Important & Rare Art 24.03.26

IMPORTANT & RARE ART

Auction 6:30pm Tuesday 24 March 2026

IMPORTANT & RARE ART

24 03 26

AUCTION

6:30pm Tuesday 24 March

International Art Centre 202 Parnell Rd, Parnell, Auckland

VIEWING SCHEDULE

Tuesday 17 March 9am - 5pm

Wednesday 18 March 9am - 5pm

Thursday 19 March 9am - 5pm

Friday 20 March 9am - 5pm

Saturday 21 March 10am - 4pm

Sunday 22 March 11am - 4pm

Monday 23 March 9am - 5pm

Tuesday 24 March 9am - 5pm

ENQUIRIES

Richard Thomson richard@artcntr.co.nz

Grace Alty | gracealty@artcntr.co.nz

Grace Harris | grace@artcntr.co.nz

Luke Davies | luke@artcntr.co.nz

LOCATION/CONTACT

International Art Centre 202 Parnell Road Auckland New Zealand

Telephone +64 9 379 4010

0800 800 322

E: auctions@artcntr.co.nz www.internationalartcentre.co.nz

Auction Review

25 11 25

A spirited night of bidding marked our 25 November 2025 Important & Rare Art auction, with collectors in the room, online, and on the phones, driving exceptional results across the catalogue.

The evening delivered a landmark moment for Peter Stichbury, whose portrait Savannah achieved $210,000 (plus buyer’s premium), setting a new artist auction record and confirming his strong upward trajectory among contemporary collectors.

Another standout was Michael Smither’s Untitled – Rock Pools, which soared to $220,000 (plus BP) after determined competition from multiple quarters. The rare appearance of an early-career work by Don Binney, PipiwharauroaShining Cuckoo, with its striking composition, sold for $300,000 (plus BP).

Our March 2026 catalogue includes some outstanding offerings. The March sale highlights include two major works by Michael Smither, a classic Don Binney oil, an exceptional collection of international art by Fernand Léger, Barry Flanagan, Patrick Caulfield & others, along with a recently discovered portrait of Te Hau - Takiri Wharepapa by Charles Frederick Goldie on the market for the first time in over a century.

ENQUIRIES

Telephone +64 9 379 4010 / 0800 800 322

E: auctions@artcntr.co.nz www.internationalartcentre.co.nz

Richard Thomson

Ph: 0274 751071

Email: richard@artcntr.co.nz

GRAHAME SYDNEY

Her Hills, For Anna 1971

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BUYERS PREMIUM

Each lot is subject to 18.5% + GST buyers premium

Back Beach - 12

Oil on board, 40 x 16 cm

Signed & dated 74 lower right

Original John Leech Gallery label affixed verso

$10,000 - 15,000

PROVENANCE

Private Collection, Auckland

EXHIBITED

oneman exhibition, John Leech Gallery, Auckland, Sept./Oct. 1974

2

Motu-Maraenui

Oilonlinen,57x57cm

Signed&dated86lowerright

Inscribed 9 verso

$8,000–12,000

PROVENANCE

PrivateCollection,Auckland

Kaka Great Barrier

Graphite and body colour on paper, 62 x 36 cm

Signed & dated 1982 upper right

Denis Cohen Gallery label affixed verso

$15,000 – 20,000

PROVENANCE

Private Collection, Christchurch

Purchased from International Art Centre, c.1980

4 DON BINNEY (1940 - 2012)

Manunui, Otakamiro

Screenprint, edition 58/80, 52 x 38 cm

Signed & dated 2010 lower right, editioned & titled lower left

$25,000 – 35,000

PROVENANCE

Private Collection, Auckland

5 JOHN EDGAR (1950 - 2021)

Serpentine (India) & Granite, 40 x 40 cm

On a black rubber disc base

$8,000 – 12,000

PROVENANCE

Private Collection, Auckland

6 BILL COLEMAN (Australian 1922 - 92)

After the Poll, 1949

Oil on cardboard, 41.5 x 18 cm

Signed lower right

Signed, inscribed & dated 1949 verso

$4,000 – 6,000

PROVENANCE

Private Collection, Otago

Koromiko III

Oil on canvas, 45.5 x 61 cm

Signed, title inscribed & dated Aug 2014 verso

$8,000 – 12,000

PROVENANCE

Private Collection, Wellington

8 ANS WESTRA (1936 - 2023)

Ruatoria 1963 From Washday at the Pa

Vintage silver gelatin print, 26.5 x 22 cm

Signed, inscribed & dated 1963 verso

$4,000 – 6,000

PROVENANCE

Private Collection, Auckland

LITERATURE

Ans Westra, Washday at the Pa, Christchurch: The Caxton Press, 1964

9

Nude (Drawing for Sound Movement Theatre) 1975

Ink on paper, 29 x 21 cm

Signed & dated 75 lower right

$8,000 – 12,000

PROVENANCE

Private Collection, Otago

Angel from Leonardo

Bronze wall plaque, 40.5 x 42.5 cm

Signed & dated 1991 verso

$10,000 – 15,000

PROVENANCE

Private Collection, Northland

Purchased from ARTIS Gallery, Auckland, 2019

11 ANN ROBINSON (b. 1944)

Oval Pod

Cast glass, 30 x 35 cm

Signed, editioned #4 & dated 1997 on base

$20,000 – 30,000

PROVENANCE

Private Collection, Auckland since 1997

12 TERRY STRINGER (b. 1946)

The Egyptian Goddess Bronze, edition 3/3, 76 x 20.5 cm

Signed, stamped with artist monogram, inscribed 492 & dated 94

$15,000 – 20,000

EXHIBITED

The Sculptor at Home, Bath Street Gallery, Auckland, curated by Beatrice Grossman

13 SELWYN MURU (1937 - 2024)

Still Life

Gouache & ink on paper, 37 x 53 cm

Signed & inscribed on label affixed verso

$3,000 - 5,000

PROVENANCE

Acquired directly from the artist

EXHIBITED

Dowse Art Museum Loan Collection, Wellington, 1982

14 PHILIPTRUSTTUM(1940-2026) No. 31 Pear Tree

Oilonboard,75x54.5cmSigned &dated73leftcentre

Signed&titleinscribedverso

$8,000–12,000

PROVENANCE

PrivateCollection,Auckland

15

EDWARDBULLMORE(1933-78)

Astroform No. 7, c. 1965

Acryliconcanvasandfibreglass onwoodenconstruction, 86x108 x27cm

Signedverso $10,000–15,000

PROVENANCE

CollectionoftheArtist’sEstate

16

EDWARDBULLMORE(1933-78)

Yasuko

Oilandtemperaonboard,57x41cm

Signedinartist’smonogram&dated 60lowerright

$15,000–20,000

PROVENANCE

CollectionoftheArtist’sEstate

The Last Laugh

Acrylic on canvas, 45.5 x 60.5 cm

Signed, inscribed & dated -02 lower right

Signed, inscribed & dated 2002 verso

$18,000 – 26,000

PROVENANCE

Private Collection, Otago

18 MICHAEL PAREKŌWHAI (b. 1968)

Rainbow Servant Dreaming, 2005

Automotive paint on polyurethane, 65 x 25.5 x 21 cm

$35,000 - 45,000

PROVENANCE

Private Collection, Australia

Purchased from Michael Lett, Melbourne Art Fair, 2005

19 FIONA PARDINGTON (b. 1961)

Tao Tao, Canterbury Museum, 2021

Inkjet print on Hahnemühle paper, framed in hand lacquered black Goldie moulding with AR70 non-reflective museum glass, edition

