrate what this landscape could look like without motorways. But here, almost as a last resort, Ellis has soaked the foreground in red to represent the bleeding of the land, or a scorched earth. We are far beyond what would have been if not for human interference.

Lily McCowan

Large Lightbox I custom-fabricated lightbox with archival print, edition 2/3 + 2 A/Ps

1000 x 1500mm

$4,000 - $8,000

PROVENANCE

Private collection, Auckland

35

Bill Hammond (1947 - 2021)

Singer Songwriter III lithograph, edition of 100 signed & dated 2001 in plate lower right

690 x 830mm

$14,000 - $18,000

PROVENANCE

collection, Wellington

36

Jeffrey Harris (b 1949) Sing or Die charcoal on paper signed verso

360 x 320mm

$2,000 - $4,000

PROVENANCE

Private collection, Wellington

37

Robin White (b 1946)

Cross’s Barn - Peninsula

silkscreen print, edition 16/25

signed & dated May ‘72 lower right

490 x 490mm

$4,000 - $6,000

38

Melvin Day (1923 - 2016)

Wellington Hills oil on gesso on paper

signed & dated ‘95 lower right

570 x 670mm

$5,000 - $8,000

PROVENANCE

The Oroya & Melvin Day Trust

signed & dated ‘59 lower left 1175 x 1535mm

$10,000 - $15,000

PROVENANCE

Private collection, Dunedin

Gottfried Lindauer (1839 - 1926)

40

Gottfried Lindauer (1839 - 1926)

Ana Rupene and child / Heeni Hirini and child (Mt Vernon version) oil on canvas

signed & dated 1890 lower left 850 x 670mm

$250,000 - $350,000

PROVENANCE

J. W. Harding, Mount Vernon, Waipukurau

Thence by direct descent to the present owner (fifth generation)

John Harding and Emma Harding (née unknown) were married in Southampton, United Kingdom, in 1841 and emigrated that same year to New Zealand aboard the Birman, arriving in Wellington in March 1842. Harding later acquired extensive grazing land between the Tuki Tuki and Waipawa Rivers in Hawke’s Bay, where the family established their residence in 1855. Emma Harding bore thirteen children.

Between 1882 and 1883 the family constructed Mount Vernon Homestead, now recognised as an important historic property in the Hawke’s Bay region. It was here that the Hardings formed a close association with Lindauer, who regularly travelled from Woodville to stay with the family, using the homestead as a studio. During these visits he painted numerous local subjects, including several members of the Harding family, many of whose portraits remain in the family’s collection.

In the late 1890s John Harding acquired Ana Rupene and child [Heeni Hirini and child] directly from the artist, along with Lindauer’s 1895 portrait of Renata Kawepō. Both works survived the 1931 Hawke’s Bay earthquake and were later placed on long-term loan to the Sarjeant Gallery Te Whare o Rehua until restoration of Mount Vernon Homestead was completed. (The portrait of Renata Kawepō was sold through Dunbar Sloane in 2017.)

The life dates of Ana Rupene—also known as Ana Reupene Whetuki and Heeni Phillips—are not recorded. She lived and died at Manaia on the Coromandel Peninsula and was a woman of mana grounded in her Ngāti Maru whakapapa. Her son was remembered within Ngāti Maru for his exceptional ability to recite whakapapa and is believed to have died in his late teens.

Lindauer based the composition on a studio photograph taken by the Foy Brothers of Thames and is one of the most recognisable works in his oeuvre. A version exhibited at the 1904 Louisiana Purchase Exposition (St Louis World’s Fair) was awarded a gold medal; the honour was conferred on Lindauer’s patron, Henry Partridge, rather than the artist himself. That version is now held by the Auckland Art Gallery Toi o Tāmaki. Other versions are in the collections of the National Library of Australia and the Christchurch Art Gallery Te Puna o Waiwhetū.

H L Walker

41

Theodor Josef Ethofer (Austrian, 1849 - 1915)

Milanese Street Scene oil on panel signed & dated 1882 lower right 520 x 290mm

$3,500 - $5,000

42

John Barr Clarke Hoyte (1835 - 1913)

View of Auckland Looking towards Rangitoto watercolour on paper unsigned; letter of provenance verso 310 x 510mm

$5,000 - $10,000

PROVENANCE

“Painted for wedding present for Jane Frances Hayes to George Heslop in September 1873 married in Auckland. J. C. Hoyte and Ms Hayes were both teachers at Auckland Grammar School. George Heslop born in Northumberland in 1845. Jane Frances Hayes born in King’s County Ireland, 1843.”

