21 Feb 2017 Collectable Art

Works from Artists’ Estates & Collectable Art

Tuesday 21 February 2017

Conditions of Sale & A Guide to Buyers

The highest bidder shall be the buyer. In the event of any dispute as to the bidding in respect of any lot, that lot may be offered again at the discretion of the auctioneer whose decision shall be absolute and final.

The auctioneer has the right -

(i) to refuse any bid;

(ii) to advance the bidding at his absolute discretion;

(iii) to place a reserve on any lot;

(iv) to place a bid or bids on behalf of the seller;

(v) to withdraw any lot from sale;

(vi) to require a successful bidder to pay forthwith the whole or any part of the purchase price.

The auctioneer acts as the agent of the seller and neither he nor the seller shall be responsible for any defects or faults in any lot or for any errors of description or for genuineness or authenticity of any lot and no compensation shall be paid in respect of same.

From the time of lot being sold, such lot will be the responsibility of the buyer. Successful bidders are required to pay for purchases immediately on completion of sale unless otherwise arranged.

All intending buyers are required to register for a bidding number prior to auction commencing. Subscribers can use their permanent bidding number. We reserve the right to ask for identification if you are a first time client of International Art Centre.

Each lot shall be paid for and removed at the buyers expense by no later than 4pm Friday 24 February 2017 unless otherwise arranged failing which the auctioneer and/or the seller shall have the right to forfeit any deposit paid by the buyer and to resell the lot either by public or private sale and any deficiency on costs of resale shall be borne by the defaulting buyer.

No lot may be collected or paid for whilst auction is in progress.

SUBJECT BIDS

When the auctioneer declares a lot ‘subject’ this means the bid is below the set reserve and is subject to vendor accepting, rejecting or negotiating the bid. International Art Centre will endeavour to make contact with the vendor immediately after sale or the following day. If the bid is accepted, the highest bidder is obligated to make purchase.

ESTIMATES

Estimates are provided for each entry and act as a guide only. They are prepared well in advance of sale and are subject to revision at any time. Estimates are based on hammer price and do not include our buyers premium.

ABSENTEE BIDS

Absentee bidding arranged - please refer to absentee bidding page in back of catalogue. Fax to (09) 307 3421 or post to PO Box 37 344 Parnell. Please do not be offended if a member of our staff asks for your credit card details as security.

Absentee bids can also be left via our website to registered members. International Art Centre website www.fineartauction. co.nz acts as a useful auxiliary to the catalogue but we recommend inspection or a condition report prior to leaving a bid. Our staff will gladly supply you with a condition report on any lot.

TELEPHONE BIDS

Telephone bidding available to subscribers. There is no charge for this service.

PAYMENT FACILITIES

Eftpos: Available for transactions $2,000 or less which is the banks daily limit. For transactions less than $4,000 a 50% deposit on the evening and balance following morning is acceptable as long as the goods remain on our premises until full payment is made.

Bank deposits: Please ask for our bank details to be faxed or emailed if you wish to pay by direct debit. Quote the Lot number(s) Cheques: Accepted by known clients of International Art Centre or at our discretion. When posting cheques please ensure they are sent to the following address. International Art Centre PO Box 37344 Parnell, Auckland 1151. Make cheque payable to ‘International Art Centre’ Credit cards: Visa & Mastercard accepted with a 2% surcharge. No other credit cards accepted.

EXPORTING

As a general rule, anyone exporting New Zealand works over 60 years of age should apply for an export certificate from the Ministry for Culture and Heritage to avoid issues with customs. This does not apply to non New Zealand works. For full details visit www.mch.govt.nz

FREIGHT & PACKING

International Art Centre will gladly arrange in house or professional packing and international, national or local freight at cost. Please arrange insurance on your items prior to them leaving our premises. In some cases, we may be able to arrange delivery ourselves within the Auckland area.

OTHER ENQUIRIES

+64 9 379 4010 Toll Free 0800 800 322 info@fineartauction.co.nz www.fineartauction.co.nz

BUYERS PREMIUM

16.5% Buyers premium plus GST on premium applies to all lots. Total buyers premium is 18.98% including GST

Artists’ Estates & Collectable Art

Auction 6:30pm Tuesday 21 February

Viewing Times

Wednesday 15 February 10:00am - 5:30pm

Thursday 16 February 10:00am - 5:30pm

Friday 17 February 10:00am - 5:00pm

Saturday 18 February 11:00am - 3:00pm

Sunday 19 February 11:00am - 4:00pm

Monday 20 February 9:00am - 5:30pm

Tuesday 21 February 9:00am - 2:00pm

Absentee Bidding

Absentee Bid Form - page 103 Fax to (09) 307 3421 or email info@internationalartcentre.co.nz

Conditions of Sale - inside front cover

Email bidding instructions info@fineartauction.co.nz

Bid via website www.fineartauction.co.nz

Artist Estates Consign Today

International Art Centre’s decades of experience in the auction arena have been underpinned by the consistent delivery of excellent results for our clients, and over the years we have distinguished ourselves as the trusted, go-to institution for the handling of artist estate sales. Notable artist estates which have in the past been entrusted to International Art Centre include such prominent names as Ida Carey, Douglas Badcock, Gabrielle Hope, William James Reed & John Weeks. Acting with discretion, care and the affordance of specialist expertise, we provide an end-to-end service which guarantees ease of process for the vendor.

The delivery of a bespoke marketing approach which will ensure all works, regardless of value, are presented to their best advantage and achieve their full market potential, are part of the service.

For a confidential, obligation-free discussion around our handling of artist estates, and the services International Art Centre offer. Contact:

Richard Thomson +64 9 379 4010 richard@artcntr.co.nz Mob. 0274 751071

Charles F Goldie sold $1,175,000 + bp April 2016

The first painting to fetch over $1million at auction in New Zealand

Alan Ingham sold $28,000 + bp November 2016 (New auciton record)

Important & Rare

Consign Today - April 2017

International Art Centre’s Important & Rare auctions are the proven, pre-eminent sale category for major works offered through the New Zealand art market. As we fast approach our 50th year in business, experience continues to equal results. 2014 saw International Art Centre realise five of New Zealand’s top ten auction prices.

2015 saw new records set with the two top prices in Auckland achieved at our Important and Rare auctions. With the addition of $1.377 million April 2016 sale International Art Centre achieved the three highest art auction prices in New Zealand history. With an appreciative, and greatly valued clientele of nationwide and international buyers and sellers we look forward to breaking new ground.