8/10, 140 x 176 cm

Signed on label affixed verso

$24,000 - 28,000

PROVENANCE

Private Collection, Auckland

20 FIONA PARDINGTON (b. 1961)

Kaka Nestor Meridionalis (Rear), 2021

Inkjet print on Hahnemühle paper, framed in hand lacquered black Goldie moulding with AR70 non-reflective museum glass, edition

7/10, 176 x 140 cm

Signed on label affixed verso

$25,000 - 35,000

PROVENANCE

Private Collection, Auckland

21 JEFF THOMSON (b. 1957)

Flower Bouquet

Screenprint on corrugated iron, 98 x 74 cm

Signed & dated 2012 lower right

$3,000 – 5,000

PROVENANCE

Private Collection, Auckland

22 RAYMOND CHING (b. 1939)

Gold Rush

Oil on board, 90 x 105 cm

Signed, inscribed & dated 2005

$50,000 – 75,000

PROVENANCE

Private Collection

Purchased from ARTIS Gallery, Auckland

EXHIBITED

Ray Ching Ark, ARTIS Gallery, Auckland, 4 - 29 April 2007

ILLUSTRATED

Ray Ching Ark, ARTIS Gallery, Auckland, 2007, Front cover & p. 13

23 ALLENMADDOX(1948-2000)

Untitled

Oilonhessian,90x110cm

$40,000-50,000

PROVENANCE

PrivateCollection,TaranakiPurchased fromGowLangsfordGallery,Auckland

24 ROBERT ELLIS (1929 - 2021)

City Intersected by the Canal Oil on board, 90 x 70 cm

Signed & dated ‘64 lower right

Signed & title inscribed verso

$20,000 - 30,000

PROVENANCE

Private Collection, Auckland

25 COLINMCCAHON(1919-87)

Cottage From above Chch end of Lyttelton Tunnel

Gouacheonpaper,19.5x24.5cm

Signed&dated-53lowerleft

Inscribed For M.R. lowerright&inscribed

From above Chch end of Lyttleton (sic)

Tunnel onpaperverso

$30,000-40,000

PROVENANCE

AnEstateCollection,Auckland

On the long road of Colin McCahon’s career there are several sharp turns signifying a break with the past and a change of direction, often initiated by physical relocation. One such corner occurred in mid-1953 when he left Christchurch after four years living there and moved to Auckland to take up a job at Auckland City Art Gallery while living above French Bay in the bush suburb of Titirangi. The McCahon family left the South Island in June 1953 half way through the year; Colin didn’t resume painting until November 1953 when his style completely changed under the direct influence of the Titirangi/French Bay landscape.

There are relatively few paintings dated from the early part of 1953, the most coherent group being associated with the large painting he was commissioned to commemorate the International Air Race (London to Christchurch) of that year. In addition to the large painting (called International Air Race and since destroyed) he painted a set of about half a dozen preliminary works several of which carry the title Sketch for TEAL. Also in the early months of 1953 McCahon was involved in designing sets for a production of Henrik Ibsen’s Peer Gynt, for which he completed numerous preliminary drawings.

What works apart from these theatre-and-aviationconnected pieces did McCahon make in his last months in the South Island? Very few indeed can be firmly ascribed to 1953 apart from the present small gouache on paper.

There are a number of undated studies of the Port Hills, given the date 1951-53 on the data base, in crayon and pencil, and there is also evidence in his correspondence that he occasionally travelled to Lyttelton by train for excursions with his family. Presumably the present work was painted on one of these. Perhaps the ‘M.R.’ inscribed on the work was the owner of the cottage depicted in the painting?

It is relatively unusual for McCahon to depict domestic buildings. Occasionally houses appear in his paintings and drawings of Mapua and Panagatotara in the early 1940s and again in the Titirangi period there are several works entitled Houses in the Trees or some such, but there is seldom the sharp focus on a building or group of buildings as in this example. Similarly, gouache – a water-based pigment but more opaque than watercolour – is not unknown in the 1940s and 1950s but is used sparingly often in combination with other media (charcoal, watercolour).

Taking all these points into account this small, strongly painted work with its rich combination of blues, greens, browns, yellows and grays depicting foreground vegetation, mid-ground trees and buildings to left and right and background hills and sky is an interesting discovery and adds an important detail to an otherwise relatively sparse patch of McCahon’s rich career.

PETER SIMPSON

26

RITA ANGUS (1908 - 70)

Seaside Baches

Watercolour, 29 x 39 cm

Signed Rita Cook & dated /33 lower left

$100,000 - 150,000

PROVENANCE

An Estate Collection, Auckland

EXHIBITED

Canterbury Society of Arts, 1933, cat no.296

ILLUSTRATED

Canterbury Society of Arts, 1933, cat no.296

Clearly dated 1933, this delightful watercolour was painted when Rita Angus (then using her married name Cook) was 25 years old and rapidly reaching maturity as an artist. She had completed five years of study at the Canterbury School of Art, was married to the painter Alfred H. Cook (though they would separate the following year) and was exhibiting widely. The six works she exhibited at the Canterbury Society of Arts in 1933 included (in addition to Seaside Baches), several watercolour landscapes, portraits of her husband Alfred Cook and her sister Jean Angus and her startlingly innovative oil painting Gas Works (now in Christchurch Art Gallery), a painting which undoubtedly ruffled some feathers among the staid audience of the CSA. It is interesting to note that Seaside Baches at 6 guineas was the highest priced of her six works, more than the oil Gas Works, suggesting that she placed a high value on it. Also that same year her contributions to the short lived New Zealand Society of Artists (which briefly subsumed and replaced The Group of which Angus was also a member) included her startlingly modernist portrait of her sister Edna, The Aviatrix. She was already in possession of her full repertoire as an artist.

In 1933 Rita was living in the Cook family home at Ferry Road in Christchurch, the road which leads towards the Estuary, the seaside suburb of Sumner and the steep bluff of Scarborough Hill on the far side of which is the small beach and bay of Taylors Mistake on Banks Peninsula, then as now lined with idiosyncratic seaside baches – the probable subject of this watercolour. The picturesque qualities of Taylors Mistake have appealed to many painters beside Angus, including Margaret Stoddart, Rosa Sawtell, James Cook, William Reed, Colin McCahon, Bill Sutton and others.

In the meticulously rendered watercolour Angus’ focus is on the foreground foreshore with its lively surf and scattered beachwalkers, on the stone sea wall and the closely observed vernacular baches of the middle section and on the bleak, treeless wall of the steep hills behind the bay, dotted with occasional buildings. The presence of modest buildings somewhat awkwardly deposited in the landscape is a subject that always attracted Angus; it anticipates her most famous painting Cass (1936) and was a theme which continued to absorb her years later in her studies of sheds, churches and houses in Thorndon and Hawkes Bay.

The confidence and fidelity with which the scene is recorded suggests that the artist was confident of having found a subject close to her heart.

PETER SIMPSON

27

GRAHAME SYDNEY (b. 1948)

Her Hills, For Anna 1971

Oil on hardboard, 39 x 59 cm

Signed & dated May 1971 lower left

Inscribed verso

$80,000 – 120,000

PROVENANCE

Private Collection, Otago

Purchased from Moray Gallery, Dunedin, 1973

EXHIBITED

Grahame Sydney, First Solo Exhibition, Moray Gallery, Dunedin, 1973

‘Her Hills, For Anna 1971’ was a key work in my first solo exhibition in late 1972 at Moray Gallery, Dunedin.

Painted while I was teaching at the District High School in Cromwell in pre-Clyde dam days, it combines a doll my mother played with as a child (which I used in several paintings at this time) and a hillscape I had drawn at the western side of the Maungatua Ranges on the Middlemarch Road into Central Otago.

The impetus for the painting was a friend’s story which haunted me for several years, and which invaded my dreams too often at that anxious period of my life; I can see now that I was probably trying to paint that nightmare away, to diminish its nagging power.

