Early & Rare
6:30pm Wednesday 10 April 2013
Important, Early & Rare
6:30pm Wednesday 10 April 2013
Scarborough Gallery, International Art Centre,
Lower Ground Level, 272 Parnell Road, Parnell, Auckland
Viewing Times Page 3
Index Page 131
Conditions of Sale Page 130
Absentee Bid Form Page 123
Cover Illustration: Lot 31 Evelyn Page
Inside Front Cover: Lot 32 Felix Kelly
Inside Back Cover: Lot 16 Ralph Hotere
Back Cover: Lot 63 Raymond Ching
Location map
Works purchased may be uplifted at close of sale or day after sale on Thursday 11 April 10.00am - 5.00pm.
Payment may not be made during sale.
Auction Contacts
Richard Thomson
Ph: 09 379 4002
Frances Davies
Ph: 09 379 4010 richard@artcntr.co.nz fran@artcntr.co.nz
Mobile: 027 4751 071 Mobile: 027 4936 360
Auction assistants and administration
Luke Davies
Ph: 09 379 4010
James Watkins
Ph: 09 366 6045 luke@artcntr.co.nz james@artcntr.co.nz
Trish Young www.fineartauction.co.nz
Ph: 09 366 6045
Skype: fineartauction trish@artcntr.co.nz info@internationalartcentre.co.nz
Auction Venue
Scarborough Gallery, International Art Centre, Lower Ground Level, 272 Parnell Road, Auckland.
On Evening of Sale:
Please join us in our main gallery from 5.30pm for a glass of wine and refreshments. Coffee served before and during auction. For your additional comfort and viewing pleasure our street level gallery remains open until end of sale.
Car Parking
Parking During Viewing Days:
Available on site during weekend viewing, Saturday 6 & Sunday 7 April. Use Scarborough Lane entrance beneath our main gallery. During other viewing times on site parking available on request.
Parking During Auction:
Limited parking is available on site. Use Scarborough Lane entrance beneath our main gallery to access these carparks on evening of sale. Parking on Parnell Road is free after 6:00pm. A secure two level pay and display carpark is located at 282 Parnell Road.
Viewing Times
International Art Centre’s Scarborough Gallery, Lower Ground Level, 272 Parnell Road, Auckland
Thursday 4 April 9:00am - 5:30pm
Friday 5 April 9:00am - 5:00pm
Saturday 6 April 11:00am - 4:00pm
Sunday 7 April 11:00am - 4:00pm
Monday 8 April 9:00am - 5:30pm
Tuesday 9 April 9:00am - 5:00pm
Wednesday 10 April 9:00am - 1:00pm Auction 6:30pm
Other times by appointment
Haere Ra Ralph
A deep sense of sadness at the recent death of Ralph Hotere is only somewhat tempered by the legacy of his work. This legacy, spanning five decades of uncompromising artistic endeavour, is of itself both tribute and celebration of his life. Against a background of often historically turbulent times Hotere spoke, and continues to speak, through his art.
In March 2012 New Zealand’s highest honor, The Order of New Zealand was conferred on the artist. Sadly missed, always remembered.
The John Leech Collection Auction Held 27 February 2013
International Art Centre commenced it’s auction season with a 215 lot, single owner offering, of which over 80% sold. Spirited bidding was seen for many of the works including those illustrated. Our thanks to John Gow and Gary Langsford for their assistance.
LUCI HARRISON PHOTOGRAPHY
www.luci.co.nz
The Only Auctioneers of Pictures Exclusively
1 PETER SIDDELL
1935 - 2011
Harbour
Oil on canvas 35.5 x 25.2
Signed ‘PETER SIDDELL’
Inscribed on stretcher verso
ESTIMATE
$10,000 - 15,000
PROVENANCE
Purchased by current owner from Judith Anderson Gallery, Auckland circa 1994
2 MERVYN WILLIAMS
b. 1940
Elegy 1981
Oil on canvas 122 x 152.5
Signed ‘MERVYN WILLIAMS’, inscribed & dated 1981 verso
ESTIMATE
$5,000 - 10,000
PROVENANCE
Fletcher Challenge Collection label affixed verso
3 IAN SCOTT
b. 1945
Land of Golden Light - New Zealand Painting Series
Enamel and silkscreen on canvas 118 x 100
Signed ‘Ian Scott’, inscribed & dated April 2002 on stretcher verso
ESTIMATE
$6,000 - 8,000
Ian Scott’s New Zealand Paintings series began in 1990 and was added to periodically over the ensuing two decades. The series was first and foremost a way of trying to make new-looking paintings. Usually, painters use unofficial “rules” of composition to make their paintings appear unified and therefore satisfying to the eye. They will make sure the various parts of the painting are evenly balanced or in proportion, and that everything seems to belong naturally to the whole. Scott felt that to follow such “rules” would mean to make pictures people were already familiar with – pictures that were “good” in an old-fashioned predictable way, lacking the potential to surprise the viewer or offer a genuinely new kind of experience.
Scott also felt that the contrasting colours and cultures of New Zealand could be a blueprint for what he was after. So he took hold of readily recognisable images that carried dissimilar values and associations – emblematic images of native bush and beaches, the difficult and awkward art of Colin McCahon – and pressed them together in daring and eccentric combinations that dazzle the eye, provoke strong feelings and set up tantalising puzzles. This method also allowed Scott to choose and produce images to suit his own sensibility and style; dashing off virtuoso renderings of McCahon’s paintings; mapping out boldly coloured squares, and printing onto them photographs of the West Auckland environment in which he grew up. These paintings are a remarkable synthesis of Scott’s feeling for vibrant abstract forms and colours (evident in his celebrated Lattice paintings) with his lifetime love of the New Zealand landscape. ED HANFLING
4 MIKE PETRE
b. 1964
Field Study 191
Ink, graphite, oil & acrylic on canvas 115 x 145
Signed ‘Petre’, inscribed & dated 2011 on stretcher verso
ESTIMATE
$10,000 - 13,000
5 IAN SCOTT
b.1945
Golden Gate - New Zealand Painting Series
Enamel and silkscreen on canvas 91 x 101
Signed ‘Ian Scott’, inscribed & dated
August 2008 - September 2009 on stretcher verso
ESTIMATE
$5,500 - 7,500
REFERENCE
See lot 4
6 DICK FRIZZELL b. 1943
Visiting the Waitomo Caves
Enamel on board 80 x 100
Signed ‘FRIZZELL’, inscribed & dated 1981
ESTIMATE
$6,000 - 10,000
PROVENANCE
Private Collection, Victoria, Australia
7 ROBIN WHITE
b. 1946
Green Hills
Watercolour 46.5 x 32.5
Signed ‘R White’ & dated 1969
ESTIMATE
$4,000 - 6,000
PROVENANCE
Private Collection, Auckland
Purchased by current owner, Auckland 1970
8 TOSS WOOLLASTON
1910 - 1998
Dancing Child - Jeremy Classen
Watercolour 35 x 26
Signed ‘Woollaston’
ESTIMATE
$3,500 - 4,500
PROVENANCE
Private Collection, Wellington
9 HELEN STEWART
1900 - 1983
Untitled Abstract Composition
Oil on board 76.4 x 91.5
Signed ‘HELEN STEWART’
ESTIMATE
$4,500 - 6,500
PROVENANCE
Private Collection, Wellington
Ex Collection of Artist’s Estate
Purchased directly from the estate by current owner
10
TOSS WOOLLASTON
1910 - 1998
Tasman Bay, Nelson
Watercolour diptych 26.5 x 71.5
Signed ‘Woollaston’
ESTIMATE
$10,000 - 14,000
PROVENANCE
Private Collection, Auckland
International Art Centre, Fine Art Auction, 2001
11 RUEBEN PATERSON b. 1946
Bound by TerritoryThe Innocent Glitter & acrylic on canvas 71 x 71
Signed ‘RUEBEN PATERSON’ & dated 2008 verso
ESTIMATE
$9,000 - 11,000
EXHIBITED Peep Show, Milford Galleries, 2008
12 DICK FRIZZELL
b.1943
Mackerel (Blue Sail)
Oil on board 48.5 x 48.5
Signed ‘FRIZZELL’ & dated 10/2/78
ESTIMATE
$17,000 - 22,000
PROVENANCE
Private Collection, Waikato
ILLUSTRATED
p. 54 Dick Frizzell The Painter, Godwit Publishers 2009
13 PHILIP CLAIRMONT
1949 - 1984
Study for Hawk Nose Harlequin
Mixed media on card 27.4 x 18
Signed, ‘P Clairmont’ inscribed & dated 1973
ESTIMATE
$2,500 - 3,500
PROVENANCE
Sarjeant Gallery Touring Exhibition, 1973
Label affixed verso
Formerly in the collection of Elva Bett
14 PETER SIDDELL
1935 - 2011
Trellis
Oil on board 40 x 27.5
Signed ‘PETER SIDDELL’ & dated 1980
Inscribed on stretcher verso
ESTIMATE
$14,000 - 18,000
PROVENANCE
Purchased by current vendor from Denis Cohn Gallery, Auckland 1980. Gallery stamp verso.
