Auction 10 April
Thursday 6:30pm
Payment may not be made during sale
Works purchased may be uplifted at close of sale or day after 10.00am - 5.00pm
If attending sale, please register for bidding number at viewing
Viewing Times p. 3
Conditions of Sale p. 102
Absentee Bidding Form p. 99
1
TOSSWILL WOOLLASTON
1910 - 1998
Near Takaha
Watercolour 26 x 35
Signed
ESTIMATE
$3,500 - 5,500
PROVENANCE
Private Collection, Auckland
2
TOSSWILL WOOLLASTON 1910 - 1998
McFedrie’s Farm
Watercolour 26 x 35
Signed
ESTIMATE
$3,500 - 5,500
PROVENANCE
Private Collection, Wellington
3 DON BINNEY
1940 - 2012
Tikinui Northwood I Pencil and crayon on paper 55 x 75
Signed & dated Nov - Dec 1979
ESTIMATE
$9,000 - 13,000
ILLUSTRATED
Art New Zealand, Winter 1983
A Conversation with Don Binney
4 OLIVIA SPENCER BOWER
1905 - 1982
Castle Hill Area, Canterbury
Watercolour 31.5 x 39
Signed
ESTIMATE
$2,000 - 3,000
5 FELIX KELLY
1914 - 1994
Crystal Palace
Oil on card 10.5 x 15.5
Signed
ESTIMATE
$800 - 1,200
1910 - 1998 Standing Nude Watercolour 45 x 31
Signed & dated
ESTIMATE
$2,500 - 3,500 6
$4,000 - 6,000
30
7 JOHN TOLE 1890 - 1967
x
TOSSWILL WOOLLASTON
9 MICHAEL STEVENSON
b. 1964
Wise Men
Oil on board 60 x 90
Signed & dated 1990
ESTIMATE
$6,000 - 8,000
8 ALLEN MADDOX
1948 - 2000
Untitled Oil on board 115 x 91
ESTIMATE
$8,000 - 12,000
10 WILLIAM ALEXANDER (BILL) SUTTON
1917 - 2000
Hills Behind Picton
Oil on board 30 x 35
Signed & dated 1943
Inscribed verso
ESTIMATE
$4,000 - 6,000
PROVENANCE
Private Collection, Wellington
11 LLOYD FREDERIC REES
Australian 1895 - 1988
Moreton Bay Fig Tree, Milton Road, Brisbane
Pen and ink on paper 16 x 20
Signed & dated 1921
ESTIMATE
$6,000 - 8,000
PROVENANCE
Collection of the late Jessie Hocking, friend of artist
Private Collection, Waikato
Lloyd Rees was born in Brisbane and attended Brisbane Technical College in 1910, where he received his first formal instruction in art. In 1913 he took a job as a junior artist in the Queensland Printing Offce.Reesbeganfulltime studies at the Brisbane Technical College from 1915 and was there until 1918. Subject matter at the time included everyday Brisbane life, landscapes, architecture, portraits and studies after sculpture. His parents’ house Samford was in Park Road, Milton close to where Moreton Bay Fig Tree, Milton Road was drawn. The family moved to Sydney in 1922.
12 ROLAND WAKELIN
1897 - 1971
Landscape Patterson, NSW
Oil on board 34 x 44
Signed & dated 1945
Inscribed verso
ESTIMATE
$2,500 - 3,500
14
1903 - 1984
Study for Temptation
Pencil drawing 25.5 x 20
Signed
ESTIMATE
$2,500 - 3,500
1903 - 1984
Study for Leda and the Swan
Pencil drawing 43 x 35
Artist’s Estate label affxedverso
ESTIMATE
$2,500 - 3,500
A LOIS WHITE
13 A LOIS WHITE
15 GARTH TAPPER
1927 - 1999
Autumn
Oil on board 45 x 64
Signed & dated 1965
Inscribed verso
ESTIMATE
$4,000 - 6,000
Tapper graduated from Elam in 1951, painting until his death in 1999. Much of his art, particularly the figurative work, documents human interactions in the everyday life of New Zealanders. Tapper masterfully captures those moments in time.
I am not an innovator. I am not a creative painter. I am a recorder... [my work] is a translation... an observation... a realisation of things in the universe.. Tapper said. He was a social realist, an artist who was interested in the details of social life, or the way people interact with each other.
16 GARTH TAPPER
1927 - 1999
The Corner Bar, 5:30pm
Oil on board 44.5 x 50
Signed
Inscribed verso
ESTIMATE
$8,000 - 12,000
PROVENANCE
Private Collection, Otago since 1994
REFERENCE
During the years that the family was becoming established, Tapper was laying the foundations for his base; a place from which to develop his art, mature his style, and paint. With authority, he began recording the social history of his era. It had been a slow beginning, for very few works had been completed since returning from England. The genesis was in a large garage behind his home in Kelston, but it is only in retrospect that the extent of the watershed can be gauged. What marked this divide was his series depicting the conviviality of the ‘pub’: Five O’Clock.
Public bars were male strongholds and the series of paintings relating to this social custom portrayed the chaotic, convivial ‘swill’ which characterised many New Zealand pubs of the period. Since the First World War all bars closed at 6 pm. Five to six o’clock became an hour of urgency, some would have said a necessity. Six o’clock closing encouraged patrons to consume as much alcohol as they could as quickly as possible. Few amenities were offered, apart from those needed to swallow large quantities of liquor. In 1967 every electorate voted overwhelmingly in a referendum for extended drinking hours to 10 pm.
It is not the pub per se which Tapper paints, but the life within the pub. The people who jostle and lounge, joke and mill around the public bar. This is what attracts him. To him, a pub scene looks beautiful through paint. The tone, colour and drabness offer tremendous scope. It is not a crude drink factory; it is an environment he finds intimate and soothing and a place from which to observe his fellow drinkers. I just want to paint these people at that particular moment in their lives he says.