SIR GRAHAME SYDNEY

Sir Grahame Sydney is widely regarded as one of New Zealand’s foremost contemporary landscape painters, known for his evocative portrayals of Central Otago and the Maniototo. Born in Dunedin in 1948, Sydney studied at the University of Otago and began working as a full-time artist in the early 1970s. His paintings engage deeply with the land and atmosphere of the South Island, capturing expansive spaces, weathered structures, and a pervasive sense of isolation with marked sensitivity.

Sydney’s paintings are distinguished by their clarity of light, precise composition, and emotional restraint. Rather than romanticising the landscape, he reveals its stark beauty and underlying tension, often depicting abandoned farm buildings, empty roads, and expansive skies. These works reflect both the physical environment and a psychological landscape shaped by memory, endurance, and the passage of time. Sydney’s significant contributions to New Zealand art were formally acknowledged with a knighthood in 2017 for services to the arts. His work is held in major public and private collections and remains integral to Central Otago’s visual identity.

28

MICHAEL SMITHER (b. 1939)

Mountain Stream, Taranaki, 1966

Oil on board, 79 x 111 cm

Signed lower right

$200,000 – 300,000

PROVENANCE

Private Collection, Auckland

Purchased from John Leech Gallery by present owner

Coinciding as it does with the period when Smither was preoccupied with Christian subjects such as the Stations of the Cross, Pentecost, St Francis, Baptism of Christ in a Taranaki Stream, and making a sculpture of the titular saint for St Paul’s Roman Catholic Church in Spotswood, it is easy to anthropomorphise the rock forms and falling water in this painting into a cloaked human figure, perhaps even an image of the crucified Christ. The artist’s signature and date are hidden at bottom right in the shadow of an overhanging stone so as not to disrupt the loose brushwork of water flowing out towards the viewer. Streaks of teal represent the crystalline clarity of the stream as it descends through the composition, and Smither differentiates the five elements which comprise the work - sky, wood, tussock, stone and water – with changes in his brushwork.

Ostensibly, this painting depicts the Waiwhakaiho River which flows northeast from its origin in the melting snows of Taranaki Maunga, then veers northwest to reach the Tasman Sea near Fitzroy, but the subject is really a close study of the shapes of the rocks. As a motif, these greywacke boulders follow on from the rock pool paintings of 1964 and recur in works such as Rocks, The Gables, New Plymouth (1965), The Stony River (1967) and Stony River and Tractors (1967) which focus on aspects of the Hangatāhua river which originates in the Ahukawakawa Swamp on Mt Taranaki and flows to the Tasman Sea near Ōkato.

Smither’s fascination with painting boulders reaches its apotheosis in Rocks with Mountain (1968, Auckland Art Gallery) where the stones seem to take on the shape of molars grinding against each other, a morphology perhaps precipitated by the recurrent toothache which was plaguing him at the time. The luminosity of the stones is the result of his intense study of their shapes in which he “came to realise that the light was coming out of them - as though they were light bulbs, or like egg-shells leaning up against one another. They were really very fragile”.

Dating from 1966, in the middle of this rocky period, Mountain Stream, Taranaki deploys Smither’s characteristic low viewpoint to relegate the characteristic form of the old Alfred Road bridge and the maunga itself to the top strip of the painting. They remain signatures of place in true regionalist style, but rather than taking centre stage in the composition, the mountain is truncated, cut off above its base with the unusual framing typical of modernist photography or Japanese prints. Visiting New Plymouth this year, the eminent Australian art historian Bernard Smith recognised the remarkable originality of the 27 year old Taranaki artist’s work and organised an exhibition of 60 of Smither’s paintings in Melbourne, writing in The Age newspaper how the paintings evinced “a great feeling of space and energy. It takes spiritual courage to see New Zealand that way.”

LINDA TYLER

29

MICHAEL SMITHER (b. 1939)

Contoured Hills, Water Race and Old Road from Patearoa, 1969 Oil on board, 71 x 101 cm

Signed & dated 69 lower right

$250,000 – 350,000

PROVENANCE

Private Collection, Central Otago

EXHIBITED

Hills of Gold: Michael Smither’s Central Otago, curated by Justin Paton, Dunedin Public Art Gallery, 2000

ILLUSTRATED

Michael Smither Painter, Trish Gribben, Ron Sang Publications, 2004, p. 96 & p. 123

*Please note measurements provided in the book in reference to the plate on p. 96 are incorrect, please see cataloguing above for correct measurements

1969, when he turned 30, was the year Michael Smither left New Plymouth in March to take up residence in “Blarney Castle”, a tiny family-owned mud brick crib near Patearoa on the Maniopoto Plains of Central Otago. It was an area he already knew well: he had lived there for most of 1962, the year before he married, and childhood holidays had been spent shooting rabbits with his cousins nearby. In the series of paintings he created there, a layering of nostalgic memory onto the flaxen hills is combined with an evocation of the work of Rita Angus. Her father had been born in Naseby, and she returned to the area frequently, making works which rendered the folded ranges iconic. Angus died in 1970, the year that Smither held the Frances Hodgkins Fellowship at the University of Otago, and he painted 14 Otago landscapes contained within cross-shaped forms as memorials to her achievement. He recalled later how the experience of the year spent living in Patearoa with his wife and young children had a huge impact on him: “I was like Man Alone walking around in the wilderness, the Sinai desert … Living there, I felt very strong connections to the land, to the sensuous shapes and structures and colours that were so different from Taranaki.”

In this painting, the rounded forms of the hills are illuminated by directional light and look like the hips and shoulders of human bodies slumbering under a soft blanket, while complementary colours of straw-yellow and cerulean-blue creating a high-contrast, vibrant effect.

Land and sky are separated by the Rock and Pillar Range, which gives Patearoa its name. Depicted as a garnish of icing sugar peaks, these mountains pile up along the horizon, reflecting the azure of the sky in the shadows which fall across their icy slopes, denoting the intensity of the climate and consequent harsh conditions for those who would try to get the land to yield its riches. As Justin Paton remarks, “the symbolic key to the Central series is right there on the surface, in the very colour that suffuses his landscapes. In painting after painting, it is as if the gold that miners once sought in deep seams has been drawn to the very surface of the hills.” Smither’s own grandfather had struck it rich here, using a sluice gun to blast the faces of the gravelly hills with bursts of water. The race that delivered the water to this arid area from many miles away appears as a ribbon of blue in deep shadow on the left in this work, disappearing over the crest of the hill in one direction while the old horse and cart track arcs away to the right. These marks of human incursion encapsulate the divergence of extraction of resources and conservation of the environment. Smither later recalled how his “feelings for the environment and our destruction of it” intensified during his Central Otago sojourn, and he felt a sadness and exhilaration brought on by the vast space, distilling his response into two short sentences: “Everything is so simple. A land very close to desert in nature.”

LINDA TYLER

30 DON BINNEY (1940 - 2012)

Waitangiroto 21-11-1, 2006

Oil and acrylic on canvas, 120.5 x 74.5 cm

Signed & dated 2006 upper right

$350,000 - 450,000

PROVENANCE

Private Collection, Wellington

Purchased from The Diversion Gallery, Picton, 2007

EXHIBITED

Beyond the Road, The Diversion Gallery, Picton, July - August 2007

ILLUSTRATED

Gregory O’Brien, DON BINNEY: FLIGHT PATH, Auckland University Press, 2023, p. 332

Few artists have shaped New Zealand’s visual identity as decisively as Don Binney. From the 1960s, he established a visual language at once formal and deeply personal.

