July 31 2013 catalogue

Important, Early & Rare

6:30pm Wednesday 31 July 2013

Auction Contacts

Richard Thomson

Ph: +64 9 379 4010

richard@artcntr.co.nz

Mobile: 027 4751 071

Frances Davies

Ph: +64 9 379 4010

fran@artcntr.co.nz

Auction assistants and administration

Luke Davies

Ph: +64 9 379 4010

luke@artcntr.co.nz

James Watkins

Ph: +64 9 366 6045 james@artcntr.co.nz

www.fineartauction.co.nz info@internationalartcentre.co.nz

Skype: fineartauction

Auction Venue

International Art Centre, Scarborugh Gallery Lower Ground Level, 272 Parnell Road, Auckland.

Car Parking

Parking During Viewing Days:

Available on site during weekend viewing, Saturday 27 & Sunday 28 July. Use Scarborough Lane entrance beneath 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.

Location map

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 our street level gallery remains open until end of sale.

Wednesday 31 July 2013

Important, Early & Rare

6:30pm Wednesday 31 July 2013

Viewing Times

Wednesday 24 July 9:00am - 5:30pm Thursday 25 July 9:00am - 5:30pm

Friday 26 July 9:00am - 5:00pm

Saturday 27 July 11:00am - 4:00pm

Sunday 28 July 11:00am - 4:00pm

Monday 29 July 9:00am - 5:30pm Tuesday 30 July 9:00am - 5:00pm Wednesday 31 July 9:00am - 1:00pm

Other times by appointment

FEbruAry, APriL & MAy SALES AT A GLAnCE

International Art Centre commenced its auction season with the successful John Leech Collection. Over 80% of 217 lots were sold. Strong prices were achieved across all genres in this first single-owner collection of 2013.

The Important, Early & Rare April sale saw an equally pleasing result. John Gully’s Mt Tasman fetched $62,000. Ongoing support for works by the late Buck Nin continued with The Land is Ours setting a $19,900 auction record.

A small work by Sam Stuart Judges Bay, Parnell made $14,650 and Evelyn Page’s Camellias went for $27,550. Hotere’s Observation Point made $39, 800.

International Art Centre’s May Contemporary & Collectable Art auction saw the best sale result this year with a 90% success rate. A busy saleroom, along with numerous telephone and absentee bids, responded positively to the sensibly reserved and diverse offering.

Off Highway 85, Manitoto

Acrylic on board 60.5 x 120.5cm

LAWRENCE LEITCH

Paintings of Our Land - The Long White Cloud

Auction 31 July

Wednesday 6:30pm

Payment may not be made during sale

Works purchased may be uplifted at close of sale or day after 10.00am - 5.00pm

If attending sale, please register for bidding number at viewing

Viewing Times p. 3

Absentee Bidding Form p. 106

Index p. 107

Conditions of Sale p. 108

1935 - 2011

Signed

ESTIMATE

$7,000 - 10,000

2 rALPH HOTErE

1931 - 2013

Drawing for Sound Movement Theatre

Song Cycle Anatomy of a Dance

Ink and lithograph on paper 25 x 18.5

Signed, inscribed & dated 8-75

Inscribed:

Dance - John Casserley, Chas

Hummell, K Suhadji

Music - Jack Body, Barry Mangan

Poems - Bill Manhire

ESTIMATE

$2,500 - 3,500

3 rALPH HOTErE

1931 - 2013

Drawing for Song Cycle

Ink on paper 27.5 x 17.5

Signed, inscribed & dated 8-75

Inscribed:

Dance - John Casserley, Chas

Hummell

Music - Jack Body, Barry Mangan

Poems - Bill Manhire

A wind goes out over the fields

A shadow grows where I touch you.

What is this distance?

Whose hand is gently waving?

Manhire

ESTIMATE

$2,500 - 3,500

4 rALPH HOTErE

1931 - 2013

Drawing for Song Cycle Dance

Watercolour and ink on paper 25 x 18.5

Signed, inscribed & dated 8-75

Inscribed:

Dance - John Casserley, Chas

Hummell

Music - Jack Body, Barry Mangan

Poems - Bill Manhire

Photography John McKechnie.

ESTIMATE

$2,500 - 3,500

b. 1946

On the Beach, Otago Peninisula

Screenprint, edition no. 18 of 35, 55.5 x 37

Signed, inscribed & dated 1972

ESTIMATE

$3,000 - 4,000

6 DOn binnEy

1940 - 2012

Grackle, Veracruz

Screenprint, edition no. 76 of 100, 61 x 45

Signed, inscribed & dated 1970

ESTIMATE

$3,500 - 4,500

7 rObin WHiTE

b. 1946

Harbour Cone

Screenprint, edition no. 16 of 50 30.5 x 21

Signed, inscribed & dated January 1973

ESTIMATE

$1,800 - 2,600

8 Sir PETEr SiDDELL

1935 - 2011

Villa

Oil on board 39.5 x 59

Signed & dated 1973

ESTIMATE

$4,000 - 6,000

9 JOHn WEEKS

1885 - 1965

Good Signs, Auckland

Watercolour 32 x 38

Signed

ESTIMATE

$2,000 - 3,000

10 JOHn WEEKS

1885 - 1965

Multicoloured Walls I

Oil on canvas board 18.5 x 26

Certificate of Authenticity signed by Hilda O’Connor and Allan Swinton affixed verso

ESTIMATE

$2,500 - 3, 500 11 PAuL DibbLE

b. 1949 Maui

Unique bronze sculpture 37.5 x 28

Signed & dated 2003 within casting

ESTIMATE

$5,000 - 7,000

12 JOHn WEEKS

1885 - 1965

Cubist Composition

Pastel on paper 51.5 x 41

Certificate of Authenticity signed by Hilda O’Connor and Allan Swinton affixed verso

ESTIMATE

$4,000 - 6,000

rOy GOOD

b. 1945

Pacific Corporation - Diptych, 1985

Acrylic on two canvas panels 183 x 75

Signed, inscribed & dated 1985 verso

ESTIMATE

$ 3,500 - 5,500

PROVENANCE

Private Collection, Auckland

EXHIBITED

Pacific Corporation Series

Artis Gallery, High Street, 1985

REFERENCE

p. 12, NZ Herald, 20 May 1985

Precise, minimal abstract art is also the style of Roy Good at Artis Gallery in High St, Auckland. His works have singularly beautiful surfaces, and the forms have the long, slender curves of lenses in profile. In nearly every work these curves are counterpointed by a sharp triangle, often in black.

