Important, Early & Rare 26th July 2012 by International Art Centre

Important, Early & Rare

6:30pm Thursday 26th July 2012

Important, Early & Rare

6:30pm Thursday 26th July

Scarborough

Location map

Works purchased may be uplifted at close of sale or day after sale on Friday 27th July 9.30am - 5.00pm.

Payment may not be made during sale.

Auction Contacts

Richard Thomson Frances Davies

Ph: 09 379 4002

Ph: 09 379 4010 richard@artcntr.co.nz fran@artcntr.co.nz

Mobile: 027 4751 071

Mobile: 027 4936 360

Auction assistants and administration

Luke Davies

Ph: 09 379 4010

James Watkins

Ph: 09 366 6045 luke@artcntr.co.nz james@artcntr.co.nz

Trish Young www.fineartauction.co.nz

Ph: 09 366 6045

Skype: fineartauction trish@artcntr.co.nz info@internationalartcentre.co.nz

Auction Venue

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

On Evening of Sale:

Please join us in our main gallery from 5.30pm for a glass of wine and refreshments. Coffee served before and during auction. For your additional comfort and viewing pleasure our street level gallery remains open until sale completion.

Car Parking

Parking During Viewing Days:

Available on site during weekend viewing, Saturday 21st & Sunday 22nd

July. Use Scarborough Lane entrance beneath our main gallery. During other viewing times on site parking is available on request.

Parking During Auction:

Limited parking is available on site. Use Scarborough Lane entrance beneath our main gallery to access these carparks on evening of sale. Parking on Parnell Road is free after 6:00pm. A secure two level pay and display carpark is located at 282 Parnell Road.

Viewing Times

International Art Centre’s Scarborough Gallery, Lower Ground Level, 272 Parnell Road, Auckland

Friday 20th July 9:00am - 5:00pm

Saturday 21st July 11:00am - 4:00pm

Sunday 22nd July 11:00am - 4:00pm

Monday 23rd July 9:00am - 5:30pm

Tuesday 24th July 9:00am - 5:30pm

Wednesday 25th July 9:00am - 5:00pm

Thursday 26th July 9:00am - 1:00pm (Auction 6:30pm)

Important, Early & Rare

Held 29 March This Important Early & Rare auction grossed in excess of $1.1 million, once again delivering the year’s highest New Zealand art auction total to date.

Prudent investors and enthusiastic collectors seeking tangible assets and quality works continue to play a significant role at the premium level of the New Zealand art market.

This well attended sale saw some exciting bidding duels with several lots achieving results beyond their highest estimate

J B C Hoyte fetched $102,900

Frances Hodgkins fetched $52,000

Charles Blomfield fetched $114,300

Peter McIntyre fetched $36,000

Garth Tapper fetched $12,580

W A (Bill) Sutton fetched $48,030

Douglas Badcock fetched $8,860

Peter Siddell fetched $21,000

March & May Sales at a glance

Collectable & Contemporary

Held 2nd May A pleasing result for our early May auction saw around 70% of the 200 lot offering sell under hammer and most of the remaining lots sell post auction. The popularity of these sales continues to increase as they appeal to both existing clients and new buyers who may be entering the market on limited budgets.