Text: Garth Tapper New Zealand Painter, William Tapper and Elva Bett, Tapper Art 1998
17 STANLEY PALMER
b. 1936
Road - Te Paki
Oil on linen 160.3 x 100
Signed & dated 2009
ESTIMATE
$17,000 - 20,000
18 JAN NIGRO
1920 - 2012
The Money Lenders
Mixed media on paper 75 x 53
Signed & dated 1983
ESTIMATE
$2,500 - 3,500
Oil an acrylic on canvas 94 x 183
Signed, inscribed & dated 2010 verso
ESTIMATE
$24,000 - 28,000
19 GRETCHEN ALBRECHT
b. 1943
Rosa Concorde
20 COLIN MCCAHON
1919 - 1987
A Landscape (1959)
Enamel paint on board 122 x 60.9
Signed, inscribed & dated 9/1/1959
ESTIMATE
$200,000 - 300,000
PROVENANCE
Private Collection, Auckland
Private Collection, Christchurch, acquired directly from the artist, 1959
Colin McCahon online catalogue cm001102
EXHIBITED
An Exhibition of paintings by Colin McCahon October, 1959 Gallery 91, Christchurch
ILLUSTRATED
p. 59 Colin McCahon The Titirangi Years, 1953-1959
Peter Simpson, Auckland University Press 2007
A Landscape (1959) belongs to a distinct group of McCahon paintings dating from December 1958 and January 1959. About a dozen such works were shown as part of Recent Paintings at Gallery 91 in Christchurch, October 1959. The best-known of the group is Cross (Auckland Art Gallery) dated 8.1.59, one day prior to A Landscape, dated 9.1.59.
All these works were painted during a remarkable spurt of creative energy which followed McCahon’s career-changing, four-month visit to the USA in 1958. Among those whose work stood out, as reported in letters home, were old masters from El Greco to Mondrian, and the new school of abstract expressionists whose work was then just entering American museums such as Pollock, Rothko and Diebenkorn. Once assimilated, this experience radically changed McCahon’s practice, affecting its scale (much larger), materials (unstretched canvas, hardboard, commercial house paints), and method of applying paint (less meticulous, more gestural).
The group to which A Landscape belongs was painted in solpah – an enamel roof paint– on hardboard. Most hover ambiguously between abstraction and realism, and were restricted in colour. John Caselberg wrote to Charles Brasch (March 1959): ‘These paintings are stark, like all his work; but they are so delicately painted. Mostly black & white; but with many variations on this, & many traces of delicate colour. His artistic vision is so fierce & sharp: so unlike anything else in N.Z….’
A Landscape is tall and slender with stacked horizontal bands of light and dark which may represent landscape features. The most striking feature is a dark curved column dividing the top-most rectangle. Its exact significance is uncertain but, read as landscape, it could be a water-spout, rising from a dark ocean. Whatever precisely it signifies it adds a dynamic vertical element to the banded horizontals of this sombre and majestic painting from McCahon’s annus mirabilis.
PETER SIMPSON
21 RAYMOND CHING
b. 1939
Don Forrest 1975
Oil on panel 35 x 28
Signed
ESTIMATE
$8,000 - 12,000
PROVENANCE
Private Collection, Auckland
Purchased from International Art Centre, 1979
EXHIBITED
Raymond Ching Recent Paintings & Drawings
International Art Centre 1979
ILLUSTRATED
p. 48-49 Raymond Ching Recent Paintings & Drawings
Published by International Art Centre & Folio prints 1979
22 LOUISE HENDERSON
1902 - 1994
Untitled Abstract
Oil on board 59 x 72
Signed & dated 1963
ESTIMATE
$8,000 - 12,000
23
b. 1946
Table with Fruit Bronze 95 x 50
Signed & dated 1987
Includes Art Works Foundry monogram
ESTIMATE
$20,000 - 30,000
PROVENANCE
Gow Langsford Gallery, 1987
1931 - 2013
Winter Solstice 1
Lithograph on paper, edition of 18, 75 x 57
Signed, inscribed & dated 1996
ESTIMATE
$4,500 - 6,500
24 RALPH HOTERE
TERRY STRINGER
25 RALPH HOTERE
1931 - 2013
Black Painting II from Maladay - A Poem by Bill Manhire
Oil and acrylic on canvas 178 x 71.5
Signed, inscribed Melody 28 times & dated Dunedin1970 verso
ESTIMATE
$40,000 - 60,000
26 SIR PETER SIDDELL
1935 - 2011
Pathway to Hilltop & Houses
Oil on board 136 x 98
Signed & dated 1974
ESTIMATE
$60,000 - 80,000
Sir Peter Siddell has long been recognized as one of New Zealand's leading realist artists. Auckland born Siddell was educated at Mount Albert Grammar School and the Auckland College of Education. He began painting professionally in 1972, completing Pathway to Hilltop & Houses two years later.
Siddell's realist paintings are identified mainly with depictions of the environs of Auckland. While his works appear to be records of actual places, his paintings have a subjective component, and might be better described as imagined realism rather than truly realistic. The cityscapes and townscapes in Siddell's paintings are rendered empty, sometimes with the suggestion of events occurring outside the picture area. In this sense his work may be compared to the metaphysical works of Giorgio de Chirico. In 1978 Siddell won the Air New Zealand Travel Award and the Benson & Hedges Supplementary Art Award.
In 1990 Siddell was made a Companion of the Queen’s Service Order and was knighted in 2008, becoming the second only New Zealand artist to receive this honour. Sir Peter passed away in 2011.
27 EVELYN PAGE
1899 - 1988
Still Life with Jug and Apples, circa 1968 Oil on canvas 68 x 44
Signed
ESTIMATE
$55,000 - 85,000
PROVENANCE
Collection of the family of the artist
Evelyn Page began her training as an artist at the Canterbury School of Art in 1915 at the time of Raymond McIntyre and Owen Merton. In spite of early formalist training she soon adopted the style her painting is so well known and loved for today; the atmospheric effects of light with freshly applied and increasingly vibrant colour, in the manner of Cézanne and Bonnard although it was not until the 1930s that she first visited Paris and saw original works by the French Post - Impressionists. Throughout her long career as an artist she continued to paint in the style she developed during her time in Christchurch, following her singular interpretation of visual experiences, regardless of any changes in fashion.