Thence by descent to current vendor

43

Vera Cummings (1891 - 1949)

Portrait of a Maori Woman & Child oil on canvas

signed lower right 245 x 195mm

$5,000 - $10,000

PROVENANCE

Private collection, Wellington

44

Horatio Gordon Robley (1840 - 1930)

Te Arawa Peruperu at Maketu Pā watercolour on paper signed & dated 1865 lower right 210 x 315mm

$4,000 - $8,000

PROVENANCE

Private collection, Wellington

43

45

Ralph Hotere (1931 - 2013)

Dawn/Water Poem (Bill Manhire)

watercolour on paper

signed & dated ‘75 lower right

250 x 175mm

$10,000 - $15,000

PROVENANCE

Private collection, New Plymouth

46

Liam Barr (b 1966)

Faethm oil on canvas

signed & dated ‘09 lower left

685 x 535mm

$5,000 - $8,000

The work is accompanied by a poem which reads: Faethm stands her watch in solitary grace, heart of oak and knowing. Jack Tar, a mate ‘til her last gasp, will keep her ember glowing, For many a salty has come to pass with all the seeds for sowing. These days she casts a full arms length, to spare the to and fro’ing.

47

Grahame Sydney (b 1948)

Westerley Change watercolour on paper signed & dated 1993 lower left

500 x 730mm

$80,000 - $100,000

PROVENANCE

Private collection, Wellington

48

William Alexander (Bill) Sutton (1917 - 2000)

Bone and Shadow oil on canvas signed and dated ‘49 lower right

500 x 600mm

$45,000 - $65,000

PROVENANCE

Private collection, Wellington

49

Melvin Day (1923 - 2016)

Still Life with Fruit monotype & ink on paper signed & dated ‘55 lower right

432 x 400mm

$2,000 - $4,000

PROVENANCE

The Oroya and Melvin Day Trust

50

Olivia Spencer Bower (1905 - 1982)

Floral Still Life watercolour on paper signed lower left

550 x 550mm

$2,000 - $3,000

PROVENANCE

Estate of Sir Robert Jones

51

Allen Maddox (1948 - 2000)

Sorry No Disrespect Meant oil on calico

signed & dated 3.6.76 upper right

505 x 445mm

$3,500 - $6,000

PROVENANCE

Private collection, Wellington

52

John Weeks (1888 - 1965)

Orchestration of Colour & Shape tempera on wood signed lower left; certificate of authenticity affixed verso 278 x 210mm

$4,000 - $6,000

PROVENANCE

Estate of Sir Robert Jones

signed & dated 1950 lower left

570

$6,000 - $10,000

PROVENANCE

The

PROVENANCE

Estate of Sir Robert Jones

FINE ART WITH STUDIO CERAMICS & APPLIED ARTS

PART TWO / DAY SALE

TIMED ONLINE AUCTION ONLY

Friday 27 March - closing from 12noon

Lot 100 - 181

Studio Ceramics & Applied Arts: Lot 182 - 208

100

signed lower left

395 x 600mm

$2,000 - $4,000

$400 - $800 100

Off the Coast oil on canvas board

signed lower left

265 x 330mm

102

Marcus King (1891 - 1983)

Rocks - Island Bay oil on canvas board

signed & dated ‘27 lower right

240 x 340mm

$600 - $1,200

103

Marcus King (1891 - 1983)

Untitled Landcape oil on canvas board

signed lower left

237 x 255mm

$600 - $1,200

104

Marcus King (1891 - 1983)

Distant D’Urville oil on canvas board

signed & dated ‘66 lower right

282 x 425mm

$1,000 - $2,000

105

John Drawbridge (1930 - 2005)

Chartres Cathedral mezzotint, edition 10/50, printed 1984

signed & dated 1958 lower right

520 x 380mm

$400 - $800

106

Jenny Dolezel Surrender

mezzotint, A/P, edition unknown signed lower right

280 x 295mm

$300 - $600

107

Bonnie Quirk (b 1932) Waiheke

etching and aquatint, edition 11/50 signed lower right; dated September ‘76 lower centre

550 x 410mm

$500 - $800

PROVENANCE

Estate of Sir Robert Jones

108

Stanley Palmer (b 1936)

The Three Boatmen - Piopiotahi - Milford monoprint

signed & dated 1993 lower right

752 x 1152mm

$1,500 - $3,000

109

Stanley Palmer (b 1936)

Three Waterfalls bamboo engraving, edition 39/50 signed & dated 1971 lower right

585 x 430mm

$300 - $600

PROVENANCE

Estate of Sir Robert Jones

110

Mahariki Tangaroa (b 1973)