Waitangiroto 21-11-1 (2006) belongs to a late sequence revisiting sites of lasting importance to the artist. The kōtuku, long emblematic of rarity, stands poised within a landscape distilled to broad, assured planes. Tonal restraint and subtle surface modulation create a quiet intensity, the eye drawn first to the pair of kōtuku in the foreground before rising to the commanding presence of the spoonbill beyond.

Writing in Don Binney: Flight Path (Auckland University Press, 2003), Gregory O’Brien recounts Binney’s visit to Okarito, where the rare sighting of a kōtuku and spoonbill together inspired the work illustrated here.

In Waitangiroto 21-11-1, Binney’s vocabulary is fully refined. Detail is pared back; presence is not. Land, light and avian form exist in measured accord, a lucid and mature statement of an artist returning, with conviction, to the places that shaped him.

CHARLES GOLDIE

Throughout his lifetime and beyond Charles Frederick Goldie greatly influenced our nation’s artistic and cultural consciousness. Born in Auckland on 20 October 1870, one of eight children from the marriage of Maria Partington and David Goldie, he was named after his maternal grandfather, Charles Frederick Partington, builder of the landmark Auckland windmill.

In 1883, the young Goldie was enrolled at Auckland Grammar School. His youthful artistic talents shone and it was not long before he was winning prizes at the Auckland Society of Arts. On leaving school, Louis John Steele became his mentor and tutor. Two of the young artist’s still-life paintings so impressed Sir George Grey that he persuaded David Goldie to allow his 22-year-old son to attend the Académie Julian in Paris. Goldie spent over four years at the Académie Julian, tutored by leading lights of the Paris Salon, such as artist William-Adolphe Bouguereau.

In 1898, fully informed in the French academic style, Goldie returned to New Zealand and began collaborating with his former tutor, Louis John Steele. The two worked on a number of paintings, including Arrival of the Māori in New Zealand, a large-scale, historically themed painting after Gericault’s Raft of the Medusa. Before long, the relationship deteriorated, likely due to tensions over the former student’s growing success. Goldie went on to open his own studio, quickly establishing himself as a successful portraitist of Māori.

A visit to Rotorua in 1901 was the first of several field trips during which the artist was introduced to local Māori and persuaded them to sit for portraits. Goldie’s works from this point forward strongly reflect the European tradition in which he was trained, and possess a stunning power and visual clarity. On the one hand, his remarkable dedication to realism belies an ethnographic interest; at the same time, he was also striving to capture the mana of his sitters, who included chiefs, tohunga and kaumatua.

Goldie formed long-standing relationships with several Māori he met and painted around this period, including Kamariera Te Hau Takiri Wharepapa.

Over the next two decades, Goldie gained national and international acclaim and steady demand formed a strong market for his portraits. A number of these would later be exhibited at the Royal Academy of Arts in London and the Paris Salon throughout the 1930s.

In 1920, the artist moved to Sydney, where, despite his original plan to continue on to Paris, he married 35-year-old Olive Cooper at age 50. Marriage in Sydney circumvented the Goldie family disapproval of the relationship between Auckland’s most famous artist and the milliner from Karangahape Road. After two years in Sydney, apparently disillusioned with his work and suffering from health problems, Charles and Olive returned to New Zealand.

Goldie’s return to Auckland in 1924 ultimately represented a moment of artistic reckoning. Goldie received encouragement to resume painting from the Governor-General, Lord Bledisloe. Devoting himself once again to his work, he began to apply a more liberal, impressionistic approach to the realisation of his portraits and returned to painting a number of his former subjects. Works from this later period are distinguished by their soft luminescence, offering a rhythmic departure and disconnection from the rigours of formalism, which he had so strictly adhered to in the past.

Goldie died in Auckland in 1947, his exquisite, spiritually charged, often unsettling, and ever-powerful portraits of Māori having made an unsurpassed contribution to the history of art in New Zealand.

31 CHARLES FREDERICK GOLDIE (1870 - 1947)

Still Life (With Carved Bowl), 1886

Watercolour, 30 x 47 cm

Original Touring Exhibition label verso

$80,000 – 100,000

PROVENANCE

Private Collection, Auckland

Purchased from International Art Centre, Contemporary & Traditional New Zealand & European Art, 31/03/2000

EXHIBITED

Auckland Art Gallery, Goldie, 28 June - 28 October 1997

32

CHARLES FREDERICK GOLDIE (1870 - 1947)

Te Hau - Takiri Wharepapa

Oil on canvas, 26 x 20.5 cm

Signed & dated 1920 upper left

Title inscribed & signed on original label affixed verso

$400,000 – 600,000

PROVENANCE

Private Collection, Auckland

Thence by descent

Purchased directly from the artist, 1920

Kamariera Te Hau Takiri Wharepapa, born in 1823 at Mangākahia in Northland, was a Ngā Puhi rangatira renowned for his intellect, eloquence, and steadfast leadership. Throughout the nineteenth century, he navigated significant social and political changes in New Zealand, demonstrating authority within both Māori and European contexts as each experienced profound transformation.

In 1863, Wharepapa travelled to England with a group of Māori chiefs under the sponsorship of Wesleyan missionary William Jenkins. During this visit, he was presented to Queen Victoria at Osborne House and received at Marlborough House by the Prince and Princess of Wales. Jenkins described Wharepapa as “the most intelligent of our party,” noting his composure when addressing the Queen.

While in London, Wharepapa married Elizabeth Reid at St Anne’s Church, Limehouse, in March 1864. Shortly thereafter, they returned to New Zealand and settled at Maungakahia near Hokianga Harbour, where they both contributed to local initiatives, including founding a school for their community.

Goldie painted Wharepapa more than once, a sign of the regard in which he held him. By this stage, Wharepapa was regarded as a rangatira of an earlier era, retaining the presence and ceremonial authority of a generation that was beginning to fade from memory.

In Te Hau - Takiri Wharepapa , Goldie does not dramatise his sitter. Instead, the portrait rests on presence. The modelling is careful, the moko observed with exactness, the palette restrained. Age is neither softened nor exaggerated; it is acknowledged with respect. The result is a portrait of measured authority, dignified, direct and assured.

At Goldie’s death in 1947, two portraits of Wharepapa remained in his personal collection, a telling measure of the subject’s importance to the artist. This work does not stand simply as a likeness, but as a tribute to a life of standing and mana, and to Goldie’s conviction that such figures warranted enduring record.

33

CHARLES FREDERICK GOLDIE (1870

- 1947)

The Crucifixion, after Prud’hon, Louvre Gallery

Oil on canvas, 23.5 x 18.5 cm

Signed, inscribed & dated 1897 lower left

$40,000 - 60,000

PROVENANCE

Private Collection

Purchased from Olive Goldie by current owner, by descent

EXHIBITED

Auckland Art Gallery, Goldie, 28 June - 28

October 1997. Cat. no.42

ILLUSTRATED

Roger Blackley, Goldie, Auckland Art Gallery

Toi o Tamaki (David Bateman, 1997) p.77

In 1883, the young Goldie was enrolled at Auckland Grammar School. His youthful artistic talents shone, and it was not long before he was winning prizes at the Auckland Society of Arts. On leaving school, Louis John Steele became his mentor and tutor. Two of the young artist’s still life paintings (see Lot 31) so impressed Sir George Grey that he convinced David Goldie to allow his 22 year old son to attend the Académie Julian in Paris. In July 1893, at the age of 22, Goldie enrolled at the cosmopolitan Académie Julian.

For four and a half years, until January 1898, he studied in the studio supervised by the eminent Salon painter William-Adolphe Bouguereau. He also enjoyed tuition from lesser-known masters, including Gabriel Ferrier, and attended anatomy classes at the École des Beaux-Arts. Goldie won regular prizes in studio competitions and, in 1896, was awarded a gold medal for life painting.