“Over seven decades as an instinctive representational painter Evelyn Page developed her palette as much as she gave human interest to her subject matter. Her treatment of colour has given her a place as one of New Zealand’s foremost colourists”Janet Paul and Neil Roberts. p. 57 Evelyn Page Seven Decades catalogue, The Robert McDougall Art Gallery 1986. After the 1960s as she became increasingly interested in depicting objects from her everyday domestic life and she painted many still lifes, either reflecting her life in the orchard garden at Waikanae or interiors from her home in Hobson Street, Wellington. These paintings, luscious in surface and colour but usually simple in design, convey her joy of life and the pleasure she took in the visual beauty of nature.
Still Life with Jug and Apples is a true celebration of her enjoyment and use of colour and light. Larger than many of her still lifes, she has included objects that were a necessary part of her everyday domestic life - the silkscreened blue wall paper she purchased in London for her dining room, the antique side table and highly polished breakfast table which reflects the rich colours of the luscious looking fruit she has painted.
28 BRENT WONG
b. 1945
Untitled 1974 (Landscape With House and Mountains)
Acrylic on board 51.8 x 73.8 cm
Signed & dated 1974
ESTIMATE
40,000 - 60,000
PROVENANCE
Private Collection,Wellington
Brent Wong burst onto the local art scene in the early 1970s as a young man with original imagery, an impressive technical mastery and a refreshingly surrealist take on New Zealand land and sky. “Untitled 1974” is an important bridge between the artist’s early influences and later directions; and it reveals the artist moving, as we know through hindsight, from architectural claustrophobia to hopeful light and energy.
However, this painting is not yet the artist’s future; and the artist still to free himself from the psychological confinement of the early years. He is casting about for help though, and “Untitled” shows where he was looking, with the strongest influence in the painting coming from the work of American artist Andrew Wyeth. It is especially reminiscent of Wyeth’s painting “Christina’s World” of 1948 with its well-known figure of a girl seated or crawling in a dry grassy paddock and looking back into the landscape towards her distant farmhouse and its few outbuildings. The Christina of Wyeth’s painting, in real life Anna Christina Olson (1893-1968) who had a degenerative muscular disorder, is shown relatively unfettered by her illness, at home in her wider world. In Wong’s painting the empty, blank-windowed house occupies the place of the girl in the foreground; but unlike the girl, it sits there entirely alone. Wong, perhaps seeing the world through the lens of his own confining illness, turns the rural scene into one of isolation and entrapment. Under Wong’s hand, we understand that the open space of landscape may be as much threat as solace. It is precisely this ability to create an unresolved tension between comfort and menace that distinguishes Wong from his peers.
Looking at the building in “Untitled”, it is so ubiquitous of New Zealand’s rural communities and city neighbourhoods; it could have come from any number of small towns known by the Otaki-born artist. Equally it could be a faithful copy from 1970s Vivien Street near his Wellington flat. The landscape also shares a familiar generality. Painted in the studio from memory it is classic Wong: dry as a bone; spare and emptied of people; and highly suggestive of those wide open spaces in New Zealand where isolation can be thrilling and heart-breaking in equal measure. We don’t need to know where this is; Wong’s finesse is to show us a place we all already know and then imbue it with mystery.
ROB GARRETT
29 ROBIN WHITE
b. 1946
Summer, Lincoln
Watercolour 62 x 44
Signed, inscribed & dated 1973
ESTIMATE
$25,000 - 35,000
PROVENANCE
Lot 8, International Art Centre, July 1998
Private Collection, Wellington
Dame Robin White, born 1946 in Te Puke, Bay of Plenty is a graduate and alumna of Elam School of Fine Arts which she attended in the late 1960s. Colin McCahon was one of her mentors and Canterbury painter, Rita Angus another key influence. Of Maori and Pakeha descent Robin White has been one of this country’s most prominent painters and printmakers since the 1970s. In 1982 she moved with her family to Kiribati (formerly Gilbert Islands) to work with the Ba’Hai community. White set up a studio there returning to New Zealand in 1999. In 2002 a survey show, Island Life: Robin White in New Zealand and Kiribati, toured New Zealand. White is represented in the collections of all major public New Zealand art galleries and in galleries across Australia.
This work, Summer, Lincoln is an original 1973 watercolour, created the same year as the familiar and iconic screen print Red Barn, Lincoln.
... when I’m contemplating this land, I am conscious of what I feel to be the Creator’s hand. The beauty of it all, the infinite variety, what a miracle it is. These are the things that really move me and I hope that some of this respect for the land comes through in my paintings. Robin White
30 RAYMOND MCINTYRE
1879 - 1933
Bois de Boulogne
Oil on cardboard 33.7 x 24.7
Signed & dated 1920
Auckland City Art Gallery exhibition label affxedverso
ESTIMATE
$25,000 - 35,000
PROVENANCE
Private Collection, Wellington
EXHIBITED
Auckland City Art Gallery, Raymond McIntyre Restrospective Exhibition 1984 - 1985, cat. no. 25
ILLUSTRATED
p. 62 Raymond McIntyre A New Zealand Painter
Heinemann Publishers, Auckland City Art Gallery
Born in Christchurch in 1879, McIntyre studied under Alfred Walsh and Robert Herdman-Smith. He shared a studio with Sydney Lough Thompson and Leonard Booth, exhibiting with the Canterbury Society of Arts from 1899 to 1910. Arriving in London in 1909 he actively pursued his studies and career. Walter Sickert and William Nicholson were two of his tutors and the works of Cézanne, Matisse and Modigliani his influences. Over the next decade he exhibited at London’s leading Goupil Gallery Salon and in 1921 with Paul Signac, M.L.Pissarro and Lemaitre. His subject matter included portraits, still lifes and from late 1920 he began to paint rivers and parks. McIntyre made at least two trips to France. Between 1911 and 1915 he developed his paintings of women’s heads and by then was well established in London’s artistic community. His work was accepted for exhibition at the Royal Academy of Arts in 1924. McIntyre stopped exhibiting in 1926 and died in London in 1933.
A gifted expatriate artist with scant regard for worldly success, McIntyre attracted little attention in New Zealand during his lifetime. His work was shown at the National Centennial Exhibition of New Zealand Art in 1940 but it was not until seventy years after his death that he received recognition and acclaim in the land of his birth. In 1962 Colin McCahon helped organise an exhibition at the Auckland City Art Gallery, Six New Zealand Expatriates which included twelve McIntyre paintings and in 1984 Auckland Art Gallery curated a retrospective of his work. McIntyre’s art reflected contemporary British trends and the influence of French turn-of-the century artists such as Vuillard. He is represented all major New Zealand galleries.