Living with the Past oil on canvas

signed & dated 2001 lower left

920 x 580mm

$1,000 - $2,000

111

Denys Watkins (b 1945)

Untitled watercolour on paper signed & dated ‘75 lower right

596 x 430mm

$600 - $1,200

113

112

Gerda Leenards (b 1946)

The Lie of the Land acrylic emulsion on canvas unsigned 640 x 2000mm

$4,000 - $6,000

113

Pat Hanly (1932 - 2004)

Stripper Study 4 monotype, edition 1/1 signed & dated ‘61 upper right 335 x 490mm

$2,000 - $3,000

E Mervyn Taylor (1906 - 1964)

Fantail

wood engraving, edition of 30

signed lower right

80 x 105mm

$1,500 - $2,500

115

E Mervyn Taylor (1906 - 1964)

Kiwi

wood engraving, edition of 50

signed lower right

80 x 105mm

$1,500 - $2,500

Sam Cairncross (1913 - 1976)

Tory St - Wellington oil on board

signed & dated indistinctly lower right

345 x 445mm

$2,000 - $3,000

PROVENANCE

Private collection, Auckland

116

Douglas Badcock (1922 - 2009)

Seagulls in Flight - EveningPort Isaac - Cornwall oil on board

signed & dated ‘66 lower right

290 x 390mm

$500 - $1,000

117

Douglas Badcock (1922 - 2009)

Cecil Peak - Wakatipu oil on board

signed & dated ‘66 lower right

430 x 580mm

$800 - $1,200

118

Douglas Badcock (1922 - 2009)

Beech Forest - Eglinton Valley oil on board

signed lower right; dated 1973 verso 343 x 465mm

$500 - $1,000

119

Michael Smither (b 1939)

Okahu Hatch Cover screenprint, edition 12/12

signed & dated ‘09 lower right

175 x 160mm

$300 - $600

120

Michael Smither (b 1939)

Okahu Hatch Cover screenprint, edition 12/12

signed & dated ‘09 lower right

175 x 160mm

$300 - $600

121

Michael Smither (b 1939)

Okahu Hatch Cover screenprint, edition 12/12

signed & dated ‘09 lower right

175 x 160mm

$300 - $600

122

Nigel Brown (b 1949)

Arama Ave oil on paper

signed & dated ‘74-’78 lower left

785 x 580mm

$3,500 - $5,000

123

Nigel Brown (b 1949)

The Beautiful Waves Man linocut, edition 21/52

signed & dated 23/4/71 lower left

320 x 215mm

$600 - $1,000

124

Nigel Brown (b 1949)

Seven Last Words lithograph, edition 2/15

signed & dated 2008 lower centre

435 x 320mm

$600 - $1,000

125

Fatu Feu’u (b 1946)

Afio Mai Manukau

lithograph, edition 28/126 signed & dated ‘95 lower right

775 x 530mm

$600 - $1,000

126

Fatu Feu’u (b 1946)

Tomua

lithograph, edition 35/60 signed & dated ‘95 lower right

265 x 195mm

$300 - $600

127

Philip Trusttum (b 1940)

Untitled watercolour and gouache on paper signed upper right

745 x 540mm

$600 - $1,200

PROVENANCE

Estate of Sir Robert Jones

128

Fatu Feu’u (b 1946)

Vai Afi Afi

lithograph, edition 32/36

signed & dated ‘04 lower right

570 x 760mm

$800 - $1,200

129

Gordon Crook (1921 - 2011)

Oceania

screenprint, edition 2/10

signed & dated ‘82 lower right

560 x 815mm

$500 - $1,000

130

W G Baker (1864 - 1929)

White Terraces Rotomahana

watercolour heightened with white on paper signed lower right 345 x 525mm

$1,200 - $1,600

131

W G Baker (1864 - 1929)

Near Wellington Heads oil on board signed lower right 593 x 890mm

$1,000 - $2,000

132

C F Goldie (1870 - 1947)

A Good Joke lithograph (some faults to print surface) signed & dated 1905 in plate centre right

360 x 295mm

$1,500 - $2,500

133

A A Deans (1915 - 2011)

Flooding Orari watercolour on paper signed & dated 1984 lower right

480 x 650mm

$600 - $1,000

134

A A Deans (1915 - 2011)

Late Snow watercolour on paper signed & dated 2008 lower right

240 x 330mm

$200 - $400

135

A A Deans (1915 - 2011)

Rocks at Twelve Mile watercolour on paper signed & dated 1983 lower left

175 x 538mm

$700 - $1,400

Cedric Savage (1901 - 1969)

Eglinton Inlet oil on board

signed lower right

340 x 360mm

$500 - $1,000

137

Cedric Savage (1901 - 1969)