The most inventive work is a diptych where the tall, sharp triangles are poised against a curve of blue and white and black. Pacific Corpration series 6 also breaks away from the tyranny of the rectangular frame to good effect. This is a small show of only eight works but it is one of considerable distinction.

T J McNamara, 1985

1890 - 1967

Fire Beyond Turangi

Oil on hardboard 45 x 59.5

Signed & dated 1975

Title typed on original artist’s label affixed verso

ESTIMATE

$5,000 - 8,000

PROVENANCE

Provenance: Allen and Jeny Curnow Estate

Exhibited:

One Man Exhibition of paintings by John Tole, John Leech Gallery April 1976. Original label affixed verso

rALPH HOTErE

1929 - 2013

Winter Solstice, Lake Mahinerangi

Mixed media on paper 56 x 38

Signed, inscribed & dated 1981

ESTIMATE

$30,000 - 40,000

16 KEES bruin

b. 1954

Reading

Oil on canvas 61 x 56

Signed

ESTIMATE

$25,000 - 35,000

PROVENANCE

Private Collection, Christchurch

EXHIBITED

Allusion & Illusion, Kees Bruin, Christchurch Art Gallery 2006

REFERENCE

Kees Bruin was born in Roxburgh, Central Otago, in 1954. He studied sculpture and later painting at the University of Canterbury School of Fine Arts from 1974, graduating with honours – his teachers included leading Canterbury artists William A. Sutton, Rudolf Gopas, Ted Bracey and Doris Lusk. Bruin also holds a Diploma in Teaching and a certificate in film production. He has worked as a professional artist for almost three decades, participating in solo and group exhibitions throughout New Zealand and internationally.

I like my paintings to give the illusion of being like a big photograph without the major inherent distortions. I try to incorporate an underlying symbolic message within the painting, although this does not always happen. When it does, I am concerned with expressing it as subtly as possible – the Kingdom of God is like buried treasure that one must search for in order to find - Matthew 13:44.

KEES BRUIN

17 LEn CASTLE

1924 - 2011

Large Earthenware Bowl, 1991

From the series: The magma flows, the magma cools on its way to the ocean

Ceramic 13 high x 54 diameter

Impressed initials on base

ESTIMATE

$4,500 - 6,500

PROVENANCE

Purchased by current owner directly from Len Castle, circa 1992

One of two works commissioned in1991 for Treasures of the Underworld, New Zealand Pavilion, World Expo, Seville, Spain. 12 April - 20 October 1992 in partnership with Expo NZ 1992 Ltd and the Queen Elizabeth II Arts Council of New Zealand. The second work from this series is held in Museum of New Zealand Te Papa Tongarewa collection.

18 DOuGLAS MACDiArMiD b. 1922

A French Village Oil on canvas remounted on panel 24 x 34.5

Signed & dated 1955

ESTIMATE

$1,800 - 2,400

b. 1950 First Light Oil on canvas 130 x 200

Signed, inscribed & dated 2007 verso

ESTIMATE $12,000 - 15,000

20 WiLLiAM ALEXAnDEr (biLL) SuTTOn

1917 - 2000

Canterbury Plains

Watercolour 37 x 50

Signed & dated 1985

ESTIMATE

$2,500 - 4,000

21 TOSS WOOLLASTOn

1910 - 1998

Wellington Harbour

Watercolour 27 x 34.5

Signed

ESTIMATE

$4,000 - 6,000

PROVENANCE

Ross Sutton Collection

22 JOHn WEEKS

1885 - 1965

The Cowhearder

Oil on board 76 x 63

Signed

ESTIMATE

$8,000 - 12,000

Purchased from Peter McCleavy Gallery, Wellington 1976. Original purchase receipt affixed verso

23 PHiLiP TruSTTuM

b. 1940

Hannah’s Toys

Mixed media on unstretched canvas 231 x 188

Inscribed

ESTIMATE

$9,000 - 13,000

PROVENANCE

Private Collection, Christchurch

Purchased from Brooke Gifford Gallery, 1976

24 rALPH HOTErE

1929 - 2013

Mungo

Mixed media on board 26 x 27.5

Signed, inscribed & dated 1985

ESTIMATE

$20,000 - 25,000

PROVENANCE

Private Collection, Otago

25 GOrDOn WALTErS

1919 - 1995

Study for Black on White, 1965

India ink on paper 61.5 x 46

ESTIMATE

$35,000 - 45,000

PROVENANCE

Sir Graeme & Lady Florence Davies collection, London

Purchased from New Vision Gallery, Auckland 1973

Wellington born Gordon Walters was a pioneer of modernist abstraction in New Zealand. This painter showed an unflinching commitment to abstraction at a time when landscape was the norm. Walters is best known for his Koru works, whose unique stylisation of the Maori koru motif developed out of a phase of experimentation in the 1950s. The geometric spiral form of the koru began appearing consistently in Walters’ work from the late 1950s.

My work is an investigation of positive/ negative relationships within a deliberately limited range of forms; the forms I use have no descriptive value in themselves and are used solely to demonstrate relations. I believe that dynamic relations are most clearly expressed by the repetition of a few simple elements.

GORDON WALTERS

26 Sir PETEr SiDDELL

1935 - 2011

A Portrait of Tony and Patsy

Acrylic on canvas 120 x 130

Signed & dated 1978

ESTIMATE

$150,000 - 220,000

PROVENANCE

Collection of Tony and Patricia Sinclair

ILLUSTRATED

p. 92 - 95 The Art of Peter Siddell, Godwit Publishing 2010

A copy of this publication, signed by the artist. is to be sold with this lot

EXHIBITED

Contemporary New Zealand Realist Paintings, Auckland Art Gallery 1979

REFERENCE

Sir Peter Siddell has long been recognized as one of New Zealand’s leading realist artists. Auckland born Siddell was educated at Mount Albert Grammar School and the Auckland College of Education. He began painting professionally in 1972. In 1990 Siddell was made a Companion of the Queen’s Service Order and was knighted in 2008, becoming the second only New Zealand artist to receive this honour.

Siddell’s realist paintings are identified mainly with depictions of the environs of Auckland. While his works appear to be records of actual places, his paintings have a subjective component, and might be better described as imagined realism rather than truly realistic. The cityscapes and townscapes in Siddell’s paintings are rendered empty, sometimes with the suggestion of events occurring outside the picture area. In this sense, his work may be compared to the metaphysical works of Giorgio de Chirico. In 1978, the same year A Portrait of Tony and Patsy was painted, he won the Air New Zealand Travel Award and the Benson & Hedges Supplementary Art Award.