Charles Goldie engaged in traditional academic art training by copying works of old masters in major galleries such as the Louvre, and traveled through countries including Great Britain, Belgium, Holland, Germany, and Italy. While several New Zealand artists also studied in Paris, only a few remained there for more than a year or two. Charles Goldie was the only one of his generation to undertake the full rigours of French academic training.

FRANCES HODGKINS (1869 - 1947)

St. Ives c.1915

Watercolour, 66.5 x 66.5 cm

Signed lower right

$150,000 – 250,000

PROVENANCE

Private Collection, Auckland

Purchased from International Art Centre, Important & Rare Art, Auckland, 16/11/2021, Lot No. 40

Private Collection, Auckland

Formerly Art Gallery of South Australia

Adelaide [01614], Elder Bequest 1955

EXHIBITED

Frances Hodgkins, Museum of New Zealand

Te Papa Tongarewa, 19 Sep 1993 - 30 Jan 1994

Anthony Hordern’s Fine Art Gallery, Sydney, October 1918 (no. 33) as Low Tide, St Ives

Forced to flee France in 1914 at the outbreak of war, Frances Hodgkins avoided London and retreated instead to St Ives, Cornwall, where she found support among fellow artists Moffat and Augusta (“Gussie”) Lindner. Hodgkins had first visited Cornwall in 1902, drawn by the established artists’ communities of Penzance and Newlyn. The coastal environment, reminiscent of Brittany, allowed artists to paint en plein air, capturing shifting light, red-sailed fishing boats, and the rhythms of maritime life.

An early visit to St Ives in 1902 with Dorothy Kate Richmond left Hodgkins amused and sceptical of much local work, though she relished the eccentric studios hidden in lofts and boathouses. Returning in late 1914 amid a fierce winter, she took over a Porthmeor studio, adapting it for teaching and working in the clear Atlantic light. Despite initial isolation, she remained creatively driven, reflecting on the freedom and confidence she had found in France.

Painted in early 1915, Low Tide, St Ives, demonstrates Hodgkin’s mastery of watercolour, developed during her years in France. The sweeping harbour, dramatic cloud formations, and restrained use of untouched paper convey atmosphere and light with remarkable economy. Wet-on-wet passages evoke damp sand and air, while denser pigment defines buildings along Wharf Road. The distant Chapel of St Nicholas anchors the composition, affirming Hodgkins’ ability to transform observation into a powerful and enduring image.

MARY KISLER

35

FERNAND LÉGER (French 1881 - 1955)

Deux Femmes (1930)

Oil on canvas, 24 x 40 cm

Signed F. Leger bottom right

$250,000 – 400,000

PROVENANCE

Private Collection, Auckland

Waddington Galleries Ltd, London

Galerie Simon, Paris

Gosta Olson, Stockholm

Galerie Louise Leiris, Paris (ref. 16547)

EXHIBITED

Jubilenmsutstallningen, Svensk-Franska Konstgalleriet, Stockholm - 15th November to 7th December, 1958; cat. no. 60

Leger och Nordisk Poskubism, Riksförbundet för Bildande Konst, Stockholm, 1952

36 BEN NICHOLSON (British 1894 - 1982)

Rhodes 1965

Ink and oil wash on paper mounted on board, 23.4 x 23.4 cm

Signed, titled and dated Nicholson 65 (Rhodes) verso

$25,000 – 35,000

PROVENANCE

Private Collection, Auckland Waddington Galleries Ltd, London Private Collection, England

Thos. Agnew & Sons Ltd., London Estate of the Artist

EXHIBITED

Thos. Agnew & Sons Ltd. London - Modern British Exhibition 1887 - 1988, 9th November to 9th December, 1988; cat. no. 169

LITERATURE

Ben Nicholson - New Works, Marlborough Fine Art, London 1968; cat. no 45, variation no. 1 1965, col. illus. p.43

37 BARRY FLANAGAN (British 1941 - 2009)

Small Thinker on Rock 1998

Bronze on wooden base, edition of 8, plus 4 artist casts, 26.4 x 12.7 cm

Inscribed F A/C 4/4

$60,000 – 80,000

PROVENANCE

Private Collection, Auckland

Waddington Galleries Ltd, London

Barry Flanagan is renowned for his iconic bronze hares, a motif that became central to his practice and established him as one of the most distinctive sculptors of the late twentieth century. Through these anthropomorphic figures, Flanagan investigates human gesture and emotion with wit, elegance and originality.

The Thinker presents a playful yet thoughtful reinterpretation of Auguste Rodin’s renowned image of contemplation. The hare, positioned in quiet reflection, adopts a recognisably human pose; its elongated form conveys both stillness and latent energy. The contrast between animal form and philosophical subject introduces humor while maintaining a sense of introspection.

Cast in bronze with a richly textured surface, this edition exemplifies Flanagan’s capacity to balance lightness of spirit with sculptural gravitas. The Thinker serves as a refined example of the artist’s sustained interest in transformation, gesture and the expressive potential of form.

38 PATRICK CAULFIELD CBE, RA (British 1936 - 2005)

Arita Flask 1989

Acrylic on board, 77.5 x 52.1 cm

$30,000 – 40,000

PROVENANCE

Private Collection, Auckland

Waddington Galleries Ltd, London, 2010

NOTE

This work is one of the original paintings for the screenprint portfolio White Ware Prints, a set of eight screenprints, published in 1990 by Waddington Graphics, London.

39 BANKSY (British b. 1974)

Girl with Balloon

Screenprint, edition 151/600, 65 x 49 cm

Editioned lower right

$180,000 – 220,000

PROVENANCE

Private Collection, Auckland

Purchased from Pictures on Walls, London

Accompanied by Certificate of Authenticity from Pest Control

Girl with Balloon’s ascent to icon status began slowly. After the initial Shoreditch stencil and another version in London’s Southbank, appearing in 2002, the work remained little more than a local street art fixture, attractive to passersby but unknown to the wider cultural milieu. It wasn’t until two years after Girl with Balloon’s initial appearance that Banksy embraced the image’s potential for widespread reproduction. He partnered with photographer and curator Steve Lazarides’s Pictures on Walls imprint to release the only extant print edition of Girl with Balloon.

The pair produced 600 unsigned and unnumbered prints, 150 signed and numbered prints, and 88 colored artist’s proofs, which the artist sold both online and at an annual “squat art concept store” called Santa’s Ghetto. At a Sotheby’s London sale in October 2018, an anonymous collector purchased a Girl with Balloon painting for £1.1 million. Shortly after the sale was hammered down, a hidden mechanism in the painting’s frame activated, shredding the work live on the podium and sending the tattered strands to the floor. The press widely covered the stunt, which led to what may be the greatest expansion yet in Banksy’s presence on the secondary market.

As for the painting that shredded itself at auction, it sold in its tattered state, under the new title Love is in the Bin (2018), for $25.4 million at a Sotheby’s auction in October 2021. This set a new auction record for Banksy. Since 2019, a majority of Girl with Balloon prints have sold for six-figure prices at auction, and a number of the colored artist’s proofs have sold for more than $1 million. A proof in the gold colorway sold for £1.1 million ($1.5 million) at a Sotheby’s auction in March 2021.

40 BANKSY (British b. 1974)

Love Rat

Screenprint, edition 194/600, 48.5 x 34 cm

Editioned lower left

$28,000 - 38,000

PROVENANCE

Private Collection, Auckland

Joe Short Collection, London

Accompanied by Certificate of Authenticity from Pest Control

Banksy’s Love Rat is one of the most recognisable images from his acclaimed rat series, a collection that established the anonymous British artist as a defining figure in contemporary street art. First appearing on the streets of London in the early 2000s, the rat motif became an enduring symbol of marginalisation, resistance, and subversion, representing an urban survivor operating outside the constraints of authority.