Coastal Landscape oil on board

signed lower right

327 x 425mm

$600 - $1,000

138

Cedric Savage

The Pond oil on board signed lower right

440 x 540mm

$600 - $1,000

139

Colin Wheeler (1919 - 2012)

White House ink and watercolour on paper signed & dated 1950 upper centre

305 x 410mm

$600 - $1,000

140

Stewart MacLennan (1903 - 1973)

Breezy Afternoon - Wanaka oil on canvas

signed lower left

600 x 750mm

$500 - $1,000

141

David Knowles

Untitled

acrylic on board

signed & dated 2006 lower right

575 x 575mm

$500 - $1,000

142

Garrick Tremain (1941 - 2025)

Muster oil on canvas board

signed lower right

445 x 595mm

$800 - $1,600

143

W S Wauchop (1889 - 1971)

Untitled oil on canvas

signed & dated 1918 lower left

585 x 485mm

$500 - $1,000

144

Ewan McDougall (b 1948)

Sheeit! oil on canvas

signed lower right; dated 2013 verso 510 x 405mm

$2,000 - $4,000

145

Ewan McDougall (b 1948)

Nasty Shortish and Brut oil on board

signed & dated ‘99 lower right

315 x 800mm

$1,500 - $2,500

146

Jeff Thomson (b 1957)

Lacework

painted and cut corrugated iron

unsigned 850 x 625mm (widest points)

$500 - $1,000

147

Roy Good (b 1945)

Bisecting Spiral - Study

acrylic on canvas

signed & dated 2016 verso 420 x 420mm (entirety of frame)

$800 - $1,600

148

Roy Good (b 1945)

Bisecting Planes - Small Study

acrylic on canvas

signed & dated 2016 verso 420 x 420mm (entirety of frame)

$800 - $1,600

149

Philippa Blair (1945 - 2025)

Untitled oil on unstretched canvas

signed & dated ‘82 lower left 2210 x 915mm

$2,000 - $4,000

150

Stanley Palmer (b 1936)

The Last Houses - 1972

bamboo engraving, edition 3/50

signed & dated 1972 lower right

386 x 507mm

$400 - $800

151

Stanley Palmer (b 1936)

Ponsonby - August ‘72

bamboo engraving, 2nd state, edition 38/40

signed & dated 1972 lower right

395 x 510mm

$400 - $800

152

Grant Banbury (b 1957)

Untitled mixed media on paper unsigned

425 x 290mm

$300 - $600

153

Wellesley Binding (b 1946)

Allegory of Effort

acrylic & enamel on panel

signed lower right

595mm Diameter

$1,500 - $2,500

154

Francis Nicholls (1966 - 2020)

Aftermath III oil on board

signed & dated 2018 verso

600 x 600mm

$500 - $1,000

155

Colin McCahon (1919 - 1987)

Puketutu Manukau lithograph, edition unknown 202 x 250mm

$1,000 - $2,000

acrylic & oil on linen

signed & dated 2014 verso

1395 x 1095mm

$3,000 - $5,000

Ans Westra (1936 - 2023)

Portrait of James K Baxter black and white photograph

231 x 180mm

$800 - $1,600

158

Laurence Aberhart (b 1949)

Interior: Saint Madeline Sophie, Parakino, Wanganui River, 1982

selenium toned silver gelatin print

entitled lower left

190 x 240mm

$3,000 - $5,000

159

Laurence Aberhart (b 1949)

Waikaia, Southland, 1999

gold and selenium toned silver gelatin print

190 x 240mm

$3,000 - $5,000

160

Ernest Buckmaster (Australian, 1897 - 1968)

North Island - Kelliher Series oil on canvas (minor paint separation throughout)

signed lower left

595 x 800mm

$1,500 - $3,000

161

Peter Beadle (1933 - 2021)

Whitebaiter’s Hut - Martin’s Bay LagoonFiordland oil on canvas board signed lower left

395 x 495mm

$700 - $1,200

162

Peter Beadle (1933 - 2021)

Gathering Storm - Mt Cook and Lake Pukaki oil on canvas board signed lower left

445 x 595mm

$1,200 - $2,400

163

Peter Beadle (1933 - 2021)

Spitfire & Tiger Moth over Mt Cook oil on board

signed lower right; dated 1991 verso 445 x 595mm

$2,000 - $4,000

164

Peter Beadle (b 1933 - 2021)

Musterers - Early Morning near Mt Nicholas Station oil on canvas board

signed lower left 595 x 745mm

$2,000 - $4,000

165

165

Tony de Lautour (b 1965)