ILLUSTRATED
Metro Magazine 1980
15 BUCK NIN
1942 - 1996
The Land is Ours Oil on board 120 x 100
Signed ‘NIN’
Inscribed verso
ESTIMATE
$14,000 - 18,000
REFERENCE
Notes attached verso read: The Land is Ours portrays two iconic Maori figures, Sir Kingi Matutaera Ihaka (1921 - 1993), a New Zealand clerk, interpreter, Anglican priest, broadcaster and maori language commissioner appointed a Member of the Order of the British Empire in the 1970 Queen’s Birthday Honours, for services to the Anglican Maori Church Of Maori descent, he identified with the Te Aupouri iwi.
The other figure is Dame Whina Cooper (1895 - 1994). During September and October 1975, the nearly eighty year old Cooper became nationally recognised, walking at the head of the Maori land march from Te Hapua to Wellington. She was made a Dame Commander in the Order of the British Empire in 1981 and a member of the Order of New Zealand in 1991.
Born in Auckland in 1942, Buck Nin Ngati Ruakawa, Ngati Toa taught art at Hamilton College for more than twenty years. He graduated from the University of Canterbury in 1965, later gaining a Masters in Education from the University of Hawaii, then a Doctorate in Fine Arts from Texas Technical University. In the 1970s he tirelessly campaigned to raise the profile of Maori Art. Dr Buck Nin’s work was inspired by both his Maori and Chinese ancestry. His work is in the collections of University of Hawaii, Te Papa, The New Dowse, Manawatu Art Gallery, COCA, Aigantighe Art Museum, Rotorua Museum of Art and History and Waikato Museum of Art and History.
Buck Nin became a major force in the contemporary Maori art movement with his strongly individual style of painting, his teaching, and his willingness to work with people from all walks of life. Buck was a larger than life person not only because of his physical size but also because of his considerable intellect, his energy, his powerful and often large paintings and his commitment to the development of art and its people. The imagery in the work of Buck Nin is drawn from Maori carving, weaving and rafter patterns, spread across a minimalist landscape, like a sacred cloak, warming, embracing and caressing the earth. This is his Maori earth Papatuanuku.
History will show him as one of Maoridom’s and subsequently New Zealand’s great contemporary artists... Friend and fellow artist, Darcy Nicholas
16 RALPH HOTERE
1931 - 2013
Toi te Kupu. Toi te Mana, Toi te Whenua Ink and watercolour on paper 58.8 x 39.5
Signed ‘Hotere’, inscribed & dated 1972
ESTIMATE
$25,000 - 35,000
PROVENANCE
Private Collection since 1972
“As statements of commitment to political and social issues, the works [of Hotere’s `Te Whiti series] are clearly voiced, with titles such as Toi te kupu, Toi te mana, Toi te whenua (the permanence of language, prestige and land).. .The Te Whiti works...were concerned with the layering of written language over landforms, evoking the Treaty of Waitangi and the whole history of colonisation, as well as acknowledging McCahon’s work...”
Gregory O’Brien: Hotere - Out the Black Window, Ralph Hotere’s work with New Zealand Poets, Godwit/City Gallery, Wellington, 1997 p 78
“For Te Whiti o Rongomai, the plough was more than an implement for turning soil, it was emblematic of the dreams and aspirations of an evolving Maori community... In ploughing the soil beyond Parihaka, the Taranaki ploughmen were inscribing a text into the land - a written assertion of rangatiratanga, of spiritual and material attachment and sovereignty...If the plough has been a symbol of attachment to the land, it has at other times been a symbol of iconoclasm. Importantly, Parihaka history reiterates both these associations... The ploughed line in the landscape has an analogue in the line left by the tattooist’s chisel or needle. Traditional Maori moko is a furrow drawn onto the human skin- its parallel formations contain history, wisdom and whakapapa...
Ralph Hotere began producing line drawings based on symmetrical landscape motifs in the late 1960s, when one such work appeared on the cover of James K. Baxter’s Jerusalem Sonnets. While in subsequent series such as Requiem, 1973 and Song Cycle, 1975, Hotere used formations of lines which were almost exclusively vertical - giving the feeling of rain falling or a forest growing - in the Te Whiti series, 1972 and other early landscapes we see flattened paddocks and horizons. These works assert the fundamental importance of land as ‘a mother that never dies’...
The Te Whiti works are acts of painterly ploughing. If some incorporate formations of lines suggesting, literally, the inscribing of lines into the earth, others offer pared down settings of storm-tossed, ravaged or obliterated horizons. Like the work of Mark Rothko, these are subtle orchestrations of darkness and muted, numinous colour. An earthen orange-brown smoulders beneath layers of blackness in many works. But Hotere will not leave this darkness alone. Words are dug into the fabric of these works - they are etched, scrawled, sprayed and delicately written.
From the early 1960s onwards, Hotere was using language to expand the visual, symbolic and literal content of his art.. .Importantly, the Te Whiti series established longer texts as a viable component in his art. Embarking on the series in 1972, Hotere chose to base his work around extracts from sources including John Caselberg’s The Voice of the Maori (1969), Dick Scott’s The Parihaka Story, 1954, and John White’s compendious Ancient History of the Maori, 1887. Working along side Caselberg and poet Cilia McQueen, Hotere chose the proverbs and waiata, none of which were well-known at the time.
Virtually all of the Te Whiti works incorporate English translations alongside the original Maori. These are paintings to be read, listened to and understood by both Maori and Pakeha...Hotere’s texts invariably address such issues as land rights, the importance of te reo and the need for understanding between cultures. While their sources range far beyond Te Whiti’s settlement of Parihaka, the series gives voice to beliefs and wisdoms consistent with the figure after which it is named.”