I like to achieve a stillness in my paintings. It's something to do with wanting to freeze a moment in time and regain a bit of the past.

SIR PETER SIDDELL

Through the window can be seen a suggestion of a painting by Don Binney, an artist Patsy and Tony admired. I also included my painting, Avril with Kauri Trees, which they already owned. The house is no longer there but Tony and Patsy still own the painting.

SIR PETER SIDDELL

27 GOrDOn WALTErS

1919 - 1995

Amoka 1972

Screenprint, edition no. 6 of 25, paper size 100 x 51

Image size 83.7 x 39.2

Signed, inscribed & dated 1972

ESTIMATE

$7,000 - 10,000

PROVENANCE

Sir Graeme & Lady Florence Davies collection, London Purchased from New Vision Gallery, Auckland 1973

ILLUSTRATED

p. 18 Gordon Walters: Prints + Design, William McAloon, Adam Art Gallery, Wellington 2004

REFERENCE

Walters’ adoption of printmaking was part of a burgeoning interest in the medium in the late 1960s and 1970s. Printmaking enabled Walters to bring his work to a wider audience, and the relatively new medium of screenprinting was perfectly suited to his hard-edged style.

Painter and printmaker Mervyn Williams produced most of Walters’ prints and ensured that they were realised to the artist’s exacting standards.

28 KArL MAuGHAn

b. 1964

Riverena

Oil on linen 122 x 183

Signed, inscribed & dated 2010 verso

ESTIMATE

$27,000 - 32,000

29

29 TrEVOr MOFFiTT

1919 - 1995

The Artist as a Solo Father - Painting Barbara Oil on board 60 x 60

Signed & dated 1984

Inscribed verso

ESTIMATE

$8,000 - 12,000

PROVENANCE

Private Collection, Christchurch since 1984

30 GOrDOn WALTErS

1919 - 1995

Airborne c. 1955

Gouache on paper 22 x 30

Signed & inscribed

ESTIMATE

$22,000 - 28,000

PROVENANCE

Private Collection, New York

In 1950, Gordon Walters travelled to Europe, eventually basing himself in London. It was during this time that he viewed works by leading European artists such as Capogrossi, Taeuber-Arp, Vasarley and Herbin. He also had the opportunity to see exhibitions of American art, as well as works by Mondrian and artists of the Bauhaus. The collective works of these artists had a considerable effect on Walters and were formative to his stylistic development. On his return to New Zealand in 1953, Walters began to produce his first abstract works, mainly on paper, completely devoid of figurative representation. He remained very aware of developments in international art through magazine publications such as Art d’Aujourd Hui, while continuing to apply modernist principles to his work.

Walters was responsible for paving the way for Modernism in this country. During the 1950s, the majority of artists were concentrating largely on painting nationalist landscapes. It was not until the 1970s that many of his works from the 1950s were finally shown to the public. As discussed by Walters; They were not shown at the time I did them because I considered the climate to be unsympathetic, if not downright hostile to abstraction. Gordon Walters quote p. 31 Parallel Lines: Gordon Walters in context, William McAloon, Auckland City Art Gallery 1994. When viewed in this context, its apparent that Airborne was extremely progressive for its time.

It was completed just prior to the first of Walter’s Koru Paintings from 1956. We begin to see Walters working within a defined set of formal aspects, those being colour, shape and composition, in order to achieve a visually harmonious balance. The reduced palette is typical of his gouaches, while simple geometric forms are restricted mainly to variations of the square, circle and rectangle.

31 rALPH HOTErE

1929 - 2013

La Mort a les Couleurs du Paon (Death wear the colours of a peacock)

Lithograph with hand applied blue, red, purple, gold and green inks, edition of 14, 53.5 x 37.5

Signed, inscribed & dated 1985

ESTIMATE

$5,000 - 7,000

32 MiKE PETrE

b. 1964

Field Study 196

Ink, graphite, oil & acrylic on canvas 115 x 145

Signed, inscribed & dated 2011 verso

ESTIMATE

$11,000 - 15,000

$3,000 - 5,000 33

1929 - 2013

25

1929 - 2013

Lithograph, edition of 20, 63 x 53

Signed, inscribed & dated 1985 ESTIMATE

$4,000 - 6,000

Signed, inscribed & dated 2008 verso

ESTIMATE

$11,000 - 14,000

36 rALPH HOTErE

1929 - 2013

Pine 9 - In your Wrists

Mixed media on woodblock paper 55 x 42

Signed, inscribed & dated 1979

ESTIMATE

$17,000 - 23,000

Bill Manhire, who provided the texts for Hotere’s Pine works, recalls the genesis of that particular collaboration; At one stage, while I was living in London in the early 70s, I sent Ralph a piece of poetry each week. Every so often I would put in the mail a postcard with the word PINE on it – plus a line [of poetry]…Ralph did a series of works – mostly stuff on paper- using bits of that text. I’ve always found pine forests really scary and interesting in the way that Janet Frame did. There was always a plantation near where we were living when I was a child. In that forest the sound quality changed – it was scary and safe all at once. – cathedral, underwater stuff. That was what was in my mind when I wrote the words…

The Pine works on paper divide into two series, the first a group of 1972 watercolours which are among Hotere’s most lyrical works…The word PINE surfaces in each image, as well as an assortment of lines from Manhire and a series of numbers, 1 – XlV, which gives the works a ritualistic feeling.

A more robust–looking sequence of Pine images, from a year or two later, used woodblock-printed letters as structural elements in a manner more akin to McCahon although, again, the layering of word on top of word made for a more patterned effect.

These banner-like configurations of words, which the artist printed on the Royal Columbian hand press at the Bibliography Room at the University of Otago, also echo the artist’s early Pop Art and Op Art influences, the handwritten words offsetting the weighty printed letters with hazy graffiti. Some of the printed letters are damaged, smudged, or they look as if they have been eroded by chemicals or the elements. As always, Hotere’s interest in textures and the imperfections in finish is integral to the complexity and allusiveness he requires of his often minimal visual elements.

Hotere exploits the multiple meaning of ‘pine’, letting the word commute between the natural world and the world of human emotions and expression. Ian Wedde wrote in the Evening Post in 1990: Hotere has run whole series of puns off titles, and whole series and re-series of works off puns. Because of the silence in the ground of his work, the gestures (the speech) that play upon that silence can do much with very little…

The serious aspect of word play is a given of twentieth century literature with such pioneering figures as James Joyce and Gertrude Stein fracturing both the sound and sense of words and phrases to realise new, unpredictable forms. Hotere recognises the potentiality of even the simplest puns – witness the Pine series and, just as spectacularly, the earlier Malady paintings. His works attest to the capacity of language to subvert our expectations, to alter the way we perceive reality.