Earth Stripper

acrylic on paper

signed & dated 2003 upper right

330 x 480mm

$1,000 - $2,000

166

Noel McKenna (b 1956)

Life Drawing watercolour on paper

signed & dated ‘17 lower left

290 x 415mm

$1,500 - $2,500

168

167

Doris Lusk (1916 - 1990)

Male Life Drawing

watercolour & pastel on paper

unsigned

160 x 220mm

$1,000 - $2,000

168

Doris Lusk (1916 - 1990)

Male Life Drawings

charcoal on paper

signed & dated 1979 lower right

530 x 370mm

$1,000 - $2,000

169

Raymond Ching (b 1939)

White Capped Hummingbirds watercolour on paper signed & dated 1966 lower right

160 x 155mm

$4,000 - $6,000

PROVENANCE

Private collection, Wellington

170

Carlo Mirabasso (Italian, b 1959)

Serena oil on board

signed lower right

295 x 295mm

$1,000 - $2,000

PROVENANCE

Estate of Sir Robert Jones

171

Piera McArthur (1929 - 2025)

Untitled Portrait oil on canvas

signed lower right

373 x 373mm

$1,000 - $2,000

PROVENANCE

Estate of Sir Robert Jones

172

Reinis Zusters (Australian, 1919 - 1999)

City Meditation oil on board

signed lower right

900 x 1205mm

$1,500 - $2,500

PROVENANCE

Estate of Sir Robert Jones

173

Cynthia Breusch (Australian, b 1959)

Metronome Man oil on board

signed & dated ‘93 lower left

905 x 905mm

$1,000 - $2,000

PROVENANCE

Estate of Sir Robert Jones

174

Cynthia Breusch (Australian, b 1959)

Political Party oil on board

signed & dated ‘94 lower right

795 x 990mm

$1,000 - $2,000

PROVENANCE

Estate of Sir Robert Jones

175

Bill Henson (b 1955)

Untitled 1985/86 No 115 Type C print, edition 5/20 1040 x 840mm

$5,000 - $8,000

176

Joan Miro (Spanish, 1893 - 1983)

Untitled Lithograph unsigned

310 x 235mm

$2,000 - $4,000

PROVENANCE

Estate of Sir Robert Jones

177

R B Watson (1911 - 2003)

Quayside Fishing Boats - Istanbul oil on canvas board

signed lower left

190 x 240mm

$300 - $600

178

Tom Esplin (1915 - 2005)

Little French Township - Dordogne oil on board

signed lower right

294 x 435mm

$3,000 - $6,000

Gaston de Vel (1924 - 2010)

The Seine River - Paris oil on canvas

signed & dated ‘87 lower left

370 x 450mm

$600 - $1,200

Arthur

Granaoa by Moonlight watercolour on paper signed lower left 530 x 355mm

$400 - $800

Arthur Moulton Foweraker (1873 - 1942)

Moonlight Cordoba watercolour on paper signed lower left 260 x 355mm

$300 - $600

Female Head Sculpture

salt glaze

360mm L x 240mm W x 340mm H

$2,000 - $4,000

Pair of Horse Form Planters

both unmarked

240 W x 145 D x 250mm H (widest points)

$600 - $1,200

184

Terry Stringer (b 1946)

Flowers Shall Rise Where’er You Walk cast pewter, edition 67/100 signed & dated ‘93

80 x 75 x 65mm (widest points)

$2,000 - $3,000

185

Dame Lucie Rie & Hans Coper

Stoneware Teacup & Saucer teacup with impressed marks Lucie Rie and Hans Coper, saucer unmarked, teacup 83mm Dia x 70mm H, saucer 140mm Dia

$800 - $1,200

PROVENANCE

Gifted to the current vendor’s mother in law in 1957 as a 21st birthday present. Purchased from Stocktons, Woodward St, Wellington

186

Robert Rapson

Leonardo da Vinci

hand-painted ceramic

signed & dated 1995 to base 515mm L x 175mm H (widest points)

$900 - $1,200

187

Christine Boswijk

Teal Glazed Vessel

some minor frits to rim and firing fault to base, unmarked

300mm Dia x 280mm H

$400 - $800

188

Muriel Moody

Ceramic Reclining Nude on Base

old repair to one leg and the other foot

350 x 360 x 225mm (widest points)