Gregory O’Brien: Ploughing- Ralph Hotere’s Te Whiti Series, catalogue essay, Parihaka: The Art of Passive Resistance, Miringa Hohaia, editor, City Gallery, Wellington / Victoria University Press, 2001, p 148 — 153
17 PHILIP CLAIRMONT
1949 - 1984
Self Portrait
Acrylic on paper 28.3 x 20
Signed ‘Clairmont’ & dated 1981
ESTIMATE
$7,000 - 10,000
PROVENANCE
Private Collection, Auckland. Purchased by current owner from a solo exhibition at Janne Land Gallery, Wellington 1981
18 RALPH HOTERE
1931 - 2013
Oputae Observation Point
Burnished corrugated steel 61 x 68
Signed ‘Hotere Port Chalmers’, inscribed & dated 1989
ESTIMATE
$30,000 - 40,000
19 JENNY DOLEZEL
b. 1964
Protected Vision
Oil pastel on paper 82 x 116
Signed ‘Dolezel’, inscribed & dated 1988
ESTIMATE
$7,000 - 10,000
20 RALPH HOTERE
1931 - 2013
BIKO
Dye on silk scarf 181 x 26.5
Signed ‘Hotere’, inscribed & dated 1988
ESTIMATE
$16,000 - 22,000
21 GRETCHEN ALBRECHT
b. 1943
Untitled 1973
Acrylic on canvas 149.5 x 84.5
Signed ‘albrecht’ & dated 1972
ESTIMATE
$15,000 - 20,000
22 RUDI GOPAS 1913 - 1983
Red Galactic (Interstellar Red) 1973 PVA, grit on ivory board 91 x 72
ESTIMATE
$3,000 - 5,000
REFERENCE
Petar/James Gallery label affixed verso
23 KEITH
1925 - 1993
Still Life with Violin Oil on board 54.5 x 72.5
ESTIMATE
$2,500 - 3,500
PROVENANCE
Ex Collection Vernon Brown
25 TREVOR MOFFITT
1936 - 2006
Alma G - Journey’s Northland and Southland Series
Oil on board 58.5 x 58
Signed ‘Moffitt’ & dated 1988
ESTIMATE
$9,000 - 14,000
PROVENANCE
Private Collection, Christchurch
EXHIBITED
Louise Beale Gallery, Journeys - Northland and Southland, June 1989
REFERENCE
Years ago Alison gave me a copy of the Anglers’ Eldorado, which was the book Zane Grey wrote to publicise deep sea fishing in New Zealand. Ever since I read that I thought I would like to go up there and have a crack at that.
Moffitt saw deep-sea fishing as another very ‘Kiwi’ activity to record in paint - the sportive interaction between man and huge fish.
24 JOHN WEEKS
1886 - 1965
Scottish Village Abstract
Mixed media on paper 23 x 30
Signed ‘JOHN WEEKS’ ESTIMATE
$3,000 - 5,000
In February 1988 Trevor Moffitt and Sue Mercer spent six days in the Bay of Islands, staying at the Duke of Marlborough Hotel in Russell. He was looking for a small boat to hire, I said, Is there any chance that Zane Grey’s boat, he had built for the whole thing, is still operating? It turned out it was. It’s called the Alma G and is built in kauri to his specifications. Absolutely on impulse I booked to go on this boat. That had the locals somewhat astonished because I hired out the Alma G on my own and normally they have about four people sharing the hire of it, since it’s around $350 a day. I think they thought they’d discovered a new South Island millionaire. Sue was on board to take photographs because I knew damn well the moment I put my head down and tried to draw, I’d be sick. So it proved to be, so I didn’t do any drawing ... The big swells you got there off the coast were really amazing - twenty-five to thirty foot swells. That was a great trip .... had wonderful fresh fish the Duke of Marlborough provided every day. That was great - paradise on earth really. Wonderful, but I didn’t catch a big fish. We got a few kingfish ... but we didn’t even see a marlin or a shark out on the deep blue water. That was for the deep-sea fishing series. It was a fulfilment of a dream.
Excerpt from chapter 15, Trevor Moffitt A Biography, Chris Ronayne, David Ling Publishing 2006
26 SYDNEY LOUGH THOMPSON 1877 - 1973
The Drawbridge at Entrevaux, Southern France Gouache on paper 50 x 33.5
Signed ‘S L Thompson’ Inscribed on original label affixed verso
ESTIMATE
$4,000 - 6,000
27 EDWARD FRISTROM 1864 - 1950
Landscape, Mahurangi Heads Oil on canvas 25.5 x 34
Signed ‘Edward Fristrom’ Inscribed verso
ESTIMATE
$7,500 - 10,000
28 WALTER WRIGHT 1866 - 1933
The Topsail Schooner ‘Cleo’, Auckland Watercolour 23 x 35
Signed ‘W WRIGHT’
ESTIMATE
$1,500 - 2,500
29 ALFRED WILSON WALSH 1859 - 1916
North Head and Rangitoto Watercolour 12 x 17
Signed ‘A W Walsh’
ESTIMATE
$800 - 1,200
30 EDWARD FRISTROM 1864 - 1950
Fishing Boats, Auckland Oil on board 24 x 32
Signed ‘Edward Fristrom’ Inscribed verso
ESTIMATE
$5,000 - 8,000
31 EVELYN PAGE
1899 - 1988
Grey Street, Wellington, 1949
Oil on canvas board 40.5 x 25
Signed ‘E Page’
Inscribed & dated 1949 verso
ESTIMATE
$38,000 - 50,000
PROVENANCE
Private Collection, Wellington
EXHIBITED
Autumn Exhibition, New Zealand Academy of Fine Arts, cat no. 144
Evelyn Page Seven Decades Touring Exhibition 1986, cat no. 33
Robert McDougall Art Gallery, Christchurch An original label from that exhibition affixed verso
REFERENCE
p. 85 & 86 Evelyn Page Seven Decades, Janet Paul & Neil Roberts Allen & Unwin New Zealand Limited 1986, published on the occasion of the exhibition Evelyn Page Seven Decades, Robert McDougall Art Gallery, Christchurch
NOTES
This painting was done from The Terrace, Wellington, looking through a narrow gorge between buildings to the harbour. Text from p. 86 Evelyn Page Seven Decades, Janet Paul & Neil Roberts, Allen & Unwin New Zealand Limited 1986
Grey Street Wellington was painted the same year Evelyn Page’s family moved to a bach at Waikanae. Later that year she and her husband Frederick bought an old house at 20 Hobson Street, Wellington
32
FELIX KELLY
1914 - 1994
Fishing Boats
Oil on board 43 x 56
Signed ‘Felix Kelly’ & dated 1971
ESTIMATE
$15,000 - 20,000
EXHIBITED
Felix Kelly: Recent Paintings of Russia 19 October - 6 November 1971
Arthur Tooth & Sons, London Cat. no. 3, label affixed verso
REFERENCE
p. 277 Fix - The Art and Life of Felix Kelly, Donald Bassett, Darrow Press 2010
33 FELIX KELLY
Narrow Gauge Railway, Africa
Oil on board 8 x 11.5
Signed ‘F K’
ESTIMATE
$2,500 - 3,500
34 FELIX KELLY
Steam Train, West Africa
Oil on board 12.5 x 17.5
ESTIMATE
$3,500 - 4,500
EXHIBITED
Partridge Fine Arts, London, cat no. 30
label affixed verso
The life of expatriate artist Felix Kelly is as intriguing as his work. Born in Epsom, Auckland he attended Kings College but left New Zealand aged twenty one years for the bright lights of London. Befriended and patronised by many leading society figures of the day, Kelly exhibited alongside Lucien Freud, Julian Trevelyan and on one occasion Frances Hodgkins. A life of glamour and creativity ensued. Kelly painted the famous Garden Room Murals at Castle Howard, where the ITV series Brideshead Revisited was filmed, designed theatre sets for Sir John Gielgud and Dame Sybil Thorndike and illustrated magazines such as Harper’s Bazaar. Kelly’s distinctive work is held in British and American collections, Te Papa and Hawke’s Bay Museum, and Art Gallery.