Contact Richard Thomson richard@artcntr.co.nz

M 0274 751 071or +64 9 379 4010

BULLMORE Cuban Crisis, 1962

Oil on canvas 76 x 100

Estimate 25,000 - 35,000

Gabrielle Hope 1916 -

1962

Works from the artist’s Estate Collection

Gabrielle Hope was born in Lower Hutt, she attended Auckland’s Diocesan School for Girls and studied at Elam School of Fine arts. The mother of two children, she lived in Whitford, Waiheke Island and in 1950 purchased a home in Tohunga Crescent, Parnell. Gabrielle’s wide circle of friends included fellow artists Helen Brown, Jan Nigro, Louise Henderson, Robert Nettleton Field, Eric Lee Johnson, Colin & Anne McCahon and Lincoln Lee.

Her subject matter extensively encompasses still lifes, landscapes, figures, animals and portraits. The influence of Picasso, and an admiration of Frances Hodgkins is reflected in Hope’s work as is her fascination with western and eastern occult philosophies and symbolism. From 1946 she exhibited with the Auckland and Hamilton Society of Arts and the Auckland City Art Gallery in 1955/56.

From today’s perspective Gabrielle Hope’s work is more vital and modern than ever. There is an uncompromised bravery of brushstroke, a quality of perception leaving no doubt that she was a woman artist ahead of her time.

The artist’s early death at just forty six years of age cut short a career of already considerable achievement.

A copy of the publication Gabrielle Hope 19161962 Lyric Watercolours, Linda Tyler, published by Gus Fisher Gallery, 2008, available with each lot sold.

1 GABRIELLE HOPE

City Scape from Trafalgar Street, Onehunga

Watercolour 57 x 39

Signed & dated 1962

800 - 1,500

Provenance:

Artist’s Estate Collection

2 GABRIELLE HOPE

Winged VW over Waitemata

Watercolour 58 x 90

2,500 - 3,500

Provenance:

Artist’s Estate Collection

3 GABRIELLE HOPE

Waitahanui River, Taupo

Watercolour 37 x 55 1,500 - 2,500

Provenance: Artist’s Estate Collection

4 GABRIELLE HOPE

Seagull and Fish Skeleton, Waiheke island Gouache on paper 43 x 51

Signed 800 - 1,200

Provenance:

Artist’s Estate Collection

5 GABRIELLE HOPE

Watchman’s Rock , Karekare

Watercolour 45 x 58

Artist’s Estate Certificate affxedverso 1,500 - 2,500

Provenance:

Artist’s Estate Collection

Ruth Dorothy Browne 1905 - 2002

The Forgotten Antipodean - works from the Artist’s Estate

Ruth Browne is the matriarch of a rich artistic lineage. Her son is Wellington-based artist Michael Browne, and her grandson is Auckland artist Matthew. Ruth Browne’s love of painting and drawing became well established in her childhood when, on the family farm in North Canterbury, she saw a woman sitting on a hill near their house, ‘doing something’, which, upon investigation, turned out to be painting. Ruth decided this too would be her vocation.

Ruth attended Canterbury College of Art, winning two major prizes along with the CCSA Sketch Club’s self-portrait competition in which Rita Angus was also a finalist.

During the 1920s and 1930s, a period in which New Zealand women artists flourished, Ruth Browne aligned herself with Olivia Spencer Bower and Mary Hogg. She travelled to England to study at the Slade School of Fine Art, completing her certificate in one year rather than the usual three. From there Ruth made extended painting trips through the English countryside and to Italy. After her return to New Zealand in 1933 she continued to explore landscape painting but, by the early 1960’s, had begun to develop a level of abstraction that culminated in her final, poured abstract works. She was one of few women artists of her time able to support herself financially through painting sales and to pursue her career with professional purpose.

Ruth was artistically progressive and brave. Her early abstractions were playful then quickly moved to more atmospheric work employing a limited palette. Possibly influenced by Jackson Pollock’s paintings, Ruth broke free from old restraints and began to use paint with more abandon. There is a sense of intuitive spontaneity and daring quickness, still drawing on organic form and a closeness to nature that always inspired her to paint.

Ruth Browne is represented in private and public collections in New Zealand including Te Papa Tongarewa Ruth in her Eastborne Studio, 1960

6

RUTH BROWNE

Maori’s, 1950

Oil on linen 45 x 52

Signed

1,500 - 2,500

7

RUTH BROWNE

Pohangina Valley, 1960

Oil on linen 72 x 82

Signed

2,500 - 3,500

8

RUTH BROWNE

Listening In, 1968

Oil on board 40 x 74

Signed

1,500 - 2,500

9 RUTH BROWNE

Mangaweka, 1955

Oil on linen 85 x 100

Signed

2,500 - 3,500

10

11

RUTH BROWNE

Dorset Cottages, 1980

Oil on linen 45 x 55

Signed

1,200 - 1,400

RUTH BROWNE

Abstract, c.1958

Oil on board 80 x 100

Signed

2,500 - 3,500

12 RUTH BROWNE

Blue Abstract, 1960

Oil on linen 92 x 102

Signed

2,500 - 3,500

Kase Jackson 1926 - 2002

Works from the Artist’s Estate

One of New Zealand’s first abstract expressionist painters, Kase Jackson participated as an invited artist in the Auckland City Art Gallery Festival Exhibition Unit Two and Object & Image, the 1964 group show alongside works by artist friends Colin McCahon, Louise Henderson and Milan Mrkusich.

When Jackson showed his works in the United States of America in the mid to late 1960s a work was acquired for the permanent collection of the Windsor Portrait Gallery. He also has works in the Auckland Art Gallery permanent collection as well as the collection of the Bishop of Aotearoa.

Rangitoto - Bimbo Jug Gouache on paper 70 x 51

Kase photographed by friend Colin McCahon, Hokianga, c. 1958

Signed, inscribed & dated 1987

800 - 1,200

Mixed media on board 74 x 60

Signed & dated 1987

800 - 1,200

Untitled Oil on board 76 x 105

Signed & dated 1957

1,500 - 2,500

Gaston de Vel 1924 - 2010

Works from the artist’s Estate Collection

Belgium born De Vel spent his student years at the Academie Royal des Beaux Arts, Brussels, which he attended at age 17 from 1941 to 1945. I was taught to paint directly from life, so I could learn to visualise things as an artist in colour, just like the Impressionists. Now these lessons are in my blood, a part of me.

One of his most influential tutors was Alfred Bastien, a friend of Claude Monet and John Singer Sargent. Gaston believes he was one of the last painters to have been taught in the classical and impressionistic fashion by a tutor directly involved with some of the leading artists of that movement. In 1960 he arrived in New Zealand from the Belgium Congo with nothing but peace and safety - it was worth losing everything just for that, Gaston said in an interview with the Auckland Star.