$400 - $800

PROVENANCE

Estate of Sir Robert Jones

189

Doreen Blumhardt

Vase

impressed mark

275mm H

$200 - $400

190

Llew Summers

Reclining Nude

glazed terracotta, unsigned

280 x 210 x 180mm

$2,500 - $4,000

PROVENANCE

Estate of Sir Robert Jones

191

Llew Summers

Resting Nude

glazed terracotta, unsigned

240 x 180 x 270mm

$2,500 - $4,000

PROVENANCE

Estate of Sir Robert Jones

192

Llew Summers

Resting Figure

carved sandstone, unsigned

270 x 270 x 325mm

$2,500 - $4,000

PROVENANCE

Estate of Sir Robert Jones

193

Richard Parker Planter

some weathering from time spent in the garden, draining hole to base

300mm H

$400 - $800

194

Martin Poppelwell

Two Glazed Terracotta Bowls

unsigned

250mm Dia x 76mm H each

$200 - $400

195

Martin Poppelwell

Two Glazed Terracotta Bowls

unsigned

245mm Dia x 65mm H

$200 - $400

196

Martin Poppelwell

Glazed Terracotta Bowl

unsigned

230mm Dia x 60mm H

$100 - $200

197

Len Castle

Small Specimen Vase

impressed mark 100mm H

$80 - $160

198

Len Castle

Shino Glaze Table Bowl

impressed mark

360mm Dia

$300 - $600

199

Len Castle

Footed Table Bowl

impressed mark

355mm Dia x 95mm H

$300 - $600

200

Len Castle

Polychrome Glaze Bowl

impressed mark

285mm Dia

$200 - $400

201

Len Castle Four Necked Specimen Vase

impressed mark, 230mm H

$400 - $800

202

Anneke Borren

Lidded Container

brushed mark

hairline crack to rim

115mm H

$150 - $300

203

Anneke Borren

Lidded Container

brushed mark

150mm H

$150 - $300

204

Anneke Borren

Sphere Lidded Vase lid replaced brushed mark

430mm H

$200 - $400

205

Anneke Borren

Sphere Lidded Vase

replaced lid with turned wood form

brushed mark

385mm H

$200 - $400

206

Fran Dibble

Polychrome Glazed Table Bowl

brushed signature to base & dated ‘92

minor firing flaw to foot

335mm Dia x 75mm H

$300 - $600

207

Fran Dibble

Polychrome Glazed Bowl

brushed signature to base & dated 4/10/90

252mm Dia x 105mm H

$300 - $600

208

Ross Palmer

Polychrome Glazed Table Bowl

brushed signature to interior 320mm Dia x 60mm H

$150 - $300

ALPHABETICAL INDEX

PART I

B

Barr, Liam, 46

Borren, Anneke, 18

Brickell, Barry, 19

Brown, Nigel, 21, 22

C

Camden, Emma, 14

Cowan, Roy, 30, 31

Cummings, Vera, 43

D

Day, Melvin, 38, 49, 53

Drawbridge, John, 25, 27

E

Ellis, Robert, 20, 33

Ethofer, Theodor Josef, 41 Evans, Jane, 54

H

Hammond, Bill, 35

Hanly, Pat, 32 Harris, Jeffrey, 36

Hotere, Ralph, 45

Hoyte, John Barr Clark, 42

I

Illingworth, Michael, 17

Ingham, Alan (Attributed), 15

K

Kahukiwa, Robyn, 23, 24 King, Marcus, 39

L

Lindauer, Gottfried, 40

M

MacLeod, Euan, 7, 8

Maddox, Allen, 51

McIntyre, Peter, 26

McIvor, Lois, 1, 2

Moffitt, Trevor, 12, 13

P

Perkins, Scott, 34

Peter, Juliet, 28, 29

R

Randerson, Glenda, 11

Robley, Horatio Gordon, 44

S

Siddell, Peter, 9, 10

Smither, Michael, 3, 4 Spencer Bower, Olivia, 50

Sutton, Bill, 48

Sydney, Grahame, 47

T

Tapper, Garth, 5, 6

W

Weeks, John, 52

White, Robin, 37

Woollaston, Toss, 16

PART II

A

Aberhart, Laurence, 158, 159

B

Badcock, Douglas, 116, 117, 118

Baker, William George, 130, 131

Banbury, Grant, 152

Barber, Kathy, 156

Beadle, Peter, 161, 162, 163, 164

Binding, Wellesley, 153

Blair, Philippa, 149

Blumhardt, Doreen, 189

Boswijk, Christine, 187

Borren, Anneke, 202, 203, 204, 205

Breusch, Cynthia, 173, 174 Brown, Nigel, 122, 123, 124 Buckmaster, Ernest, 160

C

Castle, Len, 197, 198, 199, 200, 201

Ching, Raymond, 169

Cowan, Roy, 182

Crook, Gordon, 129

D

Deans, Alister Austen, 133, 134, 135

Dibble, Fran, 206, 207

Dolezel, Jenny, 106

Drawbridge, John, 105

E

Esplin, Tom, 178

F

Feu’u, Fatu, 125, 126, 128 Foweraker, Arthur Moulton, 180, 181

G

Goldie, Charles Frederick, 132 Good, Roy, 147, 148

H

Hanly, Pat, 113 Henson, Bill, 175

K

King, Marcus, 102, 103, 104 Knowles, David, 141

L

Lautour, Tony de, 165 Leenards, Gerda, 112 Linley Richardson, Harry, 101 Lusk, Doris, 167, 168