Gregory O’Brien: HOTERE - Out The Black Window: Ralph Hotere’s work with New Zealand Poets, Godwit, City Gallery, Wellington, 1997, Chapter 6: Empty of shadows and making a shadow p. 49 and 51.

37 ALVin PAnKHurST

b. 1949

About Time

Oil on acrylic on canvas 100 x 151

Signed & dated 2006

ESTIMATE

$20,000 - 30,000

PROVENANCE

Collection of the late Eric & Kathy Hertz

REFERENCE

About Time features Pukaki’s younger relative Tiki. Each viewing of About Time produces an immediate, almost visceral response in the viewer. The great carver Te Umanui has captured vividly the strength and compelling personal beauty of this famed Ngati Whakaue warrior (note the eyelashes: a highly unusual feature for a Maori carving). Pankhurst’s setting on the wild southern West Coast beach provides an appropriately striking setting. But what grips you and holds you there is the intensity in Tiki’s face, the underlying tension in his torso and limbs as you sense his deep effort of will to keep from being submerged by the encroaching sand. This is no passive creature simply enduring his fate, but a fierce determined survivor. Dara McNaught

This was my first Maori painting. I loved every moment I spent looking at it and painting it. Historically, Tiki was an important leader of the Ngati Whakaue people; the weapon in Tiki’s hand denotes him as a great warrior. Tiki was originally carved as one of the gateways to Pukeora Pa on the hill above Ohinemutu in Rotorua.

ALVIN PANKHURST

38 ALVin PAnKHurST

b. 1949

Transition

Oil on acrylic on canvas 120 x 184

Signed & dated 2007

ESTIMATE

$30,000 - 40,000

PROVENANCE

Collection of the late Eric & Kathy Hertz

REFERENCE

From the age of seven Pankhurst was winning school holiday art awards, then cameras, books – even a family holiday to Hawaii, culminating with his winning the 1974 Benson and Hedges National Art Award.

International Judge James W. Foster described Pankhurst’s work at that time as a tour de force in its immaculate technique, exquisitely detailed composition, eerie colour and compelling sense of time and place.

I have always been a realist/surrealist. My still-life paintings with plant roots showing the passage of time consumed me through the 1970s and 80s, and the last paintings in that series were exhibited at London’s Royal Academy Summer Exhibition in 2001.

While Pankhurst was painting a work titled Shifting Sands, which featured a mantelpiece in the sand dunes, it inspired him to paint his first maori painting, About Time, 2006. This and the subsequent maori paintings Transition, 2007 and The Last Stand, 2007 have the meditative inner spirit he sought.

The carver Te Umanui carved Tiki in the early 1800’s with stone and greenstone tools. A famous Ngati Whakaue leader.

ALVIN

PANKHURST

39 ALVin PAnKHurST

b. 1949

The Last Stand Oil on acrylic on canvas 120 x 185 Signed & dated 2007

ESTIMATE

$25,000 - 35,000

PROVENANCE

Collection of the late Eric & Kathy Hertz

REFERENCE

The Last Stand features the prow of a waka (war canoe) lying partly submerged in a swamp within a rainforest clearing. At first glance it’s a tranquil scene.

But there’s a dynamic quality to the waka, as there is with all these paintings. The warrior-like face carved on the prow has an intent, concentrated energy: there’s nothing lost or static about this waka. Is it sinking or emerging from the boggy ground?

The trademark double-edged illusion of Pankhurst’s work – the multi-layered source of tension that is so compelling for the viewer – has become a reflection of not just cultural transition but of moral ambiguity. In a defining presentation, he has placed these great Maori figures at the heart of a distinctive, uniquely New Zealand cultural heritage. Dara McNaught

This waka emerging from the deep of the Whirinaki Forest Park outside Rotorua is typical of those used in raiding parties. Maori would sink them to hide their presence, and then bail them out to return home, but did they always return?

ALVIN PANKHURST

40 FrAnCES HODGKinS

1869 - 1947

Blue Barges

Watercolour, pencil, chalk and bodycolour on paper 51 x 41

ESTIMATE

$25,000 - 35,000

PROVENANCE

Private Collection, Auckland

EXHIBITED

Exhibition of works by Frances Hodgkins, The Leicester Galleries, London, October 1941. Purchaser Mrs Andermann

Original Leicester Galleries label affixed verso.

Another original hand written label verso reads: Frances Hodgkins Blue Barges No. 2688 - see below

41 EDWArD FriSTrOM

1864 - 1950

In the Wellington Gardens

Oil on board 29.5 x 22.7

Signed

ESTIMATE

$8,000 - 12,000

PROVENANCE

Private Collection, Christchurch

Private Collection, Tasmania

EXHIBITED

Paintings by James Nairn and Edward Fristrom, Auckland City Art Gallery 1964, cat no. 52

Catalogue prepared by Colin McCahon, Keeper of the Gallery 1964

Original Auckland City Art Gallery catalogue that accompanied exhibition is available with this lot.

Four letters dated 1964 from Auckland City Art Gallery director P A Tomory also available to purchaser.

42 EDWArD FriSTrOM

1864 - 1950

A Landscape Study

Oil on board 28.5 x 19

Signed

ESTIMATE

$5,000 - 8,000

PROVENANCE

Private Collection, Christchurch

Private Collection, Tasmania

EXHIBITED

Paintings by James Nairn and Edward Fristrom, Auckland City Art Gallery 1964, cat no. 51

43 rAyMOnD CHinG

b. 1939

Anzacs

Oil on board 133 x 139

Signed, inscribed Flight from the Ark, Anzacs & dated 2005

ESTIMATE

$35,000 - 45,000

PROVENANCE

Private Collection, Auckland

EXHIBITED

Ray Ching Ark, Artis Gallery April 4 - 29 2007

ILLUSTRATED

p. 18 & 19 Ray Ching Ark, Artis Gallery April 4 - 29 2007

In this masterfully painted work, the artist chose a symbolic trio of subjects. The white Dove of Peace hovers above Anzac companions, the Australian Lyrebird and New Zealand’s Tui.

Raymond Ching was born in Wellington, 1939. Now living in the United Kingdom he is one of the world’s most acclaimed wildlife artists. His ability to depict texture from the softness of feathers, to the luminosity of water, is remarkable. Capturing the quick silver character of a bird, the delicacy of its plumage, as well as his translation of feather into paint, spotlights the very essence of the subject. These are the aspects of his work that have attracted international acclaim.