In Love Rat, the figure is depicted in the act of spraypainting a vivid red heart onto a wall. The contrast between the rat, which is traditionally associated with decay and intrusion, and the universal symbol of love demonstrates Banksy’s capacity to merge humour with incisive social commentary. The artwork addresses themes of rebellion, vulnerability, and the persistence of human emotion within the anonymity of urban environments.

Executed with the immediacy and graphic clarity characteristic of stencil technique, Love Rat preserves the raw energy of its street origins while also functioning as a highly collectible editioned print. This work exemplifies Banksy’s ability to transform simple imagery into powerful cultural icons, reinforcing his status as one of the most influential and sought-after artists of the twenty-first century.

41 PETER MCINTYRE (1910 - 95)

Rangitikei River

Oil on canvas board, 63 x 73.5 cm

Signed lower right

$25,000 – 35,000

PROVENANCE

Private Collection, Australia

Peter McIntyre is among New Zealand’s most esteemed painters, recognised for his war art and his enduring depictions of the New Zealand landscape. Born in Dunedin, he attended the Slade School of Fine Art in London, where he acquired the technical discipline that supported his distinguished career. During the Second World War, McIntyre served as an official war artist, accompanying New Zealand forces in North Africa and Italy.

His works from this period are considered significant visual records of New Zealand’s wartime experience. Following the war, he settled near the Rangitīkei River, where the changing light and rugged terrain became a recurring and deeply personal subject. He later lived at Kāwhia and Kakahi, drawing inspiration from remote rural communities and the surrounding landscape.

McIntyre also travelled extensively throughout the Pacific, Australia, and Europe, completing works such as Lot 46 New Guinea Girl and Lot 47 Pueblo Indians in Ceremonial Dress, Taos. These experiences broadened his artistic perspective while he maintained a strong connection to New Zealand. He is represented in public and private collections and his works are valued for their clarity, warmth and strong sense of place.

Signed lower right

$20,000 – 30,000

PROVENANCE

Private Collection, Waikato

43

PETER MCINTYRE (1910 - 95)

The Old Hitching Post at Kakahi Oil on board, 52.5 x 69.5 cm

Signed lower right

McGregor Wright label affixed verso

$20,000 – 30,000

PROVENANCE

Private Collection, United Kingdom

EXHIBITED

Peter McIntyre Exhibition, McGregor Wright Gallery, Wellington, 1974, no. 20

NOTE

Preparatory sketch for The Old Hitching Post at Kakahi is illustrated in Peter McIntyre, Kakahi New Zealand, A Reed Book, Wellington, 1972, p. 16

44 PETER MCINTYRE (1910 - 95)

Māori Girls - Elizabeth and Delvina Takiwa Oil on canvas, 60 x 50 cm

$20,000 – 30,000

PROVENANCE

Collection of the Artist’s Family

ILLUSTRATED

Kakahi New Zealand, Peter McIntyre, A. H & A. W. Reed Ltd, 1972, plate 12, titled Maori Girls

45 PETER MCINTYRE (1910 - 95)

San Marco Horses, Venice Watercolour, 51 x 71 cm

Signed lower right

$16,000 - 24,000

PROVENANCE

Collection of the Artist’s Family

Oil

ILLUSTRATED

Pacific, Peter McIntyre, A. H & A. W. Reed Ltd, 1966, plate 49

Signed lower right

$8,000 – 12,000

PROVENANCE

Private Collection, Auckland

Signed lower right

$8,000 – 12,000

PROVENANCE

Private Collection, Auckland

48

PETER MCINTYRE (1910 - 95)

Oil on canvas, 60 x 73 cm

Signed lower right

$8,000 – 12,000

PROVENANCE

Private Collection

49

PETER MCINTYRE (1910 - 95)

Sydney Street Scene

Watercolour and ink on paper, 52 x 70 cm

Signed lower right

Title inscribed & signed verso

$8,000 – 12,000

PROVENANCE

Private Collection, Auckland

50 PETER MCINTYRE (1910 - 95)

Frosty Morning in King Country

Oil on board, 49 x 60 cm

Signed lower right

$8,000 – 12,000

PROVENANCE

Private Collection

51 ALBERT NAMATJIRA

(Australian Aboriginal 1902 - 59)

Ghost Gums, Macdonnell Ranges, N.T

Watercolour and pencil on paper, 25.5 x 36.5 cm

Signed lower right

Title inscribed & dated 1956 verso

$35,000 – 45,000

PROVENANCE

Private Collection, Otago

Thence by descent

Private Collection, Australia

52 CHARLES NATHANIEL WORSLEY (1862 - 1923) Untitled Watercolour, 72 x 50 cm

Signed lower left

$8,000 – 12,000

PROVENANCE

Private Collection, Auckland

53 JOHN GULLY (1819 - 88)

St Arnaud Range with Lake Rotoiti and the Wairau Gorge Watercolour, 75 x 125 cm

Signed & dated 1868 lower left

$20,000 - 40,000

PROVENANCE

Private Collection, Nelson

EXHIBITED

Otago Fine Arts Exhibition, Dunedin, 1869, no.120 (exhibited as View from Blue Glen Range)

REFERENCE

New Zealand’s Romantic Landscape, Paintings by John Gully, John Sidney Gully, Millwood Press Ltd, 1984. p. 129, cat number. G68/1

Signed lower right

$15,000 - 20,000

PROVENANCE

Private Collection, Auckland

Les arches sur la côte méditerranéenne

Oil on canvas, 45 x 54 cm

Signed lower right

$10,000 - 15,000

PROVENANCE

Private Collection, Auckland

56

DOUGLAS MACDIARMID (1922 - 2020)

Turkeys 1963

Oil on board, 63.5 x 80 cm

Signed & dated ‘63 lower left

$3,000 – 5,000

PROVENANCE

Private Collection, Auckland

EXHIBITED

one-man exhibition, John Leech Gallery, Auckland, 20 May - 4 June 1965

Turkeys 1963 was painted at Chalautre-la-Reposte, a village about an hour’s drive south east of Paris, where wealthy Parisians, including a number of Douglas’ friends, repaired to their country houses for weekends and holidays.

Douglas was always rich in friends. Towards the end of 1962, he found himself homeless, unable to find an affordable room or flat anywhere in the city. In desperation, he farmed out most of his possessions and paintings with friends, and sofa-surfed through the Christmas period

His good friend and former lover, fashion designer Frédéric Castet, Dior’s master furrier - reputed to have saved the House of Dior by introducing the radical concept of ‘ready to wear’ fashion - was appalled at this predicament. Theirs was a close bond. For all his success and celebrity, the designer was a shy, insecure man who looked to Douglas for help with the essential meet and greet side of his work - and, of course, Douglas was only too happy to buoy him in the Paris glamour scene.

Frédéric offered Douglas the use of his traditional stone country house at Chalautre, a place where the painter was regularly a house guest, for as long as he needed, and often joined him at weekends with a band of friends. In return, Douglas maintained the gardens and supervised renovations on the adjoining stone barn.

Chalautre was home and refuge from January to June 1963, as Douglas created sweeping landscape canvases for a major city exhibition. Some of the resident neighbours kept flocks of hens and turkeys that he couldn’t resist painting. Douglas was also house-training Frédéric’s dachshund puppy for life in high society, and he, too became the subject of charming paintings.

Even after Douglas returned to Paris and found a small place to rent, he regularly returned to Chalautre for years to escape the city’s noise and chaos. There he could paint big canvases in the spacious barn, and truly breathe.

Turkeys 1963 was one of 20 MacDiarmid oil paintings that came to New Zealand for a one-man show at John Leech Gallery from 20 May - 4 June 1965 for Auckland Festival Week. The painting was No 4 in the show catalogue, priced at 85 guineas.