J B C Hoyte fetched $59,400

David Barker fetched $10,550

E Mervyn Taylor fetched $2,630

Garth Tapper fetched $7,620

Edwin Harris fetched $85,785

Felix Kelly fetched $8,570

Nigel Brown fetched $6,740

LUCI HARRISON PHOTOGRAPHY

www.luci.co.nz

The Only Auctioneers of Pictures Exclusively

WILLIAM GEORGE BAKER 1864 - 1929

Tawhata, Wanganui River

Watercolour 23.5 x 49.6

Signed & inscribed

ESTIMATE

SAM STUART 1855 - 1920

View to Mt Karioi through Trees

Watercolour 17.0 x 25.0

Signed & inscribed verso

$1,200 - 1,600 3

SAM STUART 1855 - 1920

Maori Chief in Geyserland

Watercolour 17.0 x 17.0

Signed & dated 1908

ESTIMATE

$1,500 - 2,000

1835 - 1913

Ohinemutu Village, 1873

Watercolour 24.5 x 43.0

Signed

ESTIMATE

$10,000 - 15,000

JOHN BARR CLARKE HOYTE

WALTER WRIGHT

1866 - 1933

Maori outside Whare Oil on canvas 27.5 x 48.5

Signed

ESTIMATE

$4,000 - 6,000

JOHN PHILEMON BACKHOUSE

1845 - 1908

River Avon, Christchurch Oil on shell 8.0 x 7.3

Signed & inscribed

ESTIMATE

$1,500 - 2,500

VERA CUMMINGS

1891 - 1949

Princess Te Puea Herangi Oil on canvas 25.0 x 19.6

Signed

ESTIMATE

$8,000 - 12,000

HILDA BLANCHE (CORA) WILDING 1888 - 1982

Flamyant Tree, Papette, Tahiti

Watercolour 32.0 x 48.5

Signed

ESTIMATE

$800 - 1,500

FRANK BARNES

HENRY WILLIAM KIRKWOOD 1854 - 1925

Winding Road Near Nelson Oil on board 22.0 x 14.5

Signed

ESTIMATE

$1,500 - 2,000

HENRY WILLIAM KIRKWOOD 1854 - 1925

George Sound Oil on canvas 60.0 x 90.0

Signed & inscribed

ESTIMATE

$3,000 - 5,000

VERA CUMMINGS

1891 - 1949 ‘Tunga’ Ngati Oro Tribe NZ

x 14.0

$4,000 - 6,000

$3,000 - 5,000

HENRY WILLIAM KIRKWOOD 1854 - 1925

Lake Scene, Southland Oil on board 23.0 x 36.0

Signed

ESTIMATE

$1,500 - 2,000 16

JOHN PHILEMON BACKHOUSE 1845 - 1908

Maoriland

x 7.5

Signed & inscribed ESTIMATE

$1,500 - 2,500

CHARLES BLOMFIELD 1848 - 1926

Auckland from Mt Eden

on board 20.5 x 32.2

Signed & dated 1924

$14,000 - 16,000

JOHN GULLY

1819 - 1888

Southern Waterfall

Watercolour 64.0 x 48.0

Signed

ESTIMATE

18,000 - 24,000

JOHN PHILEMON BACKHOUSE

1845 - 1908

Otukapuarangi - The White Terrace

Oil on board 22.8 x 15.4

Signed

ESTIMATE

$1,500 - 2,500

VERA CUMMINGS

1891 - 1949

Guide Sophia Oil on canvas board 38.0 x 28.0

Signed

Inscribed ‘Sophia, Guide at Rotomahana Hot Lakes, NZ’ verso

ESTIMATE

$5,000 - 8,000

ANTONIO ZATTA 1757 - 1797

Nuova Zelanda 1778

Handcoloured copper plate engraving 35.4 x 45.5

Published Venice 1778

ESTIMATE

$4,500 - 6,500

18 Important, Early & Rare Thursday 26th July 2012

JAMES COOK 1728 - 1779

Publisher Jacques Nicolas Bellin (1703 -1772)

Kaart Van Nieuw Zeeland in de Jaaren 1769 en 1770 bezogt door den Luitenant J. Cook met het Schip De Endeavour.

Coloured lithographic 35.4 x 45.5

From the Dutch edition of Prevost’s “L’Histoire Générale des Voyages”

ESTIMATE

$4,500 - 6,500

JAMES COOK

Publisher J D Philipp - 1774

Riviere Tamises et Baye Mercure, Nle Zéland from the French / German edition of Cook’s first voyage

Lithograph 30.0 x 45.0

ESTIMATE

$1,000 - 1,400

VINCENZO CORONELLI 1650 - 1718

Map of New Zealand in 1642

Copperplate engraving, handcoloured published Venice 1696 39.5 x 29.5

ESTIMATE

$3,000 - 5,000

This rare map is the first published of New Zealand from the 1642 discoveries of Abel Tasman. Sailing from Mauritius, Tasman took possession of Tasmania. He was the first to sight land on the north west coast of the South Island, naming it Staten Landt. At the time of his voyage the existence of a large southern continent was assumed, with New Zealand as part of the north-western coastline. This myth was not dispelled until Cook’s mapping of the coastline of New Zealand over one hundred years later.