31 RAYMOND MCINTYRE
1879 - 1933
Untitled Lady in a Black Hat (Phyllis Cavendish)
Oil on canvas 60 x 50
Signed
ESTIMATE
30,000 - 40,000
PROVENANCE
Collection of the Artist’s relatives Private Collection, Wellington
The following quotations are from a blog written by Ron Brownson about Phyllis Constance Cavendish and Raymond McIntyre. http://aucklandartgallery.blogspot.co.nz/2011/09/raymond-mcintyre-andphyllis-constance.html
Ron Brownson in his Auckland Art Gallery Toi o Tamaki blog article about Phyllis Constance Cavendish and Raymond McIntyre states:
‘A renowned collaboration between a New Zealand artist and model occurred in London’s Cheyne Walk studio of Raymond McIntyre between 1912 and 1914. Born in Christchurch in 1879, he was one Petrus van der Velden’s most talented pupils. McIntyre felt Canterbury constricted his vocation. Arriving in England during February 1909, he never returned. He soon became a pupil of London painters William Nicholson, George Lambert and Walter Richard Sickert.
McIntyre met 22-year actor Phyllis Constance Cavendish and she became the subject for over a dozen portraits in oil and watercolour. Writing to his father on 4/5/6 December 1912, he states, “I did the best work I have ever done so far, from her. I like to go outside the usual run of professional models, of which there are hundreds and hundreds in London – and get people of more normal type and who do not live in the atmosphere of studios all the time. It is more interesting to have a breath of the outside world come along with different interests and information to impart. These stage folk who I have had are very helpful to me in that way’.
From Bassano’s photographic portraits of Phyllis Cavendish, it is clear that her head’s bone structure, long neck, full lips, dark eyebrows, wavy hair, and small defined nose are all conveyed in Raymond McIntyre’s portraits.
PROVENANCE
Private Collection, Auckland
Purchased at McGregor Wright’s Gallery, Wellington by current owner circa 1975
Signed
ESTIMATE
20,000 - 30,000
Original label fixed verso
32 PETER MCINTYRE
1910 - 1995
Evening Shadows, King Country
Oil on board 53 x 75
33 EVELYN PAGE
1899 - 1988
Boat Harbour Wellington (Evans Bay)
Oil on board 28 x 40
Signed & inscribed No. 4 Boat Harbour, Wellington verso
ESTIMATE
$8,000 - 12,000
PROVENANCE
Private Collection, Wellington
Purchased directly form the artist
AN UNPRECENDENTED OFFERING OF THREE WORKS
CHARLES FREDERICK GOLDIE 1870 - 1947
In Polynesian portraiture Mr C F Goldie stands pre-eminent in the world today. New Zealand has every reason to be proud of him.
Governor General Lord Bledisloe
Quote from C F Goldie: His Life & Painting, Alister Taylor & Jan Glen, 1979
Atama Paparangi 1919
Hera Puna, Ngati Whanaunga 1933
Wiripine Ninia, Ngati Awa 1911
34
CHARLES FREDERICK GOLDIE
1870 - 1947
A Noble Relic of A Noble Race - Atama Paparangi Oil on canvas 27 x 21.5
Signed & dated 1919
ESTIMATE
$260,000 - 320,000
PROVENANCE
Private Collection, Auckland
Atama Paparangi, a favoured subject of C.F. Goldie’s and Chief of the Rarawa Tribe, Atama lived at Mitimiti, Hokianga. At over six foot tall, with an intricate facial moko by the famous tattooist Huitara, he was a strikingly handsome figure. In the image below Goldie trims his friend’s whiskers in order to better show the details of his moko. Throughout the 1930s Goldie submitted portraits of Atama (often referred to as an aristocrat because of his noble bearing) to the Royal Academy, London and the Paris Salon.
The artist and his subject met in 1901 during a royal visit by the Duke and Duchess of Cornwall. A warm friendship developed and in 1914 on completion of his portrait now housed in the collection of the Auckland Museum, Atama wrote a letter of tribute to his friend:
F
To Mr Goldie The Painter of Portraits Auckland
Ah Son! Greetings
This letter is to thank you for my picture which arrived a few days ago. Great is the admiration of my tribe at the beauty of your work. Enough! I will now express my feelings towards you. ‘A voice from the skies makes music to the ear. It is that of a shining Breasted Cuckoo. The Harbinger of Spring. The trees of the Forest have bedecked themselves in their summer raiment. The sea is red with the blossoms of the Pohutukawa. The Clematis in the Forest Glade have burst into flower, creating vistas of beauty. The myriad graceful trees of the Woods augment the scene. They are like unto a bridal pair with their retinue, awaiting the guides who will lead them to the Perfect Happiness, which knows no end.’ Such are the feelings of my heart for you. Many are the wishes beautiful and good that I would wish you but words fail. The sum of the words of greeting, of love and of good fellowship as expressed in this phase:‘May Health and Prosperity attend you and all whom you love.’ Takahi Atama Paparangi
As a young warrior Atama had fought against Hone Heke in 1830 at Kororāreka, Bay of Islands. In later life he embraced Christianity. After a long and eventful life Atama died at 100 years of age, immortalised by his friend C.F. Goldie.
C
Goldie trims the whiskers of Atama Paparangi
35 CHARLES FREDERICK GOLDIE
1870 - 1947
‘As Rembrandt Would Have Painted the Maori’ Hera Puna, Ngati Whanaunga
Oil on canvas on board 35.5 x 30.5
Signed & dated 1933
ESTIMATE
$280,000 - 350,000
PROVENANCE
John Leech Gallery, Auckland, 5 August 1947, £157.10s
Purchased by current owners family from Webbs, 1984
ILLUSTRATED
New Zealand Herald, 6 December, 1969
Evening Post, 24 July, 1974
The Dominion, 2 August 1974
Evening Post, 2 August 1974
New Zealand Herald, September 21, 1983: Goldie Heading for $100,000
The article showing the painting with art dealer Peter Webb when the work was sold for a then record price at auction.
p. 266 C F Goldie His Life & Painting, Alister Taylor & Jan Glen, Alister Taylor publishing 1977
EXHIBITED
John Leech Gallery, Auckland, August 1947
GOLDIE - The Exhibition, 1997 - 1999 Auckland Art Gallery Toi O Tamaki, Catalogue no. 132
Hera Pua was the brave wife of Hori Te Whanaunga and fought alongside her husband in the 1865 battle of Orakau in the Waikato. In this work Goldie draws upon sketches and photographs of the subject taken in his youth, creating a compelling portrait of a memorable subject.