A major retrospective was held in 2010 at Hawke’s Bay Museum and Art Gallery curated by Douglas Lloyd Jenkins. The exhibition toured and was later shown at Auckland’s Gus Fisher Gallery.
35 EVELYN
1899 - 1988
Chipping Camden & 14th Century Church
Oil on board 23 x 30
Signed ‘E. PAGE’
ESTIMATE
$5,000 - 8,000
Signed ‘EVELYN PAGE’
Inscribed & dated 1949 verso
ESTIMATE
$20,000 - 30,000
37 FELIX KELLY
1914 - 1994
Manor House, Woodhall, Essex
Oil on board 29 x 29
Signed ‘Felix Kelly’
ESTIMATE
$4,000 - 6,000
38 ROBERT NETTLETON FIELD
1899 - 1987
View from my Window
Wayne’s Cottage, Wallacetown, Dunback, Otago
Oil on board 28.5 x 38.5
Signed ‘R N Field’ & dated 1973
Inscribed verso
ESTIMATE
$4,000 - 6,000
39 ROBERT NETTLETON FIELD
1899 - 1987
Orere Point, Near Clevedon, circa 1961
Oil on board 17.5 x 57
Inscribed verso
ESTIMATE
$4,000 - 6,000
40 DOUGLAS MACDIARMID
b. 1922
A French Village Oil on canvas remounted on panel 24 x 34.5
Signed ‘MacDiarmid’ & dated 1955
ESTIMATE
$2,500 - 3,500
41 SYDNEY LOUGH THOMPSON
1877 - 1973
South of France
Oil on board 20 x 25.5
Signed ‘S L Thompson’ & dated 1929 ESTIMATE
$7,000 - 10,000
42
1865 - 1934
Country Road, Canterbury
Watercolour 25 x 35
Signed ‘M O Stoddart’
ESTIMATE
$4,500 - 6,500
43 SYDNEY LOUGH THOMPSON
1877 - 1973
Concarneau
Oil on board 36.5 x 44.5
Signed ‘S L Thompson’
ESTIMATE
$15,000 - 20,000
Oil
board
20 Signed ‘L J Steele’ & dated 1891
$2,500 - 3,500
46 SYDNEY LOUGH THOMPSON
1877 - 1973
Gothic Doorway Quimper
Oil on canvas 39.5 x 31.5
Signed ‘S L Thompson’
ESTIMATE
$15,000 - 20,000
PROVENANCE
Ex Collection of the late George Chance, Photographer, Dunedin.
Acquired directly from artist and held in the same family collection since then
Doris Lusk was born in Dunedin, the youngest daughter of an architect, Thomas Younger Lusk. Drawing and painting were major interests during her childhood spent in a rural area bordering the Waikato River just outside Hamilton.
With the advent of the Great Depression the family returned to Dunedin. Doris Lusk attended Otago Girls' High School and enrolled herself in the art school of King Edward Technical College in order to pursue her ambition of becoming a painter. Here she met Anne Hamblett ( later to marry Colin McCahon ) and was taught by Charlton Edgar and R.N. Field. Another influence was painter Russell Clark at that time employed as a commercial artist by the printing and publishing firm, John McIndoe. Lusk attended his life drawing classes and was an active participant in the lively art scene which grew up around this romantic figure.
47 DORIS LUSK
1916 - 1990
Onawe - Akaroa Harbour
Oil on canvas on board 49 x 65
Signed ‘D Lusk’ & dated 1968
ESTIMATE
$7,000 - 9,000
PROVENANCE
Fletcher Challenge Limited label affixed verso
CSA Gallery label affixed verso
At the time Otago Art Society conservatism was a force to be reckoned with. Lusk removed her work in protest from an Art Society show whose selectors had rejected one of Colin McCahon’s large Otago Peninsula landscapes ostensibly because it was inadequately framed.
Eventually a group of these younger artists and their supporters packed the Society’s Annual General meeting, voted out the old council and put in a more open minded one. Lusk’s life long devotion to landscape painting was developed through the teaching of Charlton Edgar. Her early Central Otago landscapes in high keyed colour show his influence. Doris Lusk spent three years as a commercial artist and taught art at a number of girls’ schools. In 1941, as Mrs Doris Holland, she moved to Christchurch eventually becoming the mother of a boy and two girls.
In 1943 Lusk joined the progressive Canterbury painters - The Group - exhibiting in their Ballantyne's show for that year and many times thereafter. Summer holidays at Duvauchelle, Banks Peninsula led to many paintings of that area; others included the State Hydro series at Waikaremoana; from the mid 1960s the artist began a long series of paintings at Onekaka, Nelson with its black fractured wharf cutting into the surf. In 1947 Doris Lusk became a tutor in pottery and later in painting; in 1967 she was appointed lecturer at the Canterbury School of Fine Arts.
Marianne and Gerrit van der Lingen who feature in Lusk portrait lot 48, live in Christchurch. Gerritt is a retired climate change scientist and describes himself as a geologist/paleoclimatologist and climate change consultant. Both are artist’s themselves and exhibited with Doris Lusk in the 1977 Autumn Exhibition at Canterbury Society of Arts.
1916 - 1990
Portrait of Marianne and Geritt van der Lingen Oil on canvas on board 39.6 x 63
ESTIMATE
$8,000 - 12,000
PROVENANCE
Private Collection, Auckland
CSA Gallery label affixed verso
49 OLIVIA SPENCER BOWER
1905 - 1982
Still Life with Jug and Distant Landscape Through Window
Watercolour 49 x 67
Signed ‘OLIVIA SPENCER BOWER’
ESTIMATE
$8,000 - 12,000
50 FRANCES HODGKINS
1869 - 1947
Still Life with Lilies In A Vase
Watercolour 53.5 x 40
Signed ‘Frances Hodgkins’
ESTIMATE
$30,000 - 40,000
51 JOHN GULLY
1819 - 1888
Mt Tasman and Mt Cook from Lake Mahinapuna
Watercolour 73 x 130
Signed ‘J Gully’ & dated 1866
ESTIMATE
$50,000 - 70,000
PROVENANCE
Private Collection, Wellington
Gully immigrated to New Zealand from Bath in 1852 accompanied by his wife Jane and their three children. The family settled in Omata, Taranaki where they purchased the Omata Store in 1854. Sadly, lack of trade resulted in bankruptcy and the family relocated to New Plymouth. Gully advertised his availability to paint views of properties for sending abroad and served as a volunteer during the Land Wars. He was invalided out of the army as the conditions were too severe for his constitution. In 1860 the Gully family left New Plymouth for the city of Nelson, purchasing a house in Trafalgar Street with a large orchard and garden. It was here that the artist spent the rest of his life. Gully was encouraged by the geologist Julius von Haast, who commissioned twelve watercolours of the mountains and glaciers of Canterbury. These watercolours were used to illustrate a lecture given by Haast at the Royal Geographical Society in London in 1864.
Gully became part-time drawing master at Nelson College. Later, through the assistance of politician and artist James Crowe Richmond, he was appointed full time draughtsman to the Nelson provincial survey office. During his lifetime Gully enjoyed popularity and success as an artist, today he is regarded as one of New Zealand’s foremost landscape painters.