44 EVELyn PAGE née POLSOn

1899 - 1988

Old Houses, Lyttelton, circa 1936

Also known as Quail Island, Lyttelton Harbour

Oil on board 30 x 43

Signed

Inscribed Old Houses, Lyttelton verso

Original Money Bros Picture Framers, Christchurch label affxied verso

ESTIMATE

$12,000 - 16,000

PROVENANCE

Private Collection, Christchurch

Acquired directly from the artist by the current owner’s family, early 1940s

Recently released from long term loan to Christchurch Art Gallery

Christchurch Art Gallery titled work as Quail Island, Lyttelton Harbour

EXHIBITED

Durham Street Gallery, Canterbury Society of Arts 1936

REFERENCE

Old Houses Lyttelton or Quail Island Lyttelton Harbour is signed E Polson confirming this as an early work by Evelyn Page circa 1936. From 1930 until 1936 Eve Polson taught art at Craighead, a private Christchurch girls school. During 1936 her first solo exhibition was held at the Durham Street Gallery, Canterbury Society of Arts. The exhibition was a great success with every work selling at the opening. Polson made the grand sum of £300, at the time this was more than her annual salary, enabling her to travel to the United Kingdom in January 1937 where she met Frederick Page. The coupled married the following year at Governors Bay, Christchurch. This painting was shown in her solo exhibition at the Canterbury Society of Arts held 14th December 1936.

45 CHArLES FrEDEriCK GOLDiE

1870 - 1947

Memories - Rakapa, An Arawa Chieftainess

Oil on panel 20.1 x 15.1

Signed & dated 1910

Inscribed on original artist’s label affixed verso

ESTIMATE

$190,000 - 250,000

PROVENANCE

Private Collection, England until mid 1940s

Acquired by V E Donald,Masterton

Same New Zealand family collection since

EXHIBITED

Royal Academy, London 1927

Originally of Otaki, Rakapa married into Arawa and her waiata were and remain the songs of Rotorua Maori elders as well as those of the Ngati-Toa and Ngati-Raukawa. Rakapas’s family by marriage, fought for the colonial government in the North Island Land Wars of the mid-19th century.

C F Goldie chose to paint Rakapa on at least five occasions. Immaculately portrayed, the artist’s masterful treatment of wrinkled skin and greying hair encourages closer scrutiny. This favoured subject bears traditional moko, pounamu/greenstone earings and talisman tiki.

A newspaper article dated 1927 and affixed verso reads: London, May 24, 1927. Another of Mr C F Goldie’s three Academy pictures has been sold. The purchaser is a lady who lives in the South of England. She has chosen Memories, a Chieftainess of the Arawa Maori. Even before the Royal Academy opened to the public, Mr Goldie’s An Aristrocrat - Atama Paparangi A Chieftain of the Rarawas - bore the distinctive red seal which indicates ‘Sold’. Memories was priced on the official chart at £262.10.

In Polynesian portraiture Mr C F Goldie stands pre-eminent in the world today.

New Zealand has every reason to be proud of him.

Governor General Lord Bledisloe Quote from C F Goldie: His Life & Painting, Alister Taylor & Jan Glen, 1979

46 FELiX KELLy

1914 - 1994 Georgian House, Milford Wood Gouache on card 31 x 41

Signed & dated 1943

ESTIMATE

$7,000 - 10,000

PROVENANCE

Private Collection, Europe

Exhibited: New Paintings and Drawings by Lucian Freud, Felix Kelly and Julian Trevelyan, Lefevre Gallery, NovemberDecember, London 1944, Cat no. 48

ILLUSTRATED

Paintings by Felix Kelly, Falcon Press, 1946; 2nd impression 1948. Introduction by Herbert Read.

Milford Wood is a good example of Felix Kelly’s early Neo-Romanticism, and is signed and dated Felix Kelly,‘43’. It was included in the exhibition, New Paintings and Drawings by Lucian Freud, Felix Kelly and Julian Trevelyan at the Lefevre Gallery, New Bond St., London, late 1944. It was also reproduced in the small book, Paintings by Felix Kelly, that was published in 1946 by Falcon Press, London, with an introduction by the important modernist critic and writer Herbert Read. As with several others of the time, the picture includes a generic Georgian house in the background along with a crumbling wall and a bare iron pergola, now lacking the wisteria or rose that once covered it. Two spindly figures walk slowly arm in arm. A dark wood of twisted branches contributes to an oppressive mournfulness. One critic wrote that the human beings in Kelly’s paintings walk in a rarefied atmosphere. The colours are restrained. Kelly comments on an outmoded way of life. Happily, the work retains its original frame, complete with a Lefevre Gallery verso. Its dilapidation is a perfect match for the picture’s subject. Don Bassett

Felix Kelly is one of New Zealand’s most interesting expatriate artists. Born in Epsom in 1914 he claimed to be two years younger most of his adult life. Kelly studied briefly, and even seems to have taught drafting at Elam School of Fine Art. He was only 21 when he left New Zealand in 1935. He never returned. In London Kelly continued his New Zealand occupation of graphic design, working for Lintas, the advertising wing of Unilevers. He also freelanced as an illustrator and cartoonist, especially for Lilliput His cartoons are not unlike those of the slightly younger Ronald Searle. After the War and the RAF, the focus of his graphic art shifted to book illustration, dust-jacket design and contributions on interior decoration to such fashion magazines as Ideal Home and Harper’s Bazaar. In the 1950s and 60s he was acknowledged as one of England’s top designers for the theatre, working with the likes of Sir John Gielgud and Dame Sybil Thorndike.

Kelly’s ambition had always been to succeed as a painter. Emerging in the context of Surrealism and British Neo-Romanticism, he exhibited alongside important British artists such as Lucian Freud, John Piper and Frances Hodgkins. He attracted the attention of the prominent critic and writer, Herbert Read. Kelly’s paintings are characterised by his interest in a world forgotten by progress, great houses falling into dilapidation, wind-blasted trees, abandoned locomotives often invested with an eerie watchfulness. Rapidly, Kelly assembled a client list resembling a page from Who’s Who or De Brett’s. In late career, his knowledge of architecture led to involvement in house design, most notably his collaboration on the redesign of Highgrove for the Prince of Wales. His most celebrated project was, however, the mural cycle at Castle Howard associated with the filming of Brideshead Revisited in the 1980s.