He was awarded the Kelliher Art Prize in 1968. The 1980s saw several sellout exhibitions in Auckland and at Lewis Paape Gallery, Lower Hutt. Gaston’s work is part of the permanent collection of Dunedin Public Art Gallery.

& dated 1973

1,000 - 1,500

Signed & dated 2000

1,500 - 2,500

Signed & dated 2000

1,500 - 2,500

19 GASTON DE VEL

Monument Valley, Utah, USA

Oil on canvas 46 x 55

Signed & dated 1990

1,000 - 1,500

20 GASTON DE VEL

Jonquils

Oil on canvas 41 x 51

Signed & dated 1968

1,000 - 1,500

21 GASTON DE VEL

Hokianga

Oil on canvas 37.5 x 45

Signed & dated 1987

1,000 - 1,500

22 GASTON DE VEL

Venice

Watercolour 30 x 39.5

Signed & dated 1996

800 - 1,200

23 GASTON DE VEL

Public Library Building, Christchurch

Oil on canvas 37.5 x 45

Signed & dated 1989

1,000 - 1,500

24 GASTON DE VEL

Paris

Watercolour 30 x 39.5

Signed & dated 1996

800 - 1,200

Ida Harriet Carey 1891 - 1982

Works from the artist’s Estate Collection

The works of popular Waikato artist and teacher Ida Carey have received increased market attention over the past few years. During the 1920s whilst based in Sydney, Ida studied with Italian artist Anthony Dattilo Rubbo (1870 - 1955). Best known as a portrait painter, in the 1960s she began a series featuring Maori women with Moko. A versatile artist, Ida was also a competent painter of interiors, landscapes, still life and a series of ballet scenes.

She was a founding member of the Waikato Society of Arts, becoming President in 1934. She succeeded fellow artist Ivy Copeland (1895 - 1961) as a lecturer at Auckland College of Education and taught art in several Hamilton schools. Represented: Christchurch Art Gallery, Rotorua Museum, Waikato Museum. A collection of her paintings are on permanent exhibition at Puke Ariki, New Plymouth.

Ida Carey in her Firth Street, Hamilton studio, c. 1971

25 IDA H CAREY Mrs Ngati Te Harewa Watson, New Plymouth, Age 89 Oil on board 58 x 50 1,000 - 1,500

Inscribed verso 2,000 - 3,000

An Elder Statesman

Oil on board 60 x 50

800 - 1,200

Ruby and Family, Te Puke - 1973

Oil on board 59 x 60

Inscribed verso 2,500 - 3,500

John Weeks 1886 - 1965

Works from the artist’s Estate Collection

John Weeks was born in Devonshire, England. His family sailed to New Zealand in 1892, arriving when he was aged 6. His parents ran a dairy farm for several years near Te Awamutu, before settling in rural Northcote, Auckland where the family home was to remain. Weeks soon embarked on part-time classes at Elam Art School from 1907-1909 while working as a signwriter. In the years prior to World War I, Weeks visited England with his family, sketched through New South Wales, and took classes at Sydney Technical College. He returned home in 1915 and later enlisted with the New Zealand Medical Corps in early 1917.

Returning from Britain in late 1919, the artist entered a busy period exhibiting nationally and attracting attention and praise. He also taught signwriting and lettering classes alongside part-time study at Canterbury College School of Art, then under the directorship of Archibald Nicoll. In 1923 Weeks travelled to Edinburgh where he lodged with the artist Francis McCracken. He attended Edinburgh College of Art, and the Royal Scottish Academy of Painting where he took life classes. Weeks exhibited with the Academy, and in 1924 his paintings featured in the New Zealand display of the British Exhibition at Wembley. The following year Weeks left for Paris, enrolling in André Lhôte’s Académy Montparnasse in 1926. The School attracted many international students keen to learn Lhôte’s approach to art and

Cubism. At this time Weeks painted in a largely Post-Impressionist manner, his subjects often canals and street scenes. Weeks returned again to Lhôte’s Academy with enthusiasm in early 1929 after a long trip through: Algeria, Morocco, Tunisia via the South of France, Italy and Corsica. On his return to New Zealand he began teaching in1930 at Auckland’s Elam School of Art 1930, retiring in 1954.

A diverse and well-respected artist, he was widely regarded as the leading painter and teacher in Auckland in the 1930s and 1940s, and a significant figure in national art. Many artists, including Louise Henderson, sought his advice. Weeks lost around 200 works in a fire at Elam in early 1949. He continued to paint while teaching, caring for his father and managing the family property. In 1954 he took part in the Auckland Art Gallery’s Object and Image exhibition along with Louise Henderson, Colin McCahon, Milan Mrkusich, Ross Fraser and Michael Nicholson. A touring retrospective exhibition of Week’s work, beginning was held in 1955. Ronald O’Reilly, Christchurch City Librarian and art critic, deemed it … a magnificent and monumental show. Weeks received an O.B.E for his services to painting in 1958.

Algiers

Pastel on paper 30 x 14

Inscribed

800 - 1,200

Untitled Landscape Oil on board 24.4 x 34.7

Weeks O’Connor inscribed in pen verso

1,500 - 2,500

JOHN WEEKS

In the Shade, Algiers

Pastel on paper 30 x 23

Signed & inscribed

800 - 1,200

JOHN WEEKS

Tlemcen, Algeria

Pastel on paper 30 x 23

Signed & inscribed

800 - 1,200

JOHN WEEKS

By the Seine, Paris c. 1926

Watercolour 21 x 29.5

Certificate of Authenticity from Artist’s

Estate affxedverso

800 - 1,500 38

JOHN WEEKS

Moulay Idriss

Pencil drawing on paper 24 x 30.5

Signed & inscribed

500 - 1,000

William James Reed 1908 - 1996

Born in Christchurch Reed attended the Canterbury College of Art in the 1930’s with fellow artists Archibald Nicoll, Richard Wallwork, Olivia Spencer Bower and Russell Clark. Reed had a highly original vision of the New Zealand landscape and his work differed vastly from that of his contemporaries. He saw the landscape as lush, productive and fertile and he portrayed it with strong colours and forms. Reed was strongly influenced by the works of his tutor, John Weeks, his friend and colleague Rita Angus and the British painter Paul Nash. His recognition of the ideological and spiritual crisis facing humanity in the 1930’s resulted in works such as Armageddon and Visitation now in the collection of the Reed Estate. These works have a prophetic quality, pre-dating the bombing of Guernica by some months.