Working almost entirely in watercolour, Gully’s field trips yielded a legacy of many finely worked sketch-books full of careful pencil studies and numerous quickwash drawings both in colour and sepia. Large scale watercolours such as the present lot, became immensely popular as centre-pieces at art society shows. Today only a few such works remain in private hands. Gully enjoyed recognition and success in his life time. All of Gully’s watercolours submitted to the 1865 New Zealand Exhibition in Dunedin sold prior to the exhibition opening. He exhibited at the British Royal Academy in 1871. In 1873, nine paintings we sent to the New Zealand court at the International Industrial Exhibition in Vienna. In 1886 he exhibited at the India & Colonial Exhibition in London and the Intercolonial Exhibition in Melbourne. He also exhibited works with the Society of British Watercolour Artists in London. Gully Died in 1888 aged sixty nine.
1865 - 1934
Blossom,
Watercolour 25 x 35
Signed ‘M O Stoddart’
ESTIMATE
$4,500 - 6,500
1865 - 1934
Pink Roses
Watercolour 26 x 38
Signed ‘M O Stoddart’ & dated 1899 ESTIMATE
$8,000 - 12,000
54 MARGARET OLROG STODDART
1865 - 1934
White Roses
Watercolour 25 x 35
Signed ‘M O Stoddart’ & dated 1900
ESTIMATE
$4,500 - 6,500
55 THOMAS REGINALD ATTWOOD
1865 - 1926
George Sound Oil on board 60 x 90
Signed ‘T R Attwood’
ESTIMATE
$2,500 - 3,500
56 MARGARET OLROG STODDART
1865 - 1934
Cherry Blossom
Watercolour 25 x 35
Signed ‘M O Stoddart’
ESTIMATE
$4,500 - 6,500
57 JOHN GULLY
1819 - 1888
Motopiko Valley Watercolour 73 x 126
Signed ‘J Gully’ & dated 1877
ESTIMATE
$55,000 - 75,000
PROVENANCE
Estate of Sir James Fletcher
REFERENCE
‘New Zealand’s Romantic Landscape Paintings’ by John Gully, Compiled and written by the artist’s great, great grandson John Sidney Gully, Millwood Press, Wellington, 1984
Gully immigrated to New Zealand from Bath in 1852 accompanied by his wife Jane and their three children. The family settled in Omata, Taranaki where they purchased the Omata Store in 1854. Sadly, lack of trade resulted in bankruptcy and the family’s relocated to New Plymouth. Gully advertised his availability to paint views of properties for sending abroad and served as a volunteer during the Land Wars. He was invalided out of the army as the conditions were too severe for his constitution. In 1860 the Gully family left New Plymouth for the city of Nelson, purchasing a house in Trafalgar Street with a large orchard and garden. It was here that the artist spent the rest of his life. Gully was encouraged by the geologist Julius von Haast, who commissioned twelve watercolours of the mountains and glaciers of Canterbury. These watercolours were used to illustrate a lecture given by Haast at the Royal Geographical Society in London in 1864.
Gully became part-time drawing master at Nelson College. Later, through the assistance of politician and artist James Crowe Richmond, he was appointed full time draughtsman to the Nelson provincial survey office. During his lifetime Gully enjoyed popularity and success as an artist, today he is regarded as one of New Zealand’s foremost landscape painters.
Working almost entirely in watercolour, Gully’s field trips yielded a legacy of many finely worked sketch-books full of careful pencil studies and numerous quick-wash drawings both in colour and sepia. Large scale watercolours such as the present lot, became immensely popular as centre-pieces at art society shows. Today only a few such works remain in private hands. Gully enjoyed recognition and success in his life time. All of Gully’s watercolours submitted to the 1865 New Zealand Exhibition in Dunedin sold prior to the exhibition opening. He exhibited at the British Royal Academy in 1871. In 1873, nine paintings we sent to the New Zealand court at the International Industrial Exhibition in Vienna. In 1886 he exhibited at the India & Colonial Exhibition in London and the Intercolonial Exhibition in Melbourne. He also exhibited works with the Society of British Watercolour Artists in London.
Gully Died in 1888 aged sixty nine.
Paintings from the Estate of Sir James & Lady Fletcher were offered for sale by International Art Centre in 2009. This work was retained by the family and is only now being offered for sale by auction.
58 MAJOR GENERAL HORATIO
GORDON ROBLEY
1840 - 1930
Coromandel Chief
Watercolour 19 x 14
Signed ‘H G Robley’
ESTIMATE
$3,000 - 5,000
PROVENANCE
Private Collection, Auckland This work was recently released from long term loan at Waikato Museum.
59 ARTIST UNKNOWN
New Zealand 19th Century Pink Terrace & White Terrace - A Pair Oil on board
Inscribed
ESTIMATE
$1,500 - 2,500
PROVENANCE:
Collection of Auckland Artist Paul Hartigan: I have collected art for more than 30 years now, I have my own particular take on things. My objective is to focus on highly unusual works outside the normal collectors sphere, those with a highly unique individual quality - that of course is the fun and skill of collecting!
Paul Hartigan
60 JOHN GULLY
1819 - 1888
Mitre Peak, Milford Sound
Watercolour 38 x 30
Signed
ESTIMATE
$14,000 - 16,000
b.
Nude Study
Pencil on paper 52 x 32
Signed ‘Raymond Ching’ & dated 1966
Inscribed 10
ESTIMATE
$4,000 - 6,000
PROVENANCE
Private Collection, United Kingdom
62 COLIN VERNON WHEELER
1919 - 2012
Waiareka Valley, North Otago
Oil on board 47 x 60
Signed ‘COLIN V WHEELER’
Inscribed on artists label affixed verso
ESTIMATE
$2,500 - 3,500
63 RAYMOND CHING
b. 1939
Kiwi II
Oil on board 50 x 41
Signed ‘raymond ching’, inscribed & dated 1985
ESTIMATE
$15,000 - 20,000
64
64 CHARLES NATHANIEL WORSLEY
1850 - 1923
Ruanui Homestead
Watercolour 37 x 54.5
Signed ‘C N Worlsey’
ESTIMATE
$4,000 - 6,000
PROVENANCE
Private Collection, Auckland
This work relates to a pair of C N Worsley watercolours featuring the same subject, sold at International Art Centre’s Important, Early & Rare Auction 29 March 2010. Ruanui Homestead was owned by the Studholme Family whom are believed to have commissioned both works.
65 PETER MCINTYRE
1910 - 1995
The Ponte Della Paglia & The Ducal Palace
Watercolour 51 x 70.5
Signed ‘PETER MCINTYRE’
ESTIMATE
$10,000 - 15,000
PROVENANCE
Purchased by current owner’s family from McGregor Wright Gallery, Wellington, c. 1975
66 ALBERT EDWARD ALDIS
1870 - 1921
Lake Pupuke Oil on board 23 x 33
ESTIMATE
$2,000 - 3,000
PROVENANCE
Ex Collection of Silvia Hudson, fiancé to Frank Goldie, brother of artist C F Goldie. The Goldie’s had a home on the edge of Lake Pupuke, A E Aldis was a family friend.
67 ALBERT EDWARD ALDIS
1870 - 1921
Auckland Harbour, North Head & Rangitoto Oil on board 23 x 33
ESTIMATE
$2,000 - 3,000
PROVENANCE
Ex Collection of Silvia Hudson, fiancé to Frank Goldie, brother of artist C F Goldie.