ANNA CAHILL

57

PAULINE & JAMES YEARBURY

Māori Madonna and Child

Incised wood panel, 61 x 23 cm

Signature incised lower right

Original artists label affixed verso

Accompanied by signed copy of Pauline Yearbury, The Children of Rangi and Papa, 1976

$2,500 - 4,500

58

PAULINE & JAMES YEARBURY

TE-IKA-A-MAUI (Maui Pulling New Zealand Out of the Ocean)

Incised wood panel, 61 x 30 cm

Signature incised lower centre

Original artists label affixed verso

$3,000 - 6,000

59

PAULINE & JAMES YEARBURY

How Maui Made the Sun Slow Down

Incised wood panel, 78.5 x 45.5 cm

Signature incised lower right

Original artists label affixed verso

$4,000 - 6,000

60

PAULINE & JAMES YEARBURY

Spring Girl

Incised wood panel, 61 x 30 cm

Signature incised lower right

Original artists label affixed verso

$3,000 - 6,000

61

PAULINE & JAMES YEARBURY

TANE-MAHUTA

Incised wood panel, 61 x 30 cm

Signature incised lower left

Original artists label affixed verso

$3,000 - 6,000

FIVE WORKS FROM A PRIVATE COLLECTION, CANADA PURCHASED DIRECTLY FROM THE ARTIST

Steel, expanded mesh, brass plate, enamel paint, 110 x 150 cm

Title inscribed and dated on artist’s original installation sheet

$8,000 – 12,000

PROVENANCE

Private Collection, Northland

63 NIGEL BROWN (b. 1949)

Drinking + Smoking Oil on board, 78 x 58.5 cm

Signed & dated 2007 lower left

Signed, inscribed & dated 2007 verso

$5,000 – 7,500

PROVENANCE

Private Collection, Otago

64 NIGEL BROWN (b. 1949)

Destruction of The Endurance (Second Version of Painting)

Acrylic on canvas, 90.5 x 59.5 cm

Signed & dated 1998 lower left

Signed, inscribed & dated 1998 verso

$6,000 – 10,000

PROVENANCE

Private Collection, Auckland

65 NIGEL BROWN (b. 1949)

Find Your Own Place

Oil on linen, 89 x 58.5 cm

Signed & dated 2001 lower right

Signed, inscribed & dated 2001 verso

$8,000 – 11,000

PROVENANCE

Private Collection, Auckland

66 JOHN SHOTTON PARKER (1944 - 2017)

Plain Song ‘Hymns to light from the Road’ Mixed media on paper, 119 x 79 cm

Signed & inscribed & dated 1998 lower right

$8,000 – 12,000

PROVENANCE

Private Collection, Otago

Oil on board, 54.5 x 34.5 cm

Signed lower left titled, inscribed For Cecely & dated 1990 verso

$4,000 - 6,000

PROVENANCE

Private Collection, Auckland

Oil on board, 90 x 74.5 cm

Title inscribed, signed and dated ‘74 lower right

$8,000 - 12,000

PROVENANCE

Private Collection, Hawke’s Bay

Signed, inscribed & dated 1978 verso

$3,000 - 6,000

PROVENANCE

Private Collection, Otago

Purchased from Jonathan Grant Gallery, Auckland

70 ROY GOOD (b. 1945)

Rhombus Suite No.4

Acrylic on canvas, 120 x 240 cm

Signed, title inscribed & dated -08 verso

$10,000 - 15,000

PROVENANCE

Private Collection, Auckland

EXHIBITED

The Rhombus Suite, ARTIS Gallery, Auckland, 25 March - 19 April 2009

An enduring aspect of Roy Good’s practice is his use of shaped supports, canvases and boards configured beyond the conventional rectangle, or more often, a single canvas stretched across a custom-built form. Among the earliest artists in New Zealand to explore the shaped canvas, a development closely aligned with American abstraction of the 1960s, Good has sustained this approach since the early 1970s. In the Rhombus Suite series, animated diagonal bands activate the diamond-shaped field, with their directional energy contained within the support’s geometry. A restrained, mottled palette tempers this movement, creating a surface that is at once dynamic and quietly resolved.

Signed and dated 2007 verso

$4,000 – 8,000

PROVENANCE

Private Collection, USA

Pears Confit Pot and Rug

Acrylic on board, 58.5 x 63 cm

Signed lower left; title inscribed

Signed & dated 2011 verso

$6,000 – 9,000

PROVENANCE

Private Collection, Auckland

74

Untitled Oil on board, 45 x 50 cm

Signed & dated 02 lower left

$4,000 - 6,000

PROVENANCE

Private Collection, Auckland

(1929 - 2019)

Untitled, The Garden Oil on panel, double-sided, 55.5 x 45 cm

$3,000 - 6,000

PROVENANCE

Private Collection, Auckland

75 WILLIAM ALEXANDER (BILL) SUTTON (1917 - 2000)

Port Hills 1989

Watercolour, 31.5 x 50.5 cm

Signed & dated ‘89 lower left

$3,000 – 6,000

PROVENANCE

Private Collection, USA

76 WILLIAM ALEXANDER (BILL) SUTTON (1917 - 2000)

Near Bayley’s Road

Watercolour, 27 x 36 cm

Signed & dated ‘83 lower right

$2,000 – 4,000

PROVENANCE

Private Collection, USA

77 COLIN VERNON WHEELER (1919 - 2012)

The Woolshed at Birchwood, North Otago Oil on canvas board, 33 x 43 cm

Signed lower left

$2,000 – 4,000

PROVENANCE

Private Collection, Waikato

Pacific Village Landscape

Watercolour, 19 x 24.5 cm

Signed lower left indistinctly

$1,500 – 2,500

PROVENANCE

Artist Estate Collection

JohnHolmwoodwasanAuckland-bornpainterknown forhisatmosphericlandscapesofNewZealand’scoast andcountryside.EducatedattheElamSchoolofFine Arts,hedevelopedarestrained,observationalstyle definedbycarefulcompositionandtonalharmony. Following World War II, he travelled in the Pacific Islands, producing works distinguished by lighter palettesandtropicalsubjects.

Pacific Village

Watercolour, 29.5 x 39.5 cm

Signed lower left indistinctly

$1,500 – 2,500

PROVENANCE

Artist Estate Collection

80

TURKINGTON (1895 - 1979)

The Football Field Whangamatā

Oil on board, 44.5 x 60 cm

Signed lower right

Title inscribed verso

$2,000 – 4,000

PROVENANCE

Private Collection, Auckland

81 JAMES TURKINGTON (1895 - 1979)

Erosion Whangamatā

Oil on board, 45 x 56 cm

Signed lower left

Title inscribed verso

$2,000 – 4,000

PROVENANCE Private Collection, Auckland

James Turkington (1895–1979) ranks among New Zealand’s most industrious and accomplished muralists. Born in Moira, County Down, Northern Ireland, he arrived in New Zealand in 1897 and trained at Wellington Technical College under Linley Richardson before further study at Elam.

Following wartime service, Turkington’s early professional years were spent producing large-scale billboards and cinema façades, a grounding in scale and public address that would define his career. From 1925, he taught at the University of Auckland’s Elam School of Fine Arts, later serving as Senior Lecturer, while maintaining an active exhibiting presence and eventually serving as president of the Auckland Society of Arts.

From the 1930s through to the 1960s, mural work became central to his practice. Turkington executed ambitious decorative schemes for hotels, commercial interiors and civic spaces, working in painted, carved, and low-relief formats.