Kelly travelled a great deal. Paintings of Spain and Italy in the 1940s were followed by West African scenes in the 50s and ante-bellum houses in America’s Deep South in the 60s. Trips to Russia, Thailand, India and Egypt in the 70s and 80s each led to an exhibition of exotic paintings. In late career, Kelly would execute a small sketch characterised by loose brush-work, which would then be converted into a carefully executed big-scale painting. Both types of work appear for sale from time to time. Perhaps most interesting for a New Zealand audience are the paintings of Auckland subjects done decades after he had left home. Auckland’s West Coast beaches or Takapuna with Rangitoto beyond, or paddlesteamers on the Waitemata, were evoked with an increasing degree of fantasy well into the 1960s. A quirky humour pervades his work.

Felix Kelly has to be one of New Zealand’s most individual artistic exports. A comprehensive exhibition of his earlier work, curated by Donald Bassett and mounted by the Hawke’s Bay Museum and Art Gallery, toured several New Zealand centres in 2008-9. A second edition of Donald Bassett’s book Fix; The Art and Life of Felix Kelly, will be published later this year.

47 rHOnA HASZArD

1901 - 1931

Sunlight and Shadows

Oil on canvas board 37 x 27

Signed

ESTIMATE

$10,000 - 15,000

48 DOrOTHy KATE riCHMOnD

1861 - 1935

Black Birch

Watercolour 17 x 22

Signed & dated 1908

ESTIMATE

$3,000 - 5,000

PROVENANCE

Private Collection, United Kingdom since 1920s

49 SyDnEy LOuGH THOMPSOn 1877 - 1973

A Street in Saint Jeannet en Provence Oil on canvas board 44 x 30

Signed

ESTIMATE

$8,000 - 12,000

PROVENANCE

Same family collection since 1940s Letter to owner from artist’s daughter Annette Thompson affixed verso, dated 1993

50 GOTTFriED LinDAuEr 1839 - 1926

Nicholas Ellison (Ngai Tahu) - British Royal Artillery Oil on canvas 84.5 x 65

ESTIMATE

$40,000 - 60,000

Nicholas Ellison was batman to Alfred William Pomare of the Royal Hussars. On his return to New Zealand he became a Royal Envoy.

51 rOy GOOD

b. 1945

Colour Column, 1975

Acrylic on canvas 183 x 61

Signed, inscribed & dated 1975 verso

ESTIMATE

$3,000 - 5,000

52 rAyMOnD CHinG

b. 1939

Goosanders

Oil on board 49 x 82.8

Signed

ESTIMATE

$12,000 - 16,000

PROVENANCE

Private Collection, United Kingdom

53 COLin VErnOn WHEELEr

1919 - 2012

MacKenzie Country

Oil on board 66 x 89

Signed

ESTIMATE

$10,000 - 15,000

PROVENANCE

Ross Sutton Collection

Third prize, Kelliher Art Award 1970

ILLUSTRATED

plate 47 The Kelliher, 67 Award Winning Paintings of the New Zealand Landscape and it’s People, Richard King, Orakau House 1979

The saga of James MacKenzie, a Scottish shepherd who arrived in the country around 1850, provides New Zealand with a Robin Hood or Ned Kelly cycle of folk-tales. What is known about MacKenzie is sparse, what has been attributed to the man makes up a rich tapestry of legend.

It is certain that MacKenzie removed a thousand sheep from a run in Canterbury and was caught driving the flock towards Otago. He was convicted of sheep stealing and sentenced to five years in Lyttelton jail. After escaping several times he was freed within a year, the authorities found him an expensive embarrassment and he was ordered to leave the country. It has been claimed that MacKenzie was duped into taking the sheep, that he discovered a pass into a realm of rolling foothills known only to the Maori, that his dog, a remarkable collie with whom the shepherd could work wonders, innocently identified her master in the dock and was later hanged as a witch; that she survived to breed a line of ‘super’ sheepdogs; that she understood only Gaelic and that MacKenzie returned to spirit her away.

It does appear that MacKenzie claimed title to a block of land vaguely described as bearing north-west from Timaru and midway between the sea and the west coast of the Middle Island. Whatever the truth of the MacKenzie myth, the broad basin of the Tekapo River proudly bears his name. Its shallow valleys and gentle slopes with tussock and snowgrass cover grow excellent Merino wool but power pylons will soon march across the land, bringing electricity from hydro projects planned for the lakes on the mountainous fringe of the MacKenzie Country.

Text: The Kelliher, 67 Award Winning Paintings of the New Zealand Landscape and it’s People, Richard King, Orakau House 1979

54 MAry ELiZAbETH TriPE 1867 - 1939

Cottage with Wysteria Watercolour 35 x 25

Signed

ESTIMATE

$1,000 - 2,000

55 CHriSTOPHEr PErKinS 1891 - 1968

Dorset Coast from Swire Head Oil on board 49 x 60

Signed, inscribed & dated 1960 on original artist’s label affixed verso

ESTIMATE

$6,000 - 8,000

1835 - 1913

$35,000 - 45,000

57 COLOnEL rObEr T HEnry WynyArD

1802 - 1864

Princess Street, 1849

Watercolour and ink 18 x 22

Inscribed & dated 1849

ESTIMATE

$25,000 - 35,000

58 Ar TiST unKnOWn

New Zealand 19th Century

Ngatimara Tribe. Hauraki Gulf 1847

Watercolour 22 x 18

Inscribed & dated 1847

Paper watermarked R Turner 1837

ESTIMATE

$8,000 - 12,000

PROVENANCE

Private Collection, Australia

59 niCHOLAS CHEVALiEr

1828 - 1902

Akaroa

Watercolour 19.2 x 59.2

Signed & dated 1868

ESTIMATE

$25,000 - 35,000

PROVENANCE

Private Collection, Auckland

Purchased by current vendor, Christies. Australia

Paintings, Prints & Books, 1986 - Lot 184

Nicholas Chevalier had studied in Europe and London before travelling to Australia in 1854, where he made paintings and drawings of the goldfields. He worked as a professional artist in Melbourne and introduced chromo-lithography to Australia. For almost two years in the mid 1860s he travelled widely in New Zealand, sometimes accompanied by his wife, whose diaries record the rigours and hardships endured on some of their journeys.