Works from the artist’s Estate Collection 40

At the conclusion of his studies Reed worked for a firm producing pictorial advertising for the movies. Weekends were spent roaming the Port Hills and cycling the Canterbury Plains in search of subject matter. Apart from serving with the Field Ambulance Corp in the Pacific Zone from 1942-45, his life was spent entirely in Otago. Reed’s first solo exhibition was held at the Dunedin Public Art Gallery, his intense passion for the land and its coastline was spiritually as well as emotionally charged. From today’s perspective he is seen as one of the most adventurous members of the School of South Island Painters. Reed taught at the Dunedin School of Art for more than thirty years, a respected and popular tutor, he retired in 1973 continuing to paint till the end of his life. His work is held in major galleries throughout New Zealand.

WILLIAM JAMES REED

Maori Girls, Moraki Oil on board 45 x 43

Signed 2,500 - 3,500

Mixed media on board 47 x 34 Signed

1,000 - 2,000

Mixed media on board 63 x 44 Signed 1,000 - 2,000

43 WILLIAM JAMES REED

St Francis and the Birds Oil on board 63 x 53

Signed 1,500 - 2,500

Exhibited: William James Reed

The Religious paintings International Art Centre

2 - 13 April, 2004

Robert Browning Watson 1911 - 1980

Works from the Estate of M L Watson

Auckland born Robert Browning Watson was educated at Kings College and Wanganui Collegiate. He went on to gain an honours degree in law from Cambridge University. Watson served with the RNZAF, eventually becoming a stock broker in Wellington.

Painting was his true passion and he attended classes at Heatherley’s School of Fine Art, one of London’s oldest independent art schools and at a later time studied under leading Australian portrait painter, Sir William Dargie.

In his fifties, Watson travelled both worldwide and throughout New Zealand capturing his journeys on canvas. In 1966 he was placed third in the prestigious Kelliher Art Award, receiving first prize the following year. His work was presented in the Kelliher exhibitions from 1959 - 1968. R.B Watson was represented by McGregor Wright Gallery, he died in Wellington, 1980.

44 R B WATSON

The Newsstand, Paris Oil on canvas board 24 x 19

Signed

400 - 600

45 R B WATSON

A Street in Wan Chai, Hong Kong Oil on canvas board 35 x 46

Signed

800 - 1,200

46 R B WATSON

Wan Chai, Hong Kong Oil on canvas board 35 x 46

Signed

800 - 1,200

47 R B WATSON

Life Class Oil on canvas board 35 x 43

Signed

500 - 1,000

48 R B WATSON

Summer Landscape, Norfolk Oil on canvas board 35 x 46

Signed

800 - 1,200

49 R B WATSON

Fog in the Forrest, Kaitoke Oil on canvas board 40 x 50

Signed

800 - 1,200

50 R B WATSON

Winter Landscape, Finland Oil on canvas board 33 x 45

Signed

800 - 1,200

800 - 1,200 52 R B

Thames Barges, Yamouth Oil on board 24 x 41

400 - 600

Bessie

on canvas board 26 x 21

300 - 500

54 R B WATSON

Cottage in the Hollow, Norfolk Oil on canvas board 20 x 25

300 - 500

55 R B

The Auction, Elazig, Turkey

on board 20 x 22 Signed

300 - 500

Cyril Whiteoak 1921 -2009

Watercolour

Landscapes

Ex Artist’s Estate Collection

Paintings and sketches by the late landscape artist Cyril Whiteoak are owned by collectors throughout the world. Whiteoak was a keen traveller but the bush and Manukau Harbour views from his Titirangi home studio also inspired his work.

Whiteoak spent 30 years teaching at The Auckland Society of Arts and travelled throughout New Zealand as a roving tutor, eventually winning a Bledisloe Award for services to the industry. He trained as an artist and gained high results in a City and Guilds of London Institute exam.

He was made a Freeman of City London for his efforts - a traditional English honour dating back to medieval times. He served in the Royal Air Force as a medical attendant during World War Two and spent time in Egypt where he covered hospital walls with murals.

56 CYRIL WHITEOAK

The Remarkables, Queenstown

Watercolour 35 x 51

Signed & dated 2000

300 - 500

57 CYRIL WHITEOAK

Flaxmill Bay

Watercolour 35 x 51

Signed, inscribed & dated 2000

300 - 500

Whiteoak came to New Zealand in the late 1950s after a brief stint in Australia with his only brother John. He enjoyed many painting trips to places like India, Afghanistan, Europe, China, America and Siberia.

Whiteoak was a member of West Auckland Historical Society and the learning network University of The Third Age. He won merit awards in the Kelliher Art Awards in 1965 and 1966.

58 CYRIL WHITEOAK

Tukituki River, Hawkes Bay

Watercolour 35 x 51

Signed, inscribed & dated 2003

300 - 500

59 CYRIL WHITEOAK

Mill Bay, Mauganui

Watercolour 35 x 51

Signed

300 - 500

60 CYRIL WHITEOAK

Summer Shade, Estuary and Trees

Watercolour 35 x 51

Signed, inscribed & dated 1998

300 - 500

61

CYRIL WHITEOAK

Gate in Yorkshire

Watercolour 35 x 51

Signed & dated 1995

300 - 500

Peter Siddell 1935 - 2011

Sylvia Siddell 1941 - 2011

Works from the Estate Collection

In 1960 Peter Siddell married Sylvia, the couple lived in Auckland where their two daughters were born. From 1972 Siddell painted professionally, holding his first solo exhibition that same year.

Peter Siddell’s realist paintings are identified mainly with depictions of the environs of Auckland. While his works appear to be of actual places, his paintings have a subjective component, and might be better described as magic realism rather than truly realistic. The cityscapes and townscapes in Siddell’s paintings are rendered empty, with the suggestion of events occurring outside the picture area. In this sense, his work can be compared to the metaphysical works of Giorgio de Chirico. Siddell is the second only New Zealand artist to be knighted: the first was Sir Toss Woollaston.

When Sylvia Siddell began her career in the 1970s, her art was shaped by the domestic and familiar. She incorporated family life into the process of artmaking as a means of balancing her roles as wife and mother with her activity as an artist. Among other women artists of her generation, Siddell elevated the banal and ordinary occurrences of domestic life to an appropriate and challenging subject for art. Her comments on domesticity contained references to her feelings and frustrations about the wider world continued to inform her work three decades on.