36 CHARLES FREDERICK GOLDIE
1870 - 1947
Drowsy - Wiripine Ninia, Ngati Awa Oil on wood panel 19.1 x 14
Signed & dated 1911
ESTIMATE
$180,000 - 250,000
PROVENANCE
Private Collection, Nelson
ILLUSTRATED
p. 219 C F Goldie His Life & Painting, Alister Taylor & Jan Glen, Alister Taylor publishing 1977
EXHIBITED
GOLDIE - The Exhibition, 1997 - 1999 Auckland Art Gallery Toi O Tamaki, Catalogue no. 67
In this reflective portrait of Wiripine Ninia, C F Goldie conveys a mood of transition, not only in the life of the old Chieftainess, but of the times in which they both lived. Wiripine Ninia bears traditional moko and talisman greenstone earrings whilst draped in European clothing, emblems of two worlds. The close and sympathetic bond between artist and subject is evident in this work.
37 EDWARD BULLMORE
1933 - 1978
Hikurangi No. 5, 1963
Assemblage with mixed media on canvas 165 x 116
Signed & inscribed verso
ESTIMATE
$60,000 - 80,000
Ted Bullmore’s story reads like the stuff of folklore and yet his place in popular accounts of New Zealand’s 20th century art history is somewhat obscure. He grew up in rural Southland; was a notable rugby player; is one of New Zealand’s earliest surrealist artists; gained significant recognition in the art scene of 1960s London alongside his better-known peers Pat Hanly and Ralph Hotere; and his work was collected by none other than film auteur Stanley Kubrick, with two of the shaped canvases turning up in the director’s notorious 1971 movie “A Clockwork Orange”. Attending the Canterbury School of Fine Arts during the early 1950s, Bullmore was studying alongside other midcentury modernists including Bill Culbert, Pat Hanly, Gil Hanly, Quentin MacFarlane and Trevor Mofftt.FromthereitwasAucklandTeachers’CollegeandteachinginTauranga for a few years before moving to Florence in 1959; and six months later London. For a decade it was in the highly charged avant-garde atmosphere of London that Bullmore’s career took off; and it was here too that the shaped canvasses emerged.
Hikurangi No.5 is an excellent example of his highly innovative London phase. The work’s title reveals his abiding connection to New Zealand as home; for of course the “Hikurangi” series references the sacred mountain of Ngāti Porou; the first place to see the sun on mainland New Zealand; the first piece of land to be fished out of the sea by Māui with its peak the final resting place of Māui’s canoe, “Nukutaimemeha”. Yet the vigorous abstract assemblage form of Hikurangi No.5 also forcibly demonstrates how readily, in just a few short years, he had leapt well beyond New Zealand artistically. Along with his creative advances in Europe, came recognition. Perhaps the high point was being included in the revolutionary 1967 show “The Enchanted Domain: Surrealist Art” in Exeter, where his work was shown alongside Picasso, Miro and Dali. But two years later he returned to teach at Rotorua Boys’ High; and his last exhibition, just weeks before his untimely death in 1978 was at Barry Lett Gallery in Auckland.
Perhaps the quiet legacy of New Zealand’s unsung surrealist extends all the way to Julian Dashper’s deconstructed canvasses in the 1990s. When he layered naked picture frames in “Chain Frame”; or laid canvas strips behind empty frames in “Here I was Given”, Bullmore had already trod a similar path.
ROB GARRETT
38 FRANCES HODGKINS
1869 - 1947
Mediterranean Courtyard Watercolour 47 x 35
Signed
ESTIMATE
15,000 - 20,000
39 PETER MCINTYRE
1910 - 1995
Evening Shadows, King Country Oil on board 53 x 75
Signed
ESTIMATE
22,000 - 28,000
PROVENANCE
Private Collection, Auckland
Purchased at John Leech Gallery, Auckland by current owner circa 1977
Original label fixed verso
40 CHARLES BLOMFIELD
1848 - 1926
The Pink Terraces and The White Terraces, Rotomahana - a pair Oil on canvas 42 x 57
Signed & dated 1885
ESTIMATE
$45,000 - 65,000
PROVENANCE
F Egbert Holland by descent
Inscription on label affxied verso reads: The Pink Terrace on Lake Rotomahana N.Z. Visited by me on January 23rd 1886. The Terraces were destroyed by the eruption of Mount Tarawera a big earthquake on June 10th 1886. This picture bought by me from the artist (C. Blomfield) himself in Auckland on April 24th 1886.
F. Egbert Holland.
The following excerpts are from the diary of F Egbert Holland:
Jan 22nd 1 886
Walked a little in the morning but found it too hot - made inquiries about special buggies and coaches to Taupo and Napier. Started in a private buggy for Wairoa, 11 miles; - undulating fern covered country at first, then bush, then we came out upon the Blue Lake the road passing close to it first and then close to the Green Lake - a narrow fern covered ridge separates the two, and the Blue Lake is 60 feet higher than the Green; soon after we reached Wairoa: - an extremely pretty drive.
Jan 23rd 1886
Started at 7.45 to visit the Terraces; first we walked down to Lake Tarawera about a quarter of an hour; there we took a boat with four rowers, and Sophie for our guide, a Maori, and rowed across the lake to the end of the Te Ariki arm, about an eight mile row. Then we took off our boots and stockings and walked in slippers about 1 mile to the White Terraces. The first view of it is very striking. We walked to the top, a great part of the way being through the water, on account of which we had taken off our boots, as the water is supposed to destroy leather.
Note: The remaining entry for January 23 extends over four pages. A photocopy of the complete entry is available to view.
From the top the view looking down is very striking - the water in the pools is a bright milky light blue (opal coloured in places) and there is a certain amount of green growing on one of the terraces, so that the contrasts of colour are very great, and the foreground is such a striking contrast to the ordinary though pretty scenery beyond, which is fern covered hills.