68 PETER MCINTYRE
1910 - 1995
Tahitian Dancers
Watercolour 54 x 74
Signed ‘PETER MCINTYRE’
ESTIMATE
$8,000 - 12,000
69
1916 - 1990
Lyttelton
Watercolour 40 x 56
Signed ‘D Lusk’ & dated 1969
ESTIMATE
$3,000 - 4,000
1910 - 1995
Morea, Tahiti
Watercolour 54 x 74
Signed ‘PETER MCINTYRE’
ESTIMATE
$8,000 - 12,000
1865 - 1934
Orchard Blossom at Diamond Harbour
Watercolour 25.5 x 35.5
Signed
ESTIMATE
$6,500 - 8,500
1851 - 1931
Fading Light, Canterbury
Oil on canvas 60 x 90
Signed ‘W Menzies Gibb’
ESTIMATE
$4,000 - 6,000
73 THOMAS SELBY COUSINS
1840 - 1897
Waimakariri Valley
Watercolour 50 x 35
Signed ‘T S Cousins’ & dated 1890
ESTIMATE
$2,500 - 3,500
74 NUGENT WELCH
1881 - 1970
Untitled Landscape
Oil on canvas 54.5 x 72.5
Signed ‘N Welch’
ESTIMATE
$800 - 1,200
75 SAM STUART
1855 - 1920
Judges Bay, Parnell
Oil on board 25 x 45.5
Signed ‘S Stuart’ & dated 1904
ESTIMATE
$8,000 - 12,000
1835 - 1913
Shag Rock, Sumner
Watercolour 23 x 15
Signed ‘J C Hoyte’
ESTIMATE
$1,500 - 2,500
1850 - 1912
Calm Bay, Lake Manapouri
Oil on board 24 x 32
Signed ‘L W Wilson’ & inscribed
ESTIMATE
$2,500 - 3,500
$12,000 - 16,000 78
1835 - 1913
Watercolour 39 x 65
Signed ‘J C Hoyte’
ESTIMATE
79 JOHN GIBB
1831 - 1909
Otira Gorge with Coach Oil on board 60 x 43.5
Signed ‘John Gibb’ & dated 1893
ESTIMATE
$8,000 - 12,000
1835 - 1913
Whangaroa Harbour
Watercolour 36 x 63
Signed ‘J C Hoyte’ & dated 1873
ESTIMATE
$10,000 - 15,000
81
81 WILLIAM MATTHEW HODGKINS 1833 - 1898
Milford Sound
Watercolour 26 x 59
Signed ‘W M Hodgkins’ & dated 1881
ESTIMATE
$6,000 - 8,000
82 GABRIELLE HOPE 1916 - 1962
Landscape with Cliffs 1960 Oil on board 56.5 x 75.5
ESTIMATE
$4,000 - 6,000
PROVENANCE
Fletcher Challenge Collection label affixed verso Exhibited Gabrielle Hope Retrospective Exhibition, John Leech Gallery, 1983
83 AFTER HENDRICK VAN AVERCAMP
Winter Scene Oil on board 43 x 58
ESTIMATE
$1,500 - 2,500
PROVENANCE
Newman Estate, Christchurch since 1977
84 JOHN LOMAX
British 1857 - 1923
The Card Player
on board 24 x 19
$1,500 - 2,500
85 GERARD VAN HONTHORST
1592 - 1656
Portrait of Frederick V, King of Bohemia, Elector Palatine Oil on wood panel 43.5 x 33.5
ESTIMATE
$8,000 - 12,000
PROVENANCE
Newman Estate, Christchurch since 1977
Purchased 1976 Rafael Valls, London
EXHIBITED
Old Masters - Rafael Valls, 1976, cat no. 18
REFERENCE
Having ruled as king of Bohemia for one winter, Frederick V, Elector Palatine, spent the next ten years in exile at The Hague. With his wife, the English Princess Elizabeth Stuart, he maintained a grand court. Frederick V (1596-1632) was Elector Palatine of the Rhine. He was made king of Bohemia (1619-1620) and was head of the Protestant union against Catholic Austria in the Thirty Years’ War (1618-1648).
86 JOHANN JAKOB FREY
Swiss 1813 - 1865
Loggia in Ravello
Oil on paper laid down on canvas 70.5 x 101.5
J Frey stamp on canvas and stretcher verso
ESTIMATE
$15,000 - 25,000
PROVENANCE
Newman Estate, Christchurch
Purchased 1977 from Maltzahn Gallery, London, label affixed verso
Gallerie Helia Bebelung, Dusseldorf
Copy of original purchase receipt available to purchaser
EXHIBITED
A Collection of Drawings and Paintings by Johann Jakob Frey
Maltzahn Gallery, London, cat. no. 38
REFERENCE
The Loggia, not far from Amalfi, is now a hotel called I Cappuccini. Frey’s diary suggests the date 1851 for this painting. The painter spent that summer at the Campagna, from where he went on to Naples. We also know that he was a frequent guest at the royal house of Naples - Text page 13 A Collection of Drawings and Paintings by Johann Jakob Frey, Maltzahn Gallery, London
ILLUSTRATED
p. 13 A Collection of Drawings and Paintings by Johann Jakob Frey,Maltzahn Gallery, London.
87 CHARLES SILLEM LIDDERDALE
British 1831 - 1895
Girl with Pink Ribbon
Watercolour 70 x 47
Signed ‘CSL’ & dated 1876
ESTIMATE
$8,000 - 12,000 87
88 JOHN GERRARD KEULEMANS
1842 - 1912
Congress of Titmice
Watercolour 26.5 x 40.5
Signed ‘J Keulemans’ & dated 1891
ESTIMATE
$3,000 - 5,000
PROVENANCE
Sothebys, Billingshurst
July 1997 Lot 278
Private Collection, Auckland
89 JOHN GERRARD KEULEMANS
1842 - 1912
Swallows on a Branch
Watercolour 23 x 44.6
Signed ‘J Keulemans’ & dated 1898
ESTIMATE
$3,000 - 5,000
PROVENANCE
Private Collection, Auckland
Sothebys, Billingshurst
July 1997 Lot 254
John Gerrard Keulemans was the most sought-after bird artist of the late 19th and early 20th centuries. A prolific, talented, work-oriented illustrator, he produced quantities of excellent bird plates for books and journals of the period. Although he worked largely from bird specimens, he was adept at creating drawings that were anatomically correct as well as attractively presented.
Keulemans was one of several well-known artists who contributed to Lord Thomas Lilford’s Coloured Figures of the Birds of the British Islands (1885-1897). This seven-volume work contained 421 plates, representing late 19th-century chromo lithography at its best. He illustrated many important bird books, including Buller’s A History of the Birds of New Zealand, 1873 - 1888, William Vincent Legge’s History of the Birds of Ceylon, 1880, Richard Bowdler Sharpe’s Monograph of the Alcedinidae (kingfishers), 1868, Henry Seebohm’s Monograph of the Turdidae (thrushes),1902, Osbert Salvin’s Biologia Centrali-Americana (1879–1904), Edgar Leopold Layard’s Birds of South Africa (1887) and Henry Eeles Dresser’s History of the Birds of Europe.
In 2012 Te papa Press announced a landmark publication titled Buller’s Birds of New Zealand: The complete work of JG Keulemans by author Geoff Norman. The publication was awarded NZ Herald Book of the Year in December 2012.