The Siddell’s in their studio, Woman’s Weekly, 1977

Screenprint, edition of 40, 20 x 15

Signed & dated 1982

500 - 1,000

Provenance: Artist’s Estate Collection

Screenprint, edition of 150, 57 x 44 cm

Signed, inscribed & dated 1982

800 - 1,200

Provenance:

Artist’s Estate Collection

Screenprint, edition of 75, 50 x 40

Signed & dated 1985

800 - 1,200

Provenance: Artist’s Estate Collection

65 SYLVIA SIDDELL

Just Looking Pastel on paper 55 x 45

Signed

400 - 600

Provenance:

Artist’s Family Collection

66 SYLVIA SIDDELL

Pitiable

Acrylic on board 30 x 22

Signed 250 - 350

Provenance:

Artist’s Family Collection

67 SYLVIA SIDDELL

Absolutely Fabulous

Acrylic on board 30 x 22

Signed

250 - 350

Provenance:

Artist’s Family Collection

68 SYLVIA SIDDELL

Tender

Acrylic on board 30 x 22

Signed

250 - 350

Provenance:

Artist’s Family Collection

69 PETER SIDDELL

Pah Homestead

Oil on board 38 x 45

Signed & dated 1974

8,000 - 12,000

Provenance

Private Collection, Auckland since 1974

70 PETER SIDDELL

Red Roof Church

Oil on board 50 x 40

Signed & dated 1971

4,500 - 6,500

Provenance

Private Collection, Auckland since 1971

Oil on paper 98 x 98

Signed

800 - 1,200

Old Cart and Barn, Gibbston, Otago

Oil on board 35 x 47

Signed & dated 1976

1,000 - 2,000

Mt Tutoko, Fiordland

Oil on velvet 88 x 67

Signed

800 - 1,200

Oil on board 60 x 98

Signed & dated 1970

800 - 2,000

Old Stock Route, North East Victoria Oil on board 69.5 x 76.5

Signed

2,000 - 3,000

Signed

500 - 1,000

77 NINA CHALMERS

A Portfolio of the Artist’s watercolours from New Zealand and Asian travels

Approximately eighty unframed watercolours of various sizes

Some signed & inscribed 1,000 - 2,000

Provenance: Ex Artist’s Family Collection

78 MICHELLE BRYANT

Instinct & Orientation

Oil on board with carving 97 x 97

Signed, inscribed & dated 2011

1,000 - 1,500

Provenance:

Purchased from Smyth Galleries, Auckland, 2013

Landscapes

Oil on twelve canvas panels 94 x 124

Signed & dated 1985

800 - 1,500

80

River and Cliffs Composition Oil on twelve canvas panels 94 x 124

Signed & dated 1986

800 - 1,500

81 BRIAN HALLIDAY

Mt Sefton

Oil on board 59 x 75

Signed

800 - 1,200

82 TIM WILSON

Manapouri

Oil on canvas 45 x 60

Signed & dated 1995

3,000 - 4,000

83 RICHARD BYRNES

Untitled

Unique wooden sculpture 62 x 63

800 - 1200

84 MARTI FRIEDLANDER Attributed

Kelmarna Gardens, Grey Lynn Silver gelatin print 37.5 x 25

Signed, inscribed & dated 2007

800 - 1,200

85 IAN SCOTT

Te Aroha

Watercolour 35 x 53.5

Signed

500 - 1,000

86 BRONWYN CORNISH

Anubis

Bronze sculpture with applied Enamel paint 41 x 10

Signed & dated 2008

800 - 1,200

87 PHILIPPA BLAIR NEE HUTCHINSON

Long Letter from Space Poem series

Dye and acrylic on canvas with crayon edges 200 x 90

Signed & dated 1978

1,800 - 2,500

Provenance:

Purchased from Elva Bett, Wellington 1979

88 BILL HAMMOND

Give Me a Beat

Felt tip pen and ink on paper 18 x 21

Signed, inscribed & dated 7/80

500 - 1,000

89 STANLEY PALMER

The Ranges from Glen Eden Bamboo engraving, edition 17/50, 52 x 71

Signed & dated 1967

800 - 1,200

Works

from

the Collection of Neil Vincent McGough, Trombonist, Conductor and ex Chairman of the Northern Regional Arts Council

90

Swoop of the Kotare, Waimanu

Screenprint

edition 96/175, 66 x 48

Signed, inscribed & dated 1980

6,000 - 10,000

92

Hikurangi,

Bamboo engraving

edition 31/60, 37 x 58

Signed, inscribed & dated 1978

400 - 600

Leigh

Bamboo engraving, edition 7/60, 45 x 66

Signed, inscribed & dated 1976

400 - 600

93 PAT HANLY

Love Scene B

Screenprint, edition 25/26, 48.5 x 63.5

Signed, inscribed & dated 1968

1,000 - 1,500

Provenance:

Purchased Auckland, 1968

94 PAT HANLY

In the Garden

Screenprint, edition 7/32, 49 x 56

Signed, inscribed & dated 1968

1,000 - 1,500

Provenance:

Purchased Auckland, 1968

This is the actual signed screenprint exhibited at Barry Lett Galleries, 1968. The artist applied the watercolour droplets making each print unqiue. The same image was later used to create a Barry Lett Multiple.

95 PAT HANLY

Torso: Adventurer

Etching, edtion 17/30, 66 x 48

Signed, inscribed & dated 1978

800 - 1,200

Screenprint, edition 2/12, 63.5 x 48.5 Signed, inscribed & dated 1965

500 - 1,000

The King Goes Hunting

Screenprint, edition 2/28 35 x 60.2

Signed, inscribed & dated 1965

500 - 1,000

Works from a Private Estate Collection, Tauranga Lots 98 - 102

98 ERIC LEE JOHNSON

Hokianga

Ink on paper 24 x 36

Signed

400 - 600

99 JOHN DOUGLAS PERRETT

Venice

Pastel on paper 22 x 43

200 - 300

100 DAVID SHENNAN

Still Life, Flowers

Oil on canvas 60 x 50

Signed, inscribed & dated 1988 verso

1,000 - 2,000

101 DAVID SHENNAN

Grafton Bridge

Gouache on linen 31 x 26

Signed, inscribed & dated 1988 verso

400 - 600

Provenance:

Isobel Thom Jutta Giggenbach and Charlotte Fisher Cemetary Bridge Series, Brooker Gallery, Wellington, 1988

102 DAVID SHENNAN

River’s Edge, Port Waikato

(Fragments for a History of the Human Landscape)

Oil on board 28 x 46

Signed, inscribed & dated 1988 verso

400 - 600

David Shennan was born in Scotland in 1965. He emigrated to New Zealand in 1974 and studied at the Elam School of Fine Arts University of Auckland 1989 - 1990 gaining a Master of Fine Arts, (First Class Honours). Major influences in these early works may be likened to artist friends, Tony Fomison & Philip Clairmont.

As a painter, I am always in search of an ‘allusive’ image. Appearing one way on the surface and then in time, shifting completely into something else.