In February 1869, three Chevalier watercolours were exhibited at the Otago Fine Arts Exhibition but there was some disappointment that there were not more. The Press reported: ..... the artist had no works on hand to send, so it is likely that most of them were still overseas. The following year Chevalier was represented by several watercolours including Akaroa (cat no 9), in the Canterbury Art Exhibition held at Canterbury Museum. Text Nicholas Chevalier An Artist’s Journey through Canterbury in 1866

In 1869 Chevalier accompanied the Duke of Edinburgh on his world tour, before returning to live in London. A large collection of Chevalier's New Zealand watercolour paintings is held in the national collection in Wellington, gifted by his widow.

60 CAPTAin riCHArD OLiVEr

1811 - 1889

Ihawera Watercolour 36 x 25.5

Inscribed

ESTIMATE

$6,000 - 9,000

1891-1949

Signed

ESTIMATE

$4,000 - 6,000

PROVENANCE Private Collection, Rhode Island, USA

1891-1949

A Hot Day Oil on canvas 25 x 18

ESTIMATE

$4,000 - 6,000

PROVENANCE Private Collection, Rhode Island, USA

63 ALbEr T EDWArD ALDiS

1870 - 1921

Auckland Harbour Oil on canvas 20 x 29

Signed & dated 1890

Inscribed verso

ESTIMATE

$2,500 - 3,500

PROVENANCE

Private Collection, Germany

64 JOHn bArr CLArKE HOyTE

1835 - 1913

Coromandel Coast with Miners Disembarking

Watercolour 20 x 30

Signed

ESTIMATE

$2,500 - 3,500

PROVENANCE

Private Collection, Queensland

Purchased by current owner from International Art Centre Art Auction 18/03/1976

65 CHArLES bLOMFiELD

1848 - 1926

Pink Terraces

Oil on canvas 34.5 x 44.5

Signed & dated 1891

ESTIMATE

$15,000 - 20,000

PROVENANCE

Private Collection, Auckland

Purchased from International Art Centre, circa 1979

66 rEVErEnD JOHn KinDEr

1819 - 1903

Mount Te Aroha and the Thames Watercolour and bodycolour on paper 28 x 45

Inscribed & dated 1886

ESTIMATE

$7,000 - 10,000

PROVENANCE

Ex Collection of Artist’s Grandson John Kinder

REFERENCE

Kinder sketched the Te Aroha region between 1885 - 1891. The River Waihou that features as subject matter in this work was commonly know as Thames in Kinders day, hence the title

Mount Te Aroha and the Thames

67 CHArLES DECiMuS bArrAuD

1822 - 1927

Pukawa Lake from the Te Aute Road, Hawkes Bay Watercolour 28.5 x 48

Signed. Inscribed & dated 1862 on original label affixed verso

ESTIMATE

$3,000 - 5,000

PROVENANCE

Private Collection, Queenstown

68

69 ALFrED SHArPE

1836 - 1908

Native Storehouse

Watercolour 22.5 x 41.5

Signed & dated 1879

ESTIMATE

$5,000 - 8,000

70 ALFrED SHArPE

1836 - 1908

Off East Cape Islet NZ

Watercolour 23 x 42

Signed, inscribed & dated 1879

ESTIMATE

$4,000 - 6,000

68 LOuiS JOHn STEELE

1843 - 1918

Two Maori & Waka

Watercolour 6 x 6

Signed, inscribed ‘Auckland’ & dated 1905 verso

800 - 1,200

ESTIMATE

$800 - 1,200

PROVENANCE

Private Collection, United Kingdom

This work was thought to be commissioned by Alexander Thomson after the eruption of Mount Tarawera in 1886. There is another work by George O’Brien of a similar subject in the collection of the Otago Early Settlers Museum, Dunedin, titled Mount Tarawera, showing floating pumice after eruption 1886 at Loin Rock Lake Rotomahana. Reference: p 66 Pavilioned In Splendour. George O’Brien’s Vision of Colonial New Zealand. Roger Collins and Peter Entwhistle, Dunedin Public Art Gallery 1986.

72

71 GEOrGE O’briEn

1821 - 1888

Lake Rotomahana

Watercolour 57 x 78.5

Signed

ESTIMATE

$10,000 - 15,000

72 PETruS VAn DEr VELDEn

1870 - 1921

Landscape also known as Canal Scene, Holland

Oil on canvas on board 55 x 85

ESTIMATE

$8,000 - 12,000

PROVENANCE

Illustrated p. 55 Petrus van der Velden, A Catalogue Raisonné Volume II, T L Rodney Wilson, Chancery

Chambers Publishers 1979 Cat. no. 1.3.2.28. Titled Landscape in this publication

Original Petrus van der Velden Art Collection label signed by Gerrit van der Velden affixed verso. Titled Canal Scene Holland on this label.

Lake

Signed

ESTIMATE

$3,000 - 4,000

74 TOM ESPLin 1915 - 2005

Vilnius Oil on board 29 x 39 Signed

ESTIMATE

$4,500 - 6,500

75 PETEr MCinTyrE 1910 - 1995

West Coast Beach

Watercolour 53 x 74 Signed

ESTIMATE

$8,000 - 12,000

76 SyDnEy LOuGH THOMPSOn

1877 - 1973

Market in Brittany Oil on board 35 x 43

Signed

ESTIMATE

$9,000 - 13,000

77 DOuGLAS bADCOCK

1922 - 2009

Old Stone and Brick Cottages

Miner’s Relics at Gibbston, Central Otago Oil on board 50 x 71

Signed & dated 1972. Inscribed & dated December 1972 verso

ESTIMATE

$3,500 - 5,000

1919 - 2012

Kauru Hill School

Oil on board 64 x 73

Signed & dated 2003

ESTIMATE

$2,500 - 3,500

1835 - 1913

Marlborough Watercolour 32 x 67.5

Signed & dated 1876

ESTIMATE

$12,000 - 16,000

80 JuSTin SuMMEr TOn

b. 1968

Bachelor Pad - Cheltenham Beach

Oil on canvas 122 x 167

Signed & dated 2013

ESTIMATE

$8,000 - 12,000

REFERENCE

Justin Summerton says:

I've been enjoying the Important, Early and Rare catalogues from the International Art Centre for a while and often sit down with a coffee in a sunny bay window to pour over them - always thinking man I wish I could get a work into this auction. So I set out to paint something worthy.

The germ of the idea for this painting came when looking at the cover of a International Art Centre catalogue which featured Charles Blomfield's Cheltenham Beach. I realised that Devonport had greatly changed with the passing of time. I set out to paint the Auckland of today, juxtaposed against Blomfield's interpretation. The work I created is part of the Bachelor Pad series. I've also paid homage to another favourite painter of mine, Gordon Walters. The painting on the easel is of contemporary Auckland with its container port, cranes, harbour bridge and Sky Tower. The modernist work with flipsided koru is in contrast to both the other paintings. There is a link to Walters koru motif which is based on the native New Zealand fern tip mirrored in the pot plant in the right of the painting.