M

MacLennan, Stewart, 140 McArthur, Piera, 171 McCahon, Colin, 155 McDougall, Ewan, 144, 145 McKenna, Noel, 166 Mirabasso, Carlo, 170 Miro, Joan, 176 Moody, Muriel, 188

N

Nicholls, Francis, 154

P

Palmer, Ross, 208 Palmer, Stanley, 108, 109, 150, 151 Parker, Richard, 193 Peter, Juliet, 183 Poppelwell, Martin, 194, 195, 196

Q

Quirk, Bonnie, 107

R

Rapson, Robert, 186 Rie, Lucie, 185

S

Savage, Cedric, 136, 137, 138 Smither, Michael, 119, 120, 121 Stringer, Terry, 184 Summers, Llew, 190, 191, 192

T

Tangaroa, Mahariki, 110 Taylor, Ernest Mervyn, 114, 115 Thomson, Jeff, 146 Tremain, Garrick, 142 Trusttum, Philip, 127

V

Vel, Gaston de, 179

W

Watkins, Denys, 111 Watson, Robert Browning, 177 Wauchop, William Simon, 143 Welch, Nugent, 100 Westra, Ans, 157 Wheeler, Colin, 139

Z

Zusters, Reinis, 172

BUYERS GUIDE

BEFORE AUCTION

The terms and conditions under which the buyer acts at a sale are detailed at the back of this catalogue. We recommend that you read and understand these conditions of business before registering to bid at an auction. This sale is subject to the conditions of business printed in this catalogue and to the reserves.

Viewing

All lots are available for inspection prior to the sale. Although staff will endeavour to answer your enquiries, and give advice, the final decision to bid, is at your discretion and liability.

Pre-Sale Estimates

The estimated prices printed below the catalogue descriptions are in New Zealand dollars and are the approximate prices expected to be realised, excluding buyers premium. They are not definitive, they are prepared well in advance of the sale and they are subject to revision.

Condition Reports

Dunbar Sloane Ltd will provide a verbal condition report if you would like an opinion on any particular lot prior to purchasing. These must be requested at least 24 hours before the commencement of auction. All goods are sold “as is” and it is up to the buyer to satisfy themselves as to the condition of an item before the auction.

THE AUCTION

Buying at Auction

You are able to bid using the following four methods:

1. Bidding in the Room

To bid at the auction you will need to register for a bidding number at the front desk either during the viewing or prior to the auction. Please bid clearly and promptly using your bidding number.

If you have not bought from Dunbar Sloane before, please read the following notes. Staff will be pleased to answer any questions you may have.

2. Absentee Bidding

If you are unable to attend the auction, Dunbar Sloane Ltd can bid on your behalf according to your written instructions. This is a free service for intended buyers. Please complete clearly the form at the back of this catalogue and submit it to Dunbar Sloane Ltd at least 24 hours before the sale to ensure it is safely received. Lots will be purchased for you as reasonably as possible, subject to other bids in the room and to reserves.

3. Telephone Bidding

If you are unable to attend the auction, you can elect to bid by telephone (subject to availability). Telephone bidding must be arranged with Dunbar Sloane Ltd prior to the sale and is subject to a minimum lot estimate of $500 or greater. Please note that the auctioneer determines the increments in bidding, not the telephone bidder. We accept no responsibility if for whatever reason we are unable to contact you and as such recommend leaving a covering bid.

4. Live Online Bidding

We offer live online bidding on our website: www.dunbarsloane.co.nz

Registering online does not automatically register to bid, and further identification maybe required, especially if you are an International client.

Selling Rate

Fine Art auctions are generally conducted at the rate of about 60 lots per hour. However, this can vary.

BUYERS PREMIUM

The buyer shall pay to Dunbar Sloane Ltd a premium of 19% of the hammer price plus GST on the premium only –effectively adding 21.85% to the hammer price.