David Shennan, 2016

Works from the Estate of John Barr 1887 - 1971

Director & Gallery Librarian,

Auckland Art Gallery 1913 - 1952

Lots 103 - 107

103 GORDON MINHINNICK

After the Loan Collection (Picture by William Roberts)

Ink drawing on paper 31 x 26

Signed, inscribed & dated 1934

350 - 450

104 BESSIE CHRISTIE Attributed

Hill and Tree Study

Oil on board 27.5 x 45

800 - 1,200

105 BESSIE CHRISTIE

View through the Trees Oil on board 38 x 52

Signed

2,000 - 3,000

106 ALLAN SWINTON

Bush Hut

Watercolour 41 x 35

Signed & dated 1945

300 - 500

107 JOHN GOODCHILD

Australian 1898 - 1980 A Glimpse

Engraving, edition 8/9, 30.5 x 23

Signed 200 - 400

Together with 2 other engravings

Provenance: John Barr Estate

108 MICHEL TUFFERY

Matagi Povi (Northern Bull)

Acrylic on tapa 50 x 115

Signed & dated 2004

3,000 - 4,000

Provenance:

Purchased from Salamander Gallery, Christchurch by current owner 2004

109 DES ROBERTSHAW

From the Rock Pacific Series

Acrylic on board 95 x 65

Signed

1,500 - 2,500

Eels with Trap Lake Hawdon #1

Oil and acrylic on paper 49 x 32

Signed, inscribed dated 2007

500 - 1,000

Eels with Trap Lake Hawdon #2

Oil and acrylic on paper 49 x 32

Signed, inscribed dated 2007

500 - 1,000

112 BING

Eels with Trap Lake Hawdon #3

Oil and acrylic on paper 49 x 32

Signed, inscribed dated 2007

500 - 1,000

Oil on board 22 x 39

Signed & dated 1976

1,400 - 1,800

Charcoal on paper 48 x 39

Signed & dated 1983

500 - 1,000

Lithograph, edition 21/30 42 x 29

Signed & dated 2002

750 - 1,250

Signed

2,500 - 3,500

Signed & dated 1993

800 - 1,200

Gloxinia

Watercolour 33.5 x 33.5

Signed

800 - 1,500

119 MARCUS HOLLY FORD 1914 - 1989

Aldeburgh Seascape Oil on board 50 x 75

Signed

200 - 400

Portrait of U W Goodman, Lawyer, Dunedin Oil on canvas 55 x 45

Signed

1,000 - 2,000

Oil on canvas 66 x 80

Signed

1,000 - 3,000

122 RUTH

Mt Eden Oil on board 55 x 75

Signed

400 - 600

123 CEDRIC SAVAGE

West Harbour, Fair Havens, Crete

Watercolour 58 x 75

Signed

800 - 1,200

Earth Pots

Acrylic on canvas 87 x 98

Signed

3,500 - 4,500

125 GRETCHEN ALRRECHT

Coral Reef

Lithograph, edition 10/30, 43.5 x 50

Signed, inscribed & dated 2000

1,750 - 2,250

126 PAUL CONEY

Daffodils

Watercolour 60 x 63

Signed 1,000 - 2,000

127 JOS KIVITS

Still Life Oil on canvas 100 x 75

Signed 1,000 - 2,000

128 PETER BEADLE

Thule Paterson

Inlet Stewart Island Oil on canvas

board 30.5 x 40.6

Signed

500 - 1,000

129

LAURENCE WILLIAM WILSON

Circular Cove, Lake Manapouri

Pastel on paper 29 x 48

Signed & dated 1899

800 - 1,200

130

JOHN DOUGLAS PERRETT

Evening of a Grey Day, Lake Te Anau

Oil on canvas 45 x 75

Signed 1,000 - 1,500

131

THOMAS REGINALD ATTWOOD

Smith Sound Oil on board 35 x 55

Signed

800 - 1,200

132

JOHN MCINTOSH MADDEN

Nelson Landscape

Watercolour 25 x 35

Signed

400 - 600

133

JOHN KINDER

Dr. Dalliston’s. Mahurangi

Watercolour 24.5 x 34.5

Inscribed & dated 1856

1,000 - 3,000

134

JOHN MCINTOSH MADDEN

Shipping Scene

Oil on board 44.5 x 28.5

Signed

800 - 1,200

135

JOHN MCINTOSH MADDEN

Patersons Inlet, Stewart Island

Oil on board 20 x 36

Signed

300 - 500

Pioneers Hut Oil on board 34 x 49 Signed & dated 1896 1,000 - 1,500

137 MABEL HILL

Merton College, Oxford

Watercolour 25.5 x 37

Signed & dated 1935

400 - 600

138 DOUGLAS BADCOCK

Young Poplars, Lake Wakatipu

Watercolour 25.5 x 34

Signed

800 - 1,200

139 MABEL HILL

Brighton, Taieri

Watercolour 39 x 38

Signed & dated 1918

800 - 1,200

140 PETER BEADLE

Mountain Daisies at Homer Tunnel

Oil on canvas board 29 x 39

Signed

500 - 1,000

141 PHILIP HOLMES

Tawhana

Oil on board 30 x 20

Signed

1,500 - 2,500

142 WILLIAM ALLEN BOLLARD

The Clan Alpine in Papeete

Watercolour 19 x 35

Signed

400 - 600

143 DICK FRIZZELL

Table/Wine

Screenprint, edition 6/100, 60 x 50

Signed, inscribed & dated 2002

600 - 1,000

144 RICHARD KILLEEN

Wine Attachments

Screenprint, edition 85/100, 56 x 75.5

Signed, inscribed & dated 2002

800 - 1,200

145 DENYS WATKINS Kaki

Screenprint, edition 56.5 x 75

Signed, inscribed & dated 2007

450 - 650

146 DENYS WATKINS Kaka

Screenprint, edition 15/35, 56.5 x 75

Signed, inscribed & dated 2007

450 - 650

147 DENYS WATKINS Pateke

Screenprint, edition 56.5 x 75

Signed, inscribed & dated 2007

450 - 650

148 GRAHAME SYDNEY

Riverbank

Lithograph, edition 30/75, 52 x 82

Signed, inscribed & dated 1992

1,000 - 1,400

149 LEONARD MITCHELL

Lake Wanaka Oil on board 29.5 x 39.5

Signed & dated 1960

500 1,000

150 WILLIAM HENRY RAWORTH

Homeward Bound

Watercolour 35 x 61

Signed & dated 1899

800 - 1,200

151

CHARLES NATHANIEL WORSLEY

Hilltop Village-Europe

Watercolour 34 x 24.5

Signed

500 - 1,000

152 TOSS WOOLLASTON

Three Portrait Studies Ink on paper 34.5 x 26.5

Signed & dated 1960

800 - 1,200

Together with a copy of publication Woollaston, Erua, limited edition 881/1000

Blackwood and Janet Paul, 1966

153

MARCUS KING

Mitre Peak Oil on board 12 x 16

200 - 400

Provenance:

Gift to owner on her 15th birthday, 1953

154

155

KIRKWOOD

Dusky Sound

Oil on board 15 x 22

Signed

800 - 1,200

Figure Study

Mixed media on Paper

33.5 x 32.5

Signed & dated 1977

400 - 600

156

A Life Story

Oil on canvas 111 x 71

Signed & dated 2000

900 - 1,500

157 PETER O’HAGAN

Lunch on the Terrace at the Hotel Splendido, Portofino

Mixed media on board 44.5 x 50

Signed

800 - 1,200

158 JONATHAN WHITE

Barrier Peak from Robb Stream, Fiordland

Oil on canvas 65 x 85

Signed

500 - 1,000

159 PEGGY SPICER

Houses in Symonds Street

Watercolour 30 x 45

Signed

800 - 1,200

160 PETER BEADLE

Ski Huts, Coronet Peak, Wakatipu

Oil on canvas board

30 x 60

Signed

800 - 1,200

161 CEDRIC SAVAGE

In the Shade, Mediterranean

Watercolour 25 x 35

Signed & dated 1928

800 - 1,400

162 TED DUTCH

Grey Cat II

Screenprint, edition 5/30, 35 x 26

Signed & dated 1997

400 - 600

163 ELLA SPICER

View of Auckland

Watercolour 28 x 39

Signed

800 - 1,200

164 JOHN F BUCKLEY

Roses I

Alkyd resin on canvas 100 x 74

Signed & dated 1984

1,500 - 2,500

165 JOHN F BUCKLEY

Roses II

Alkyd resin on canvas 100 x 74

Signed & dated 1984

1,500 - 2,500

166

ARCHIBALD FRANK NICOLL

Dutch Village with Windmill Oil on board 35 x 45

Signed

1,000 - 2,000

167 MARK MCLEOD

Backpacker in Skipper’s Canyon

Oil on canvas 75 x 101

Signed, inscribed & dated 20 February 2003

1,000 - 1,500

168 BERNARD ARIS

The Dunedin at Sea Watercolour and gouache 51 x 72

Signed

800 - 1,500

169 WILLIAM JAMES REED

Mt Aspiring, Glendhu

Watercolour 37.5 x 54.5

Signed & dated 1969

800 - 1,200

170 PETER BEADLE

Wet Jacket Arm Dusky Sound

Oil on board 45.5 x 61

Signed

800 - 1,200

171 RUSSELL HOLLINGS

Rolling Hills, Pakiri

Oil on board 68 x 89

Signed & dated 1970

500 - 1,000

172 IRENE DENFORD

Hauraki Gulf Islands VI

Acrylic on canves 75 x 100

Signed & dated 1990 1,000 - 1,500

173 HENRY WILLIAM KIRKWOOD

Early Morning, Cattle Grazing Oil on board 23 x 47

Signed

800 - 1,500

174 MICHAEL SMITHER

Portrait of a Friend

Pencil drawing on paper 41 x 28

Signed & dated 2005

400 - 700

175 BLYTHE FLETCHER

Market Scene

Gouache on paper 58 x 75

Signed & dated 1929

500 - 1,000

176 THOMAS ARTHUR MCCORMACK

Hutt River

Watercolour 30 x 47

Signed

1,000 - 1,500

177 EDWARD BULLMORE

Life study Mother and Child London

Graphite on paper 60 x 43

2,000 - 3,000

178 PETER BEADLE

Mt Cook and Tasman from the Clearwater West Coast Oil on canvas board 29 x 39

Signed

500 - 1,000

179 ASTON GREATHEAD

Mt Cook, Lake Pukakai Oil on board 38 x 55

Signed

300 - 500

180 ROBERT ELLIS

Tiheru

Mixed media collage on paper 77 x 58

Signed & dated 1980

1,000 - 2,000

181 ALISON RYDE

Ferry Building

Mixed media 52 x 71

Signed

500 - 1,000

182 P MORATH

Russell, Bay of Islands Oil on board 52 x 74

Signed

800 - 1,500

183 PHILIP HOLMES

Chief with Moko Oil on board 24 x 17

Signed

800 - 1,200

184 PETER BEADLE

Stone Cottage, Arrowtown Oil on canvas board 29 x 39

Signed

500 - 1,000

185 JACQUELINE HICK

Australian 1919 - 2004

Golden Boys Oil on board 121 x 90.5

Signed

1,500 - 2,500

Provenance:

Purchased from The Johnstone Gallery, Brisbane by current owners father

186 RAYMOND BEAL

American 1867 - 1951

Bridge, USA Oil on board 29 x 39

Signed

400 - 600

187 Y BALA YESSEY

Reclining Nude Oil on canvas 44 x 54

Signed

400 - 1,000

188 ALAN E WOLTON

South African b. 1954

Roggebaai Cape Oil on board 75 x 111

Signed & dated 1962

800 - 1,200

189 UAB SANASEN

Thailand 1935 - 2010

Still Life, Fruit Oil on canvas 40 x 50

Signed

500 - 1,000

190 SAMUEL JOHN LAMORNA BIRCH

British 1869 - 1955

Cornwall

Watercolour 18 x 25

Signed

250 - 350

191 LOUISE HENDERSON

Untitled

Watercolour 42 x 61

Signed

700 - 1,100

192 JAMES R DUNCAN

Arrowtown

Watercolour 36 x 53

Signed

400 - 600

193 LOUIS BOROS

Arok

Oil on board 71 x 59

400 - 600

194 J C VEITCH

Venice

Oil on board 29 x 46

Signed

400 - 600

195 FATU FEU’U

Masiofo

Screenprint, edition of 29 52 x 72

Signed & inscribed

450 - 650

196 SAM CAIRNCROSS

Wanganui Falls

Oil on board 49.5 x 37

Signed

500 - 1,000

197 ISOBEL MCBEATH

Finca At Can Puig, Mallorca, Spain

Oil on board 28 x 38

Signed Belmac

150 - 250

198 PETER J WALLERS

Highfield Park

Oil on board 62 x 96

Signed

500 - 1,000

199 SUE SCHAARE

Jazz Basics

Acrylic on canvas 80 x 80

Signed

500 - 1,000

450 - 650

201 WILLIAM MENZIES GIBB

Hyde Park

Watercolour 17 x 26

Signed

400 - 600

202 ROY DALGARNO

The Bathers

Graphite and pastel on paper 54 x 71

Signed

750 - 1,250

203

KATHLEEN SALMOND

Primroses

Oil on board 27 x 29.5

200 - 400

204 PAMELA WOLFE

Takahe at Hobson Bay

Screenprint, edition 9/48, 62 x 46

Signed

200 - 400

205 IAN KINGSTONE

Moonlight Serenade

Oil on canvas 122 x 91

Signed & inscribed

800 - 1,200

206

ELIZABETH BAILEY

As I Walked Past He Sang Me His Song

Watercolour 78 x 55

Signed & inscribed

300 - 500

207 DICK FRIZZELL

Special Edition

Screenprint 121/150 45 x 58

Signed, inscribed & dated 2013

300 - 500

208

DOUGLAS BADCOCK

Mt Cook

Watercolour 14 x 19

Signed

250 - 450

210 ROY J DICKISON

Land forms Tokorahi (North Otago)