The colouring round Lake Tarawera both going and returning was perfect in the sunshine - the different tints of colour were innumerable - a beautiful pink haze over some of the more distant hills
April 21st 1886
The Strutts came to lunch. In the afternoon B and I went to Charles Bloomfield’s (sic) studio to see his pictures of the Terraces, and did a little shopping on the way back
April 22nd 1886
I went to Mr Bloomfield’s (sic) to try and see him about buying two pictures of the terraces, as he had been out the day before, he was out again. Then we went for a drive through the Ruimera (sic) Valley to the Three Kings which were three isolated hills; we went into the mouth of the cave at Three Kings, we had a good view of the Manuka (sic) harbour which is the harbour opening on to the West Coast. I tried again to see Mr Bloomfield (sic) but he was out.
April 23th 1886
Good Friday
April 24 1886
We paid up our passeges at the Union Offceinthemorning,forSan Francisco. Then we drove up Mt Eden, and had a splendid view all round; it is an extinct volcano with a beautifully formed crater at the top, grown over with grass. We passed the Governor of New Zealand, Sir William Jervois, on the way down. In the afternoon I went again to Mr Bloomfield’s (sic) and found him at home, and bought two pictures, one of the white and one of the pink terrace, price £8.10.0 each, and he undertook to send them home.
The pictures referred to in the diary entry have remained in the same family collection since 1886. They are now on the market for the first time and offered in original gilt frames.
Larger images on following pages
The Pink Terrace - O-tū-kapua-rangi (fountain of the clouded sky)
Charles Blomfield has long been recognised as the most popular early New Zealand painter of the Pink and White Terraces. Both these paintings are exceedingly fine works and pre-date the Tarawera eruption. Blomfiled first saw the Terraces during a camping trip in December 1875, and commented that they were exceedingly beautiful and graceful. Returning in 1885 he spent six weeks documenting the Terraces and surrounding landscape in a series of oil paintings. It was reported that by September 1885 orders for paintings had been received and completed from throughout Europe, America, Australia and other places. Early on the morning of 10 June 1886, Mount Tarawera erupted, burying the terraces. Blomfield was heartbroken and decided to see the devastation for himself. He returned to the area in October and painted several scenes of the terrible destruction. A world away, fourteen of his Rotomahana paintings were on display in South Kensington, London at the Colonial and Indian Exhibition. This major exhibition strengthening the bonds of the the British Empire was opened by Queen Victoria and received 5.5 million visitors.
Blomfield realised that the paintings he had made of the Terraces were a valuable record, and declined to sell them. He went on to paint and sell scale copies of these works. The prices soon trebled in value.
After 1886 Blomfield continued to travel throughout New Zealand painting pictures of mountains, rivers, lakes and cloud effects, but his greatest love remained the native bush, of which he wrote enthusiastically in his diary. Charles Blomfield died in Auckland in 1926.
The Terraces were thought to be buried by the Tarawera eruption of June 1886. Separated by nearly a kilometre, the Pink Terraces were about two thirds of the way down the lake, sheltered from the harsh sun on the western shores, facing south-east. Their pink appearance was largely due to less exposure to sunlight, and therefore less bleaching. Tourists and locals bathed in the luke warm water on the lower level of the Pink Terraces. In February 2011 scientists using robotic underwater vehicles announced that they had found what they believe to be part of the Pink Terrace 60 metres under water in Lake Rotomahana.
The White Terrace - Te Tarata (the tattooed rock)
The White Terraces were at the north end of Lake Rotomahana and faced away from the lake at the entrance to the Kaiwaka Stream. They descended to the lake edge forty metres below. The additional sunlight received from facing north created their bleached white appearance. The White Terrace was the larger of the two formation, covering in excess of three hectares.
41 SIR PETER SIDDELL
1935 - 2011
A Portrait of Tony and Patsy
Acrylic on canvas 120 x 130
Signed & dated 1978
ESTIMATE
$120,000 - 140,000
PROVENANCE
Acquired by present owners directly from the artist
ILLUSTRATED p. 92 - 95 The Art of Peter Siddell, Godwit Publishing 2010
EXHIBITED
Contemporary New Zealand Realist Paintings, Auckland Art Gallery 1979
REFERENCE
Sir Peter Siddell has long been recognized as one of New Zealand’s leading realist artists. Auckland born Siddell was educated at Mount Albert Grammar School and the Auckland College of Education. He began painting professionally in 1972. In 1990 Siddell was made a Companion of the Queen’s Service Order and was knighted in 2008, becoming the second only New Zealand artist to receive this honour.
Siddell’s realist paintings are identified mainly with depictions of the environs of Auckland. While his works appear to be records of actual places, his paintings have a subjective component, and might be better described as imagined realism rather than truly realistic. The cityscapes and townscapes in Siddell’s paintings are rendered empty, sometimes with the suggestion of events occurring outside the picture area. In this sense, his work may be compared to the metaphysical works of Giorgio de Chirico. In 1978, the same year A Portrait of Tony and Patsy was painted, he won the Air New Zealand Travel Award and the Benson & Hedges Supplementary Art Award.
Through the window can be seen a suggestion of a painting by Don Binney, an artist Patsy and Tony admired. I also included my painting, Avril with Kauri Trees, which they already owned. The house is no longer there but Tony and Patsy still own the painting.
SIR PETER SIDDELL p. 92 The Art of Peter Siddell, Godwit Publishing 2010
42 PETER MCINTYRE
1910 - 1995
Lake Hayes
Oil on board 45.4 x 65
Signed
JR Hamerton, Picture Framer and Art Dealer, Lambton Quay, Wellington, label affxedverso
ESTIMATE
8,000 - 12,000
Two Peter McIntyre paintings repatriated from the United Kingdom and on the market for the first time
PROVENANCE LOTS 42 & 43
Collection of the late John and Jill Dawes, Kent, United Kingdom
Paintings acquired whilst the Dawes lived in New Zealand from 1957 to 1961. They had sailed to New Zealand onboard Rangitikei in the company of their good friend Lord Cobham, Govenor General of New Zealand from 1957-1963.