AFTER THE AUCTION

Payment

Payment for purchase is due in New Zealand dollars within 48 hours from the date of sale by cash, cheque, eftpos or electronic transfer. Due to the Anti Money Laundering Act we no longer accept cash or cheques for purchases of $10,000 or over. Bank details as follows:

Dunbar Sloane Ltd 06 0501 0524945 00 Swift Code ANZBNZ22

Please include details of sale date and lot numbers with all payments. International clients will need to add an additional $25NZD to cover bank transfer fees.

Collection of Purchases

Property purchased can be collected as soon as full payment has been received. Any items not collected within seven days of the auction may be subject to a storage fee. Insurance (subject to terms and conditions) applies for up to two working days from the date of the sale whilst items are in our care.

Items must be paid for straight away and a second account for courier/freight charges will follow as soon as possible when we have confirmed courier charges.

Packaging and Transportation

We advise buyers to arrange transport and insurance with their preferred provider/s. We accept no responsibility for loss or damage in transit. For smaller items able to be couriered, Dunbar Sloane Ltd can pack and courier for a fee. This is to be paid before the goods leave our premises. We pack with care, however we take no responsibility for damage once your goods leave our premises. It is up to the buyer to arrange insurance to cover any damage or loss in transit.

CONDITIONS OF SALE

1.

The highest Bidder is deemed to be the Buyer, and if during the Auction the Auctioneer considers that a dispute has arisen, the Lot in dispute shall be immediately put up again for sale.

2.

The Auctioneer has the right to refuse any bid and to advance the bidding at his absolute discretion.

3.

The Seller shall be entitled to place a reserve on any Lot and the Auctioneer shall have the right to bid on behalf of the Seller for any Lot on which a reserve has been placed.

Dunbar Sloane Ltd have the right to withdraw or divide any Lot or to combine any two or more Lots at their sole discretion.

4.

The Buyer shall forthwith upon the purchase give in his/her name and permanent address.

The Buyer may be required to pay down forthwith the whole or any part of the Purchase Money, and if he/she fails to do so,the Lot may at the Auctioneers absolute discretion be put up again and resold.

5.

Each Lot sold by the Seller thereof with all faults and defects therein and with all errors of description and is to be taken and paid for whether genuine and authentic or not and no compensation shall be paid for the same.

Dunbar Sloane Ltd act as agents only and neither they nor the Seller are responsible for any faults or defects in any Lot or the correctness of any statement as the authorship, origin, date, age, attribution, genuineness, provenance or condition of any Lot.

All statements in the Catalogues, Advertisements or Brochures of forthcoming sales as to any of the matters specified in (b) above are statements of opinion, and are not to be relied upon as statements of representations of fact, and intending purchasers must satisfy themselves by inspection or otherwise as to all of the matters specified in (b) above, as to the physical description of any Lot, and as to whether or not any Lot has been repaired.

The Seller and Dunbar Sloane Ltd do not make or give, nor has any person in the employment of Dunbar Sloane Ltd any authority to make or give, any representation or warranty.

In any event neither the Seller nor Dunbar Sloane Ltd are responsible for any representation or warranty, or for any statement in the Catalogues, Advertisements or Brochures of forthcoming sales.

6.

Not withstanding any other terms of these conditions, if within 7 days after the sale Dunbar Sloane Ltd have received from the Buyer of any Lot notice in writing that in his view the Lot is deliberate forgery and within 9 days after such notification, the Buyer returns the same to Dunbar Sloane Ltd in the same condition as at the time of sale and satisfies Dunbar Sloane

Ltd had considered in the light of the entry in the Catalogue the Lot is a deliberate forgery then the sale of the Lot will be rescinded and the purchase price of the same refunded.

7.

To prevent inaccuracy in delivery, and inconvenience in settlement of Purchase, no Lot can be taken away during the times of sale, nor can any Lot be taken away unless it has been paid for in full.

All lots are to be paid for and taken away at the Buyer’s expense within two working days from the sale. Purchases, whilst in our care, will be insured for this period (subject to terms and conditions).

8.

On failure of a Buyer to take away and pay for any Lot in accordance with Condition 7, Dunbar Sloane Ltd reserves any other right or remedies.

To resell the Lot or cause it to be resold by public sale, any money paid in part payment being forfeited, any deficiency attending such resale after deducting all costs incurred in connection with the Lot to be made good by the defaulting Buyer, and any surplus to be the Seller's or: To store the Lot or cause it to be stored whether at their own premises or elsewhere at the sole expense of the Buyer, and to release the Lot only after payment in full of the purchase price together with interest there on of 5% above Bank minimum lending rate, the accrued cost of removal, storage and insurance (if any) and all other costs incurred in connection with the Lot.

If the Lot has been in store pursuant to (ii) for more than 6 months, to remove the Lot from store and to exercise the right set out in (i).