90
JOHN GERRARD KEULEMANS
1842 - 1912
Sedge Warbler
Watercolour 28.5 x 22
Signed ‘J Keulemans’
ESTIMATE
$800 - 1,200
PROVENANCE
Private Collection, Auckland
Moorland Gallery, London label attached verso
llustrated plate 20
Coloured Figures of the Birds of the British Islands, Volume III, Lord Thomas Lilford, London, 1885
91 JOHN GERRARD KEULEMANS
1842 - 1912
Frozen Out
Watercolour 28.5 x 22
Signed ‘J Keulemans’
ESTIMATE
$3,000 - 5,000
PROVENANCE
Private Collection, Auckland
Sothebys, Billingshurst
July 1997 Lot 277
92 JOHN GERRARD KEULEMANS 1842 - 1912
Scarlet Grosbeak
Watercolour 23 x 15.7
Signed ‘JGK’
ESTIMATE
$800 - 1,200
PROVENANCE
Private Collection, Auckland
llustrated as a lithograph
Coloured Figures of the Birds of the British Islands, Volume IIII, Lord Thomas Lilford, London, 1885
British 1880 - 1969
The Gothic Gazebo, Pams Hill - together with a red conte drawing of the same subject
Watercolour 25 x 37.2
Signed ‘W RUSSELL FLINT’
ESTIMATE
$5,000 - 8,000
94 JOHN BARR CLARKE HOYTE
1835 - 1913
Blueskin Bay, near Dunedin Watercolour 38 x 30
Signed ‘JCH’
ESTIMATE
$7,000 - 10,000
ESTIMATE
Acquired directly from the artist by Thomas Turnbull, friend and associate of J B C Hoyte. Held in the same family collection since then and on the market for the first time.
Est. $1,000 - 1,500
95
Four works from the Estate of Douglas Badcock
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’. He 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.
95
DOUGLAS BADCOCK
1922 - 2009
Silver Birches, Speardale Oil on board 40 x 60
Signed ‘Douglas Badcock’
Inscribed & dated 1998 verso
ESTIMATE
$4,500 - 6,500
96
DOUGLAS BADCOCK
1922 - 2009
Grey Day Tree Study
Oil on board 28.5 x 39
Signed ‘Douglas Badcock’ Inscribed verso
ESTIMATE
$2,500 - 3,500
97
DOUGLAS BADCOCK
1922 - 2009
Waitakai River, Fairlie, Oil on board 28.5 x 39
Signed ‘Douglas Badcock’
Inscribed & dated 2003 verso
ESTIMATE
$4,500 - 6,500
98
DOUGLAS BADCOCK
1922 - 2009
Te Waewae Bay from Monkey Island, Southland Oil on board 40 x 60
Signed ‘Douglas Badcock’
Inscribed & dated 1985 verso
ESTIMATE
$4,500 - 6,500
99 CHARLES NATHANIEL WORSLEY
1850 - 1923
A Spanish Gateway
Watercolour 58.3 x 89.2
Signed ‘C N Worlsey’
ESTIMATE
$5,500 - 7,500
PROVENANCE
Private Collection, New South Wales
100 GABREILLE HOPE
1916 - 1962
Vineyards from Mangere Mountain
Watercolour 43.5 x 57
Certificate of Authenticity signed by artist’s daughter Bridget Orman affixed verso
ESTIMATE
$2,500 - 3,500
PROVENANCE
Collection of the Artist’s Estate
101 GABREILLE HOPE
1916 - 1962
Turkeys at Karekare
Watercolour 43 x 56
Certificate of Authenticity signed by artist’s son Kit Yeats affixed verso
ESTIMATE
$2,500 - 3,500
PROVENANCE
Collection of the Artist’s Estate
1848 - 1926
Maori Settlement, East Coast Oil on canvas laid on board 34 x 51
Signed “C Blomfield’
ESTIMATE
$4,000 - 6,000
103 CHARLES BLOMFIELD
1848 - 1926
Diamond Lake, Glenorchy Oil on board 34 x 51
Signed “C Blomfield’ & dated 1904
ESTIMATE
$2,500 - 3,500
1922 - 2009
Benmore, Moke Lake District, Wakatipu Oil on board 46 x 59
Signed ‘Douglas Badcock’ & dated 1961
Title inscribed verso
ESTIMATE
$2,000 - 3,000
105
1922 - 2009
Spring Conroys Gully Oil on board 29 x 39
Signed ‘Douglas Badcock’
ESTIMATE
$2,000 - 3,000
1835 - 1913
Entrance to Whangaroa Harbour
Watercolour 36.5 x 62
Signed ‘J C Hoyte’
ESTIMATE
$7,000 - 10,000
107 HARRY LINLEY RICHARDSON 1878 - 1947
Wellington Harbour
Watercolour 28 x 38
Signed ‘H Linley Richardson’
ESTIMATE
$1,500 - 2,500
PROVENANCE LOTS 107 - 109
Private Collection, Auckland
These three works were recently released from long term loan at Waikato Museum.
108 JAMES MCLAUCHLAN NAIRN 1859 - 1904
Wellington Harbour
Watercolour 26 x 41
Signed ‘J M Nairn’, inscribed & dated 1893
ESTIMATE
$1,500 - 2,500
109 THOMAS DARBY RYAN 1864 - 1927
Mt Ngarahoe
Watercolour 44 x 67
Signed ‘T Ryan’ & dated 1906
ESTIMATE
$3,000 - 5,000
111 FRANK BARNES
1835 - 1913
HMNZS Achilles & HMNZS Leander Oil on board 25 x 56
Signed ‘F B’ & inscribed
ESTIMATE
$1,000 - 2,000
REFERENCE
HMNZS Achilles was a Leander-class light cruiser which served with the Royal New Zealand Navy in the Second World War. She became famous for her part in the Battle of the River Plate. HMNZS Leander was a light cruiser which served with the Royal New Zealand Navy during World War II. She was the lead ship of a class of eight ships, the Leander-class light cruiser and was initially named HMS Leander.
112 FRANK BARNES
1835 - 1913
T.E.V. Rangatira off Pencarrow, Wellington Oil on board 40 x 71
Signed ‘Frank B’ & inscribed
ESTIMATE
$1,500 - 2,500
113 FRANK BARNES
1835 - 1913
T.S.S. Wahine off the Kaikouras in Heavy Weather Oil on board 38 x 51
Signed ‘Frank Barn’ & inscribed
ESTIMATE
$1,000 - 1,500
114 FRANK BARNES
1835 - 1913
110 ARTIST UNKNOWN
$800 - 1,200 110
Possibly New Zealand 19th Century
A Colonial Wharf Watercolour 40 x 32
ESTIMATE
H.S.S. Co Island T.S.S Tofua Oil on board 38 x 51
Signed ‘Frank B’ & inscribed
ESTIMATE
$1,000 - 1,500
REFERENCE
Rangatira was an iron steamer of 196 tons and built in Scotland in 1863. She sank on 7 September 1880 after striking Pefferies Rock en-route from Manukau to New Plymouth.
Built in Scotland in 1908, Tofua carried passengers on pleasure cruises to the Pacific Islands but also had a more serious role in providing a regular service between New Zealand and the Pacific carrying cargo and other supplies until 1932, when she was sold.
TSS Wahine was an inter-island ferry that ran between Lyttelton and Wellington, New Zealand. It was used as a minelayer in the first world war, and saw active service as a troop ship during World War II.