43 PETER MCINTYRE
1910 - 1995
The Rangitikei River
Oil on board 49 x 59
Signed
Inscribed verso
ESTIMATE
12,000 - 18,000
Peter McIntyre loved fly fishing and his frequent sojourns to Lake Taupo meant he often travelled through the central North Island, past the spectacular white cliffs and curving riverbed of the Rangitikei River. The area fascinated McIntyre. So much so, that the cliffs have become one of his most sought after and enduring subjects. In this work McIntyre captures the landscape through broad, confident paint strokes. A similar painting to this featured in a 1998 stamp issue.
44 CHARLES BLOMFIELD
1848 - 1926
Gillies Park, Judges Bay Oil on board 30 x 21.5
Signed & dated 1915
Inscribed verso
ESTIMATE
8,000 - 12,000
45 CHARLES BLOMFIELD
1848 - 1926
Afternoon Stroll, Gillies Park, Parnell Oil on board 24 x 14
ESTIMATE
2,500 - 3,500
46 CHARLES BLOMFIELD
1848 - 1926
Sunlit Path, Gillies Park, Parnell Oil on board 25 x 15
ESTIMATE
2,500 - 3,500
47 ALFRED HENRY O’KEEFE
1858 - 1941
On the Banks of the Seine, Paris Oil on canvas 25.8 x 34
Signed & dated 1895
ESTIMATE
$4,000 - 6,000
48 NUGENT WELCH
1881 - 1970
Sunshine & Seascape, Silverstream
Watercolour 22 x 32
Signed
ESTIMATE
$800 - 1,200
49 PETER MCINTYRE
1910 - 1995
Tanami Spring
Tempera on board 60 x 75
Signed Inscribed verso
ESTIMATE
$8,000 - 12,000
PROVENANCE
Artarmon Galleries (Artlovers) label affxedverso
“Out from Alice Springs in the heart of Australia we drove into the desert, into a vista of reds, ochres, and blacks-without-end, where the very hills were worn smooth and round, crouching like animals in the brooding silence”. Peter McIntyre
1822 - 1897
Te Terata, Rotomahana
Watercolour 24 x 34.5
Signed & dated 1879
ESTIMATE
$7,000 - 10,000
50 CHARLES DECIMUS BARRAUD
51 CHRISTOPHER AUBREY
Circa 1830 - 1902
Lumsden, Southland
Watercolour 34 x 65
Signed & dated 1882
ESTIMATE
$10,000 - 15,000
Lying in a valley, the historic railway town of Lumsden is a major junction halfway along the north-south road from Queenstown to Invercargill, where it is crossed by the east-west road from Gore to Te Anau. Lumsden was once a major railway junction with lines departing to all four points of the compass. The Kingston Branch from Invercargill ran north-south through the town, while to the west was the Mossburn Branch and to the east was the Waimea Plains Railway that connected with the Main South Line in Gore. Aubrey was known for his early depictions of both North and South Island settlements. He often exchanged his works for lodgings.
52 MINA ARNDT 1885 - 1926
Mother & Child
Charcoal on paper 45 x 36
Signed
ESTIMATE
$2,000 -3,000
53 ARCHIBALD FRANK NICOLL
1886 - 1952
“The Oast House” Deans Bush Christchurch Oil on board 30 x 40
Signed
ESTIMATE
$2,500 - 3,500
54 ARCHIBALD FRANK NICOLL
1886 - 1952
Caroline Bay, Timaru Oil on board 29 x 39
Signed
ESTIMATE
$2,500 - 3,500
55 DORIS LUSK 1916 - 1990
Lake Brunner IV Watercolour 29 x 41
Signed
ESTIMATE
$1,500 - 2,500
56 DOROTHY KATE RICHMOND 1861 - 1935
Ruamahanga Watercolour 24 x 34
Signed & 1927
ESTIMATE
$1,000 - 2,000
1910 - 1995
West Coast Near the Haast
Oil on board 60 x 90
Signed
ESTIMATE
8,000 - 12,000
58 PETER MCINTYRE
1910 - 1995
Coastal Scene
Oil on canvas 140 x 104
Signed
ESTIMATE
12,000 - 16,000
57 PETER MCINTYRE
59 CEDRIC SAVAGE
1879 - 1933
Summer Kos Oil on board 36.5 x 48
ESTIMATE
$800 - 1,400
PROVENANCE
Private Collection, Wellington
EXHIBITED
Cedric Savage Memorial Exhibition, November 1970
McGregor Wright’s, Wellington. Original exhibition label affxedverso
60 CEDRIC SAVAGE
1879 - 1933
Dusk Over Perdikia Oil on board 40 x 55
ESTIMATE
$800 - 1,400
PROVENANCE
Private Collection, Wellington
EXHIBITED
Cedric Savage Memorial Exhibition, November 1970
McGregor Wright’s, Wellington. Original exhibition label affxedverso
1897 - 1969
John Weeks
Photograph 19.5 x 14.5
Signed
ESTIMATE
$500 - 1,000
1886 - 1965
St Tropez
Oil on canvas 50 x 60
ESTIMATE
$6,000 - 8,000
61 HERBERT TORNQUIST
62 JOHN WEEKS
1850 - 1912
Mt Pembroke
Oil on canvas 40 x 60
Signed & inscribed
ESTIMATE
5,000 - 8,000
64
1850 - 1912
Hunter
Oil on canvas 89 x 184
Signed & inscribed
ESTIMATE
10,000 - 15,000
LAURENCE WILLIAM WILSON
Mountains, Lake Manapouri
63 LAURENCE WILLIAM WILSON
65 IVY M COPELAND
1888 - 1961
Untitled Landscape
Oil on board 41 x 52
Signed
ESTIMATE
$1,500 - 2,500
66 JAN NIGRO
1920 - 2012
Bowl of Roses, 1948
Oil on board 28 x 42.5
Signed
Inscribed verso
ESTIMATE
$3,000 - 5,000
67 JOHN WEEKS
1886 - 1965
Le Canal Saint Maurice
Oil on board 43 x 53
Certificate of Authenticity from Artist’s Estate affxedverso
ESTIMATE
$7,000 - 10,000
68 RAYMOND CHING b. 1939
Barn Owl
Watercolour 72 x 54
Signed