Oil on board 48 x 78

Signed

600 - 1,000

211 CHARLES DECIMUS

BARRAUD

Scraps from my Sketchbook

Lithograph 43 x 31

Inscirbed

150 - 250

212 CYRIL WHITEOAK

Manukau Harbour

Watercolour 36 x 54

Signed & dated 1958

200 - 400

213 JOS KIVITS

Still Life

Watercolour 42 x 61

Signed

600 - 800

214 ASTON GREATHEAD

Mt Cook, Tasman Valley

Oil on board 44 x 57

Signed

400 - 600

215 JOHN PAPAS

Image 20

Oil on board 29 x 24.2

Signed

200 - 400

216 JOHN CASTLE

Indonesia

Watercolour 48 x 62

Signed

500 - 1,000

217 PETER J WALLERS

Sunset, Coromandel Oil on board 19 x 24

Signed

150 - 250

218 SAFFRON TE RATANA

Tiki 6.2

Mixed media on paper 8 x 9

Signed

150 - 250

219 CHRISTINE KING

Cafe Societies & Berry Nice - A pair

Two watercolours 36 x 26 & 53 x 72

Signed Inscribed & dated 1993

500 - 1,000

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Artists’ Estates & Collectable Art - Tuesday 21 February 2017

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Lot Number

Signature........................................................ / / 2017

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101

$20,000

works by

available February 2017

ALBRECHT G .................................... 125

ARIS B ............................................... 168

ATTWOOD T R .................................. 131

BADCOCK D ..................... 73, 138, 208

BAILEY E ........................................... 206

BARRAUD C D ................................. 211

BEADLE P 128, 140, 160, 170, 178, 184

BEAL R .............................................. 186

BINNEY D............................................ 90

BIRCH S J L 190

BLAIR NEE H P ................................... 87

BOLLARD W A ................................. 142

BOROS L........................................... 193

BROWNE R D .......... 6, 7, 8, 9, 10, 11, 12

BRYANT M .......................................... 78

BUCKLEY J F ............................. 164, 165

BULLMORE E .................................... 177

BYRNES R 83

CAIRNCROSS S................................ 196

CAREY I ...................... 25, 26, 28, 29, 30

CARRINGTON G W 135

CASTLE J .......................................... 216

CHALMERS N ..................................... 77

CHRISTIE B ........................................ 105

CHRISTIE ATTRIBUTED B .................... 104

COLE R ............................................. 122

CONEY P .......................................... 126

CORNISH B......................................... 86

DALGARNO R .................................. 202

DAWE B ............................ 110, 111, 112

DE VEL G..........................16, 17, 18, 19, 20, 21, 22, 23, 24

DENFORD I ....................................... 172

DICKISON R J .................................. 210

DUNCAN J R .................................... 192

DUTCH TED............................96, 97, 162

ELLIS R .............................................. 180

ESPLIN T ............................................ 116

FEU’U F ............................................. 195

FLETCHER B ...................................... 175

FORD M H ........................................ 119

Index

FRIEDLANDER ATTRIBUTED M ............ 84

FRIZZELL D ................................ 143, 207

GOODCHILD J C ............................ 107

GREATHEAD A ......................... 179, 214

HALLIDAY B .................................. 76, 81

HAMMOND B .................................... 88

HANLY P 93, 94, 95

HARRIS S........................................... 124

HENDERSON L ......................... 191, 200

HICK J 185

HILL M........................................137, 139

HOLLINGS R ..................................... 171

HOLLINGS A .................................... 156

HOLMES P ........................ 141, 183, 209

HOPE G ............................... 1, 2, 3, 4, 5,

JACKSON K............................ 13, 14, 15

KILLEEN R.......................................... 144

KINDER J 133

KING M ............................................ 153

KING C ............................................. 219

KINGSTONE I 205

KIRKWOOD H W ...................... 154, 173

KIVITS J ......................................127, 213

LEE J E ................................................ 98

LOXTON J ........................................... 75

MADDEN J M................... 132, 134, 136

MCBEATH I ....................................... 197

MCCORMACK T A .......................... 176

MCLEOD M...................................... 167

McPHEE C ......................................... 71

MENZIES G W .................................. 201

MINHINNICK G 103

MITCHELL L ....................................... 149

MORATH P ....................................... 182

NICOLL A F ...................................... 166

NIGRO J ........................................... 117

O’HAGAN P ..................................... 157

PALMER S ............................... 89, 91, 92

PAPAS J ............................................ 215

PAYTON S ..................................... 79, 80

PERRETT J D ................................ 99, 130

PULE J ............................................... 115

RAWORTH W H ................................ 150

REED W J.................. 40, 41, 42, 43, 169

ROBERTS D ....................................... 109

RYDE A ............................................. 181

SALMOND K .................................... 203

SANASEN U 189

SAVAGE C................................ 123, 161

SCHAARE S ...................................... 199

SCOTT I 85

SCOTT J F ................................. 120, 121

SHENNAN D .................... 100, 101, 102, SHERWOOD M ................................ 118

SIDDELL P ................... 62, 63, 64, 69, 70

SIDDELL S ..........................65, 66, 67, 68

SMITH C .............................................. 72

SMITHER M ....................... 113, 114, 174

SPICER P 159

SPICER E ........................................... 163

SWINTON A ...................................... 106

SYDNEY G 148

TAPPER G ......................................... 155

TE RATANA S .................................... 218

TUFFERY M........................................ 108

VEITCH J C ....................................... 194

WALLERS P J ............................ 198, 217

WATKINS D ....................... 146, 145, 147

WATSON R B ........44, 45, 46, 47, 48, 49, .............................. 50, 51, 52, 53, 54, 55

WEEKS J..................... 31, 32, 33, 34, 35, ...........................................36, 37, 38, 39 WHITE J 158

WHITEOAK C..........................56, 57, 58, ........................................ 59, 60, 61, 212

WILSON T ........................................... 82

WILSON L W ..................................... 129

WOLFE P........................................... 204

WOLTON A E .................................... 188

WOOLLASTON T .............................. 152

WORSLEY C N .................................. 151

YESSEY Y B........................................ 187