I feel privileged that this work is included in this catalogue and by coincidence so are works by both Blomfield and Walters.

81 DOuGLAS bADCOCK

1922 - 2009

Lonnekers, Stewart Island Oil on board 39 x 56

Signed. Inscribed & dated 1968 verso

ESTIMATE

$4,000 - 6,000

PROVENANCE

Artist’s Estate Collection

82 DOuGLAS bADCOCK 1922 - 2009

Papatowai, Southland, Looking Towards Pillans Head, Inhuka (Long Point) Oil on board 40 x 60

Signed

ESTIMATE

$4,000 - 6,000

PROVENANCE

Artist’s Estate Collection

83 JOHn WEEKS

1885 - 1965

Landscape with River and Sunny Hills

Oil on canvas on board 17.5 x 29

Certificate of Authenticity signed by Hilda O’Connor and Allan Swinton affixed verso

ESTIMATE

$2,500 - 3,500

84 A LOiS WHiTE attributed 1903 - 1984

Among Lilies

Watercolour 23.2 x 20

Together with a study of the same subject

Watercolour 23 x 20

ESTIMATE

$4,000 - 6,000

85 K (KiTTy) Airini VAnE 1891 - 1965

Seventy one works on paper featuring New Zealand and Foreign subject matter. Gouache on paper 28 x 44 (average size) and watercolour

Most signed, some dated Unframed in storage box, each between conservation tissue

ESTIMATE

$8,000 - 12,000

REFERENCE

K Airini Vane was the daughter of Captain Gilbert Mair, a hero of the Maori wars and his wife, the artist Kate Sperry who had studied in Rome. Their daughter was born in Wainuiomata in 1891. As a young woman, the outbreak of war in 1914 saw her nursing in Malta. It was here that she met her solider husband the Hon. Ralph Vane, son of the 9th Baron Of Barnard.

In the 1920s K Airini Vane painted in Tunisia, Canada, USA, Spain, Turkey, Greece, Italy, Monaco and Guatemala. Her work was accepted by the Royal Academy in 1929. The 1930s saw a return to Malta and time spent in both North and South Africa. Returning to New Zealand in 1939 the artist donated proceeds from the sale of her work to the Red Cross and Navy League. During the Second World War K Airini Vane painted and exhibited in New Zealand and Fiji.

Always an inveterate traveller, 1949 saw a return to Europe and North Africa where she worked for a further three years. On her return to New Zealand K Airini vane settled at Langs Beach, Northland. She was a regular exhibitor at the New Zealand Academy of Fine Arts and the Auckland Society of Art until the mid 1950s.

In 1957 K Airini Vane was injured in an accident, sadly ending her career as a successful artist. She died in 1965. She is represented in both public and private collections worldwide.

PROVENANCE

These seventy one works are being sold as one lot on behalf of the Greg Whitecliffe Memorial Charitable Trust. The Trust was established in 2002 to support and inspire committed young artists seeking a career in the arts.

To this end the Trust has supplied eleven promising Year Eight students from various intermediate schools with art materials. It has assisted with funding to enable two artists/designers set up their first business. On the 100th Anniversary of Parnell Primary School the Trust supported a creative initiative which involvied first year Whitecliffe students interested in teaching art. Recently, twelve Whitecliffe BFA students received scholarships to attend workshops in New York, San Francisco and Shanghai.

Michele Whitecliffe is passionate about supporting young, emerging artists. All funds raised from the sale of works by K Arini Vane will be used to create scholarships and fund equipment to assist these talent young people make a difference in our community.

Fifteen works illustrated. All seventy one works may be viewed as PDF download www.fineartauction.co.nz

86 WiLLiAM GEOrGE bAKEr

1864 - 1929

West Coast Road

Oil on canvas 39 x 55

Signed & inscribed

ESTIMATE

$2,500 - 3,500

87 WiLLiAM GEOrGE bAKEr

1864 - 1929

Awahuri Road, Fielding

Oil on canvas 60 x 90

Signed & inscribed

ESTIMATE

$2,500 - 3,500

88 GEOrGE EDMunD PruDEn

c.1842 - c.1923

Bush Clearing, Mt Egmont Oil on board 90 x 195

Signed & dated 1911

ESTIMATE

$4,000 - 6,000

PROVENANCE

Collection of the Pruden Family since painted

89

89 PETEr MCinTyrE

1910 - 1995

Sheep Sorting

Ink on paper 34 x 30

Signed

ESTIMATE

$2,500 - 3,500

ILLUSTRATED

p. 68 Peter McIntyre’s New Zealand

A H & A W Reed Ltd

90

90 rAyMOnD CHinG

b. 1939

Little Shag

Pencil on paper 22 X 28

Signed & inscribed

ESTIMATE

$1,500 - 2,500

91 CHArLES nATHAniEL WOrSLEy

1862 - 1923

Rezzonico, Lago di Como

Watercolour 25 x 70

Signed

ESTIMATE

$1,500 - 2,500

92 Ar TiST unKnOWn

Napoleonic War, Light Infantry Soldiers

Watercolour 20 x 27

Extensive inscription verso

ESTIMATE

$800 - 1,200

93 JOHn ELDEr MOuLTrAy 1865 - 1922

Trotters Gorge Near Palmerston & West Coast - A Pair

Oil on board 30 x 47

One signed

ESTIMATE

$2,000 - 3,000

94 JOHn bArr CLArKE HOyTE 1835 - 1913

Northland

Watercolour 28.5 x 48

Signed

ESTIMATE

$4,000 - 6,000

95 HEnry WiLLiAM KirKWOOD 1854 - 1925

Lake Manapouri

Oil on canvas 50 x 74

Signed & inscribed

ESTIMATE

$3,000 - 5,000

PROVENANCE

Private Collection, Auckland

Purchased from International Art Centre, circa 1978

96 HEnry WiLLiAM KirKWOOD 1854 - 1925

Trout Fishing Oil on board 43.5 x 29.5

Signed

ESTIMATE

$1,500 - 2,500

Next auction Contemporary & Collectable

Thursday 29 August

97 JOHn Gibb

1831 - 1909

South Island Lake Scene with Sail Boat Oil on canvas 40 x 61.5

Robert McDougall Art Gallery letter of authenticity affixed verso ESTIMATE

$3,000 - 5,000

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