115 PETER MCINTYRE
1910 - 1995
Aboriginal Study
Watercolour 51 x 54
Signed ‘PETER MCINTYRE’
ESTIMATE
$2,500 - 3,500
118
1910 - 1995
Parliament with Richard
Seddon Monument
Ink on paper 51 x 62
Signed ‘PETER MCINTYRE’
ESTIMATE
$2,500 - 3,500
1910 - 1995
Study of Horses
Charcoal on paper 38 x 60
Signed ‘PETER MCINTYRE’
ESTIMATE
$1,500 - 2,500
1846 - 1905
Mt Cook
Oil on canvas 76 x 125
Signed ‘J Peele’ & dated 1897
ESTIMATE
$5,000 - 8,000
119 HARRY LINLEY RICHARDSON
1878 - 1947
Portrait of Artist’s Daughter in Ballet Dress
Watercolour 55 x 38
Signed ‘H Linley Richardson’
ESTIMATE
$800 - 1,200
PROVENANCE
Private Collection, Auckland
This work was recently released from long term loan at Waikato Museum.
120 CHARLES NATHANIEL WORSLEY
1833 - 1898
Westminster
Watercolour 34 x 25
Signed ‘C N Worlsey’
ESTIMATE
$1,000 - 2,000
PROVENANCE
Private Collection, Auckland
This work was recently released from long term loan at Waikato Museum.
121 ELIZABETH WARD
New Zealand 20th Century
Portrait of Ida Eise
Oil on board 38.5 x 29.5
ESTIMATE
$800 - 1,200
PROVENANCE
Ex collection of the Auckland Society of Arts
Ida Eise Bequest Exhibition, Auckland Society of Arts Gallery, 12-23 March 1979, original exhibition label affixed verso
122 JOHN MCINTOSH MADDEN 1856 - 1923
Lady of the Lake Oil on board ‘J M Madden’ 29 x 17.5
Signed
ESTIMATE
$2,500 - 3,000
123 JOHN BARR CLARKE HOYTE 1835 - 1913
Sail and Steam in the Sounds Watercolour 18.5 x 35.5
Signed ‘J C H’
ESTIMATE
$2,500 - 3,500
124 JOHN BARR CLARKE HOYTE 1835 - 1913
Remarkables, Queenstown Watercolour 19 x 32
Signed ‘J C H’
ESTIMATE
$2,500 - 3,500
1835 - 1913
Mitre Peak Watercolour 53 x 38
Signed ‘J C Hoyte’
ESTIMATE
$4,000 - 6,000
126 ARTIST UNKNOWN
New Zealand 19th Century
Views of Taranaki featuring the town of New Plymouth and Mt Egmont, circa 1870 - A Pair
Watercolour on paper mounted on card 17.2 x 24.8
ESTIMATE
$1,000 - 1,500
PROVENANCE
Private Collection, London
127 FRANK WRIGHT
1860 - 1923
Evening Heat, Taupiri
Oil on canvas 34 x 51
Signed ‘F Wright’ & dated 1907
ESTIMATE
$3,000 - 5,000
PROVENANCE
Private Collection, Auckland
This work was recently released from long term loan at Waikato Museum.
128 WILLIAM GEORGE BAKER
1864 - 1929
West Coast Road
Oil on canvas 90 x 60
Signed ‘W G Baker’
ESTIMATE
$2,500 - 4,000
PROVENANCE
Private Collection, Auckland
This work was recently released from long term loan at Waikato Museum.
129 WILLIAM GEORGE BAKER 1864 - 1929
Makuri Gorge
Oil on canvas 90 x 60
Signed ‘W G Baker’ & inscribed
ESTIMATE
$2,500 - 4,000
130 WILLIAM GEORGE BAKER 1864 - 1929
Kokokiri Road, West Coast
Oil on canvas 90 x 57
Signed ‘W G Baker’ & inscribed
ESTIMATE
$2,500 - 4,000
131 ERNEST ARTHUR CHAPMAN 1847 - 1880s
River near Nelson
Watercolour 37 x 52
Signed ‘EAC’ & inscribed
ESTIMATE
$800 - 1,200
132 PETER MCINTYRE
1910 - 1995
Sampans, Hong Kong
Watercolour 52 x 74
Signed ‘PETER MCINTYRE’
ESTIMATE
$6,000 - 8,000
133 JOHN BARR CLARKE HOYTE
1835 - 1913
Shores of Lake Taupo
Watercolour 32 x 57
Signed ‘J C Hoyte’
ESTIMATE
$3,000 - 5,000
1879 - 1959
1879 - 1959
ESTIMATE
$800 - 1,200
ESTIMATE
$800 - 1,200
136 MAUDE SHERWOOD
1880 - 1956
Untitled - European City
Watercolour 36 x 42
Signed ‘Maude Sherwood’
ESTIMATE
$1,500 - 2,000
PROVENANCE
Private Collection, Auckland
This work was recently released from long term loan at
1851 - 1931
Rural Scene
Oil on board 29 x 44
Signed ‘W Menzies Gibb’
ESTIMATE
$1,000 - 2,000
PROVENANCE
Private Collection, Auckland
This work was recently released from long term loan at Waikato Museum.
138
1878 - 1947
Autumn, Titahi Bay Watercolour 30 x 40
Signed ‘H Linley Richardson’
ESTIMATE
$800 - 1,200
PROVENANCE
Private Collection, Auckland
This work was recently released from long term loan at Waikato Museum.
$4,000 - 5,000 139
139 JAMES COOK
1728 - 1779
1772 Chart of New Zealand
Engraved by John Bayley 48.7 X 38.2
Inscribed
ESTIMATE
140 JAMES PEELE 1846 - 1905
Colonial Scene with Mountain Backdrop
Watercolour 25 x 38.5
Signed ‘J Peele’
ESTIMATE
$800 - 1,200
141 JAMES PEELE 1846 - 1905
Southern Lake Scene
Oil on canvas 40 x 59
Signed ‘J Peele’ & dated 1898
ESTIMATE
$800 - 1,200
142 CEDRIC SAVAGE 1901 - 1969
Collingwood
Watercolour 56 x 73
Signed ‘C Savage’
ESTIMATE
$1,500 - 2,500
1865 - 1934
Winters Morning Watercolour 24 x 34
Signed ‘M O Stoddart’ & dated 1900
ESTIMATE
$3,000 - 5,000
144 HENRY WILLIAM KIRKWOOD
1854 - 1925
King Country River
Oil on board 19 x 30
Signed ‘HWK’
ESTIMATE
$1,500 - 2,000
145 W HOUNSON BYLES
1872 - 1940
The Dance
Pastel on paper 45 x 56
Signed ‘Hounson Byles’
ESTIMATE
$1,500 - 2,500
146 COLIN VERNON WHEELER
1919 - 2012
Mackenzie Country Oil on board 47 x 60
Signed ‘COLIN V WHEELER’
ESTIMATE
$1,500 - 2,500
147 JOHN BARR CLARKE HOYTE
1835 - 1913
Coastal Inlet
Watercolour 18 x 35
Signed ‘J C Hoyte’
ESTIMATE
$2,500 - 3,500
148 TOM ESPLIN 1915 - 2005
Port Oil on board 62 x 41
Signed ‘Esplin’
ESTIMATE
$3,000 - 5,000
149 CEDRIC SAVAGE 1910 - 1995
Reikotangi Valley Oil on canvas 65 x 90
Signed ‘C SAVAGE’
ESTIMATE
$2,500 - 3,500
PROVENANCE
Private Collection, Auckland This work has just been released from long term loan at Waikato Museum.
JOHN GIBB 1831 - 1909
Oil on canvas on board 67 x 117
Signed ‘JOHN GIBB’ & dated 1897
ESTIMATE
$6,000 - 8,000