ESTIMATE
$15,000 - 20,000
69 VERA CUMMINGS 1891 - 1949
ESTIMATE
$4,000 - 6,000
70 JOHN BARR CLARKE HOYTE 1835 - 1919
Blueskin Bay, near Dunedin
Watercolour 38 x 30
Signed
ESTIMATE
$6,000 - 8,000
Harata Rewiri Tarapata Oil on canvas 34 x 39
71 CORA WILDING
1888 - 1982
Pueblo Indians, Taos, New Mexico
Watercolour 29 x 42
Signed
ESTIMATE
$1,800 - 2,500
72 WILLIAM
1864 - 1929
Porirua Bay
Watercolour 35 x 54
Signed & inscribed
ESTIMATE
$1,500 - 2,500
73
WILLIAM
1859 - 1937
Sail & Steam
Watercolour 32 x 70
Signed & dated 1904
ESTIMATE
$1,500 - 2,500
MENZIES GIBB
GEORGE BAKER
75 A AUSTEN DEANS
1915 - 2011
Spring Weather, Peel Forest
Watercolour 52 x 67
Signed & dated 1997
ESTIMATE
$2,500 - 3,500
PROVENANCE
Proceeds of this lot to go to Make-A-Wish New Zealand www.facebook.com/makeawishnewzealand
74
1901 - 1969
Spanish Village with Sunflowers
Watercolour 63 x 49
Signed
ESTIMATE
$2,500 - 3,500
76 PETER MCINTYRE
1910 - 1995
Waiwera
Watercolour 54 x 72
Signed
ESTIMATE
$12,000 - 16,000
CEDRIC SAVAGE
1922 - 2009
Shotover River, Queenstown Oil on board 70 x 92
Signed
ESTIMATE
$4,000 - 6,000
Born in Balclutha 1922 Douglas Badcock had a highly successful professional art career. Preferring to paint en plein-air, mostly in oil, Douglas earned a reputation as one of New Zealand's leading landscape painters. His paintings are included in the Queen of England's collection and King of Thailand's collection. Douglas was a Kelliher Art Award winner and several books have been published on his work. He came second in the 1959 Kelliher Art Award and third in the 1962 award.
Badcock held his first exhibition in Wellington in 1960, selling out within two days. A review at the time described him as 'a realistic painter and absolutely sincere with a natural talent and a high technical standard ... A master of the New Zealand landscape, he paints New Zealand as he sees it'.
77 DOUGLAS BADCOCK
78
1922 - 2009
Above the Rapids
Oil on board 55 x 76
Signed
ESTIMATE
$4,000 - 6,000
Badcock produced at least three publications: My Kind Of Country then later My Kind of Painting and A Painter in Fiji.
In a Listener article in 2004, Mr Badcock said: I paint seas, skies, mountains. I paint the world I know, as it appears to me. I have an image that is there and I have to record it. When I'm painting I let the subject reveal itself. Picasso said I don't seek, I find. And finding is a revelation - intellectually, emotionally, spiritually. The primary motivation is self-expression, but if there's no vision, if we don't see beauty in nature any more, then we're nowhere. Badcock died in 2009.
DOUGLAS BADCOCK
79 DOUGLAS BADCOCK
1922 - 2009
Evening at Papatowai Inlet
Oil on board 40 x 50
Signed & dated 1963
ESTIMATE
$2,000 - 3,000
80 DOUGLAS BADCOCK
1922 - 2009
Early Autumn, from Green to Gold Kawarau Gorge, Wakatipu District
Oil on board 35 x 47
Signed & dated 1975
ESTIMATE
$2,000 - 3,000
81 TOM ESPLIN
1915 - 2005
Vaucluse, France
Oil on board 41 x 44
Signed
ESTIMATE
$4,000 - 6,000
82 VERA CUMMINGS
1891 - 1949
‘Maria’ Maori Maiden
Oil on canvas 26 x 20.5
Signed
ESTIMATE
$4,000 - 6,000
1864 - 1929
Lake Te Anau
Oil on canvas 59 x 90
Signed
ESTIMATE
$4,000 - 6,000
1859 - 1937
A September Morning
Oil on canvas 34 x 50
Signed & dated 1894
ESTIMATE
$6,000 - 8,000
83 WILLIAM GEORGE BAKER
84 JOHN DOUGLAS PERRETT
85 EDWARD MCLEOD
1881 - 1973
Union Company Steamer & Manukau Bar ~ A Pair
Oil on canvas 45 x 71
ESTIMATE
$1,500 - 2,000
86 CHARLES WILLIAM FOSTER
1840 - 1920
Orua Bay
Oil on board 43 x 84
Signed, inscribed & dated 1906
ESTIMATE
$1,000 - 1,500
87 HENRY FREER RAWSON
1839 - 1879
Mt Egmont
Watercolour 30 x 49
Signed & dated 1876
ESTIMATE
$1,000 - 2,000
88 WILLIAM BINZER
German working 1870 - 1900
The Pink Terrace, Rotomahana
Oil on board 45 x 63
ESTIMATE
$1,000 - 1,500
19th Century
White Terraces
Oil on board 52 x 69.5
Signed
ESTIMATE
$1,000 - 1,500
89 MAY MCCLELLAN
90 HARRY VYE MILLER
1907 - 1986
Evening Glow, Lawrence
Watercolour 27 x 19.5
Signed & dated 1945.
Inscribed verso
ESTIMATE
$500 - 800
91 ARTIST UNKNOWN
Xmas Eve at the Front, 1916
Oil on canvas 62 x 81
Signed illegibly
Inscribed & dated 1916 verso
ESTIMATE
$2,000 - 5,000
92 FELIX KELLY
1914 - 1994
Grantham House
Ink drawing on paper 18 x 27
ESTIMATE
$800 - 1,200
PROVENANCE
Patridge Fine Arts Ltd, London
Gallery label affxedverso
93 JOHN LOXTON
1903 - 1969
The Covered Wagon
Watercolour 24 x 37
Signed
ESTIMATE
$1,800 - 2,500
94 VERA WHITEMAN
1873 - 1952
Draft Horses
Oil on canvas 34 x 54
Signed
ESTIMATE
$3,000 - 5,000
95 WILLIAM MENZIES GIBB
1859 - 1937
Egmont
Watercolour 48 x 31
$800 - 1,200
Thank you - End of Sale
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