Turkington later pioneered laminated processes with Formica to increase durability and portability. Though many of his murals have since been lost or concealed, surviving works, including commissions for the Parnell Baths and other public sites, attest to a career devoted to embedding art within everyday life. The two works included in this sale offer a rare insight into the artist’s practice on a more intimate scale, capturing the landscape of Whangamatā with the same clarity of design and decorative assurance that defined his larger public projects.

82 GARTH TAPPER (1927 - 99)

Self Portrait “To Garth Tapper from Garth

Tapper, Cheers 75”

Oil on board, 59 x 58 cm

Signed, title inscribed & dated 1975 verso

$3,000 – 5,000

PROVENANCE

Private Collection, Wellington

83 DAVID HOCKNEY (b. 1937)

Paris Review 25th Anniversary (Flower Study), 1981

Lithograph, 80 x 64.5 cm

Inscribed ‘For Peter ‘love’ David’ lower left

$2,000 - 4,000

PROVENANCE

Private Collection, Auckland

84 BILL HAMMOND (1947 - 2021)

Limbo Bay III

Lithograph on paper, edition 33/48, 73.5 x 57.5 cm

Signed, inscribed & dated 2001 lower right

$8,000 – 12,000

PROVENANCE

Private Collection, USA

85 MAX GIMBLETT (b. 1935)

Home to Ireland/Back to Ireland

Monoprint, 38 x 28 cm

Signed & dated 2011 lower right

$2,000 – 3,000

PROVENANCE

Private Collection, Waikato

86 PAT HANLY (1932 - 2004)

Torso G

Screenprint P.1., 61.5 x 57 cm

Signed, inscribed & dated 85 upper right

$3,000 – 5,000

PROVENANCE

Private Collection, Australia

87 NIGEL BROWN (b. 1949)

Pink House with Couple

Acrylic on wood, 19 x 23 cm

Signed lower right, dated 2001 lower left; Inscribed, signed & dated 2001 verso

$2,000 - 3,000

PROVENANCE

Private Collection, Auckland

88

TERRY STRINGER (b. 1946)

Remembering 1989

Oil on bronze, 14 x 20 cm

Signed, inscribed 202 & dated 1989

$2,500 – 4,500

PROVENANCE

Private Collection, Auckland

89 RALPH HOTERE (1931 - 2013)

Observation Point, Port Chalmers

Monoprint, 29 x 41 cm

Signed & dated 89 lower right in plate

Inscribed, signed & dated ‘89 lower right

$6,000 – 8,000

PROVENANCE

Private Collection, Auckland

90 RALPH HOTERE (1931 - 2013)

Yellow Eyed Mullet

Graphite and ink on paper, 28 x 20 cm each

Signed & dated - 90 lower right

$4,000 – 6,000

PROVENANCE

Private Collection, Auckland

(detail)

Waitangiroto 21-11-1, 2006

ABSENTEE BIDDING FORM IMPORTANT & RARE ART

6:30pm Tuesday 24 March 2026

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Consignments Invited Women in Art

We are now inviting consignments for our third annual Women in Art auction. The auction focuses its intent on presenting artworks by female artists both past and present who may not have received the recognition they deserved in their lifetime, or even today.

Taking place once a year in May, the auction has revealed rare works and set new auction records. We invite entries across all media and of particular interest is the work of early 20th century women artists.

If you have a single work of art or a collection you are considering selling, please contact us for a complimentary valuation.

Grace Alty gracealty@artcntr.co.nz

Grace grace@artcntr.co.nz

+64 9 379 4010

We are now inviting consignments for our Collectable auction. A Collectable sale embraces all fields, tastes and artistic endeavours and fall into a range of categories. Spanning that vital period from the establishment of mid-century modernism through to the cutting edge of our national contemporary art discourse, this is an acclaimed and significant event in the auction calendar.

If you have a single work of art or a collection you are considering selling, please contact us for a complimentary valuation.

Graham Kirk

Tintin and Snowy, Back Beach - New Plymouth

Acrylic on board in artist made frame 134 x 97 cm $18,500

202 Parnell Road Parnell Auckland

internationalartcentre.co.nz - 09 3666 045 - james@artcntr.co.nz

New Zealand’s largest and most inspiring visual arts experience.

Yuki Kihara

28 MARCH – 11 OCTOBER | FREE ENTRY

Contemporary artworks in conversation with a selection of Pacific tāoga from the Canterbury Museum.

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 4:00pm Friday 27 March 2026 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 whilst auction is in progress. Payment can also not be made until completion of auction.

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 buyers premium.

ABSENTEE BIDS

Absentee bidding arranged - please refer to absentee bidding in back of catalogue. Email to info@internationalartcentre.co.nz before 3pm day of sale. Please do not be offended if a member of our staff ask for your credit card details as security.

Absentee bids can also be left via our website to registered members. Our website www.internationalartcentre.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 and registered bidders. There is no charge for this service.

PAYMENT FACILITIES

Eftpos: Available for transactions depending on your daily limit.

Bank deposits: Bank instructions on invoice if paying by direct debit. Quote the Lot number(s) purchased and surname as reference.

Credit cards: Visa and Mastercard with a 2% surcharge.

International Art Centre no longer accepts cheques.

PROTECTED OBJECTS ACT

Art objects over 50 years old made by an artist or maker born in or related to New Zealand may be protected New Zealand objects, and therefore require permission from the Ministry for Culture and Heritage in order to be exported. Applications for permission to export can be made at https://mch.govt.nz/nz-identityheritage/protected-objects/exporting

FREIGHT & PACKING

International Art Centre arrange door to door delivery both nationally and internationally. Please arrange insurance on your items prior to them leaving our premises. Uber deliveries within the wider Auckland area can also be arranged.

OTHER ENQUIRIES

Should you have any questions relating to the sale or if we can be of any other assistance please contact us during business hours on (09) 379 4010, Toll Free 0800 800 322 or email info@ internationalartcentre.co.nz

BUYERS PREMIUM

18.5% Buyers premium plus GST on premium applies to all lots. (Total buyers premium is 21.27% including GST)

A

ANGUS R 26

B

BANKSY 39, 40

BINNEY D .............................. 3, 4, 30

BROWN N 63, 64, 65, 87

BULLMORE E 15, 16 C

CAULFIELD P ..................................38

CHING R 22

COLEMAN B 6

COTTON S 17

DAWSON N 62

DRIVER N 72

EDGAR J ............................................. 5

ELLIS R 24

EVANS J 68

FLANAGAN B ................................. 37

FRANCE P 67

GIMBLETT M 85

GOLDIE C F ........................ 31, 32, 33

GOOD R 70

GULLY J 53 H

HAMMOND B 84

HANLY P 86

HOCKNEY D 83

HODGKINS F ................................. 34

HOLMWOOD J 78, 79

HOTERE R 9, 89, 90

LÉGER F ............................................ 35 M

MACDIARMID D 56

MADDOX A 23

MAUGHAN K .................................... 7 MCCAHON C 25

MCINTYRE P 41, 42, 43, 44, 45, 46, 47, 48, 49, 50

MURU S ............................................. 13

NAMATJIRA A 51 NICHOLSON B 36 P

PALMER S 2

PARDINGTON F 1 9, 20 PAREKŌWHAI M 18

PARKER J S ...................................... 66

PEARSON A 69, 74 ROBINSON A 11 S

SMITHER M 1, 28, 29, 73

STRINGER T 10, 12, 88

SUTTON W A (BILL) 75, 76

SYDNEY G ........................................ 27

TAPPER G 82

THOMPSON S L 54, 55

THOMSON J .................................... 21

TRUSTTUM PH 14

TURKINGTON J 80, 81

WESTRA A .......................................... 8 WHEELER C V 77

WOLFE E 71

WORSLEY C N 52

YEARBURY P&J 57, 58, 59, 60, 61