GARTH TAPPER

1927 - 1999

The Barmaid - Occidental Hotel Oil on board 27.0 x 39.0

Signed & dated 1983

ESTIMATE

$6,000 - 8,000

25 GARTH TAPPER

1927 - 1999

The Black Singlet - Gluepot Series Oil on board 44.0 x 57.5

Signed & dated Nov 1979

ESTIMATE

$3,500 - 4,500

26 JOHN WEEKS

1886 - 1965

Marine Reflections Oil on canvas 48.0 x 61.0

ESTIMATE

$7,000 - 10,000

ADELE YOUNGHUSBAND

1878 - 1969

Northland Countryside

Oil on canvas 50.0 x 60.0

Signed & dated 1958

ESTIMATE

$7,000 - 10,000

PROVENANCE

Artist’s Estate Collection

REFERENCE

Adele Younghusband was born in Te Awamutu, the daughter of a local politician/farmer and the niece of botanical painter, Fanny Osborne. From an early age Adele’s artistic leanings were obvious. Against her family’s wishes she learnt photography, working as a photographic retoucher in Hamilton. In 1905 she married Frank Younghusband, a grocer and the couple moved to Auckland where Adele joined the Auckland Society of Arts in 1909. The couple separated in 1917 and by 1919 Adele was living in Whangarei and supporting her three children as a successful portrait photographer. With fellow photographer/artist George Woolley, Adele founded the Whangarei Art Society. In later life Adele donated a collection of her work to the city of Whangarei.

As a single mother during the depression years of the early 1930s she worked in Dargaville and Tauranga before eventually returning to Hamilton. She was in her forties before being able to fully commit to painting.

In 1934 Adele and Ida Carey founded the Waikato Society of Arts. The late 1930s saw her exhibiting in Sydney and studying painting under George Bell at the Bourke Street Studio School, Melbourne. Bell was a leading spokesman for 'modern art.' Adele's successful Auckland exhibition of 1941 was followed by the establishment of her Panmurebased studio from where she worked for the next twenty years. An artist of competence and versatility she is acknowledged as an early pioneer of surrealism, adept in many mediums who explored diverse subject matter with originality.

In the catalogue introduction to the 2008 exhibition The Cursive Line: Adele Younghusband, curated by Scott Pothan and toured by the Whangarei Art Museum, Peter McLeavey writes: ... she was greatly gifted .... during a fairly short creative life she produced a number of images, which to me give her immortality. They have a power, strength and vigor which mark them as icons of her time, of our land in the 1930s and 1940s.

Adele Younghusband died in Auckland in her early nineties. Her work is represented in public and private collections

ADELE YOUNGHUSBAND

1878 - 1969

Yucca Lillies

Oil on canvas board 59.5 x 44.0

Signed & dated 1959

ESTIMATE

$2,500 - 3,500

PROVENANCE

Artist’s Estate Collection

ADELE YOUNGHUSBAND

1878 - 1969

Brickworks

Oil on board 38.0 x 49.0

Signed & dated 1957

ESTIMATE

$5,000 - 8,000

PROVENANCE

Artist’s Estate Collection

JOHN WEEKS

1886 - 1965

JOHN WEEKS 1886 - 1965

Weeks O’Connor stamp verso

ESTIMATE

$4,000 - 6,000

Inscribed verso

$5,000 - 8,000

Mediterranean Rooftops Oil on canvas 35.0 x 39.5

Fishing Boats, St Monance, Fife Oil on canvas 35.0 x 50.5

32 GARTH TAPPER

1927 - 1999

Port Waikato Sand Dunes

Oil on board 89.0 x 122.0

Signed & dated 1978

Inscribed Sand Dunes verso

ESTIMATE

$15,000 - 20,000

ILLUSTRATED

plate 69 Garth Tapper New Zealand Painter, William P Tapper, Tapper Art Publishing 1998

REFERENCE

While Tapper was making his mark with New Zealand’s social habits, he also showed his masterly interpretation of New Zealand landscape in two fine works: Port Waikato and Port Waikato Sand Dunes.

p. 76 Garth Tapper New Zealand Painter, William P Tapper, Tapper Art Publishing 1998

EDWARD FRISTROM

1864 - 1950

An Auckland Wharf

Oil on board 22.0 x 30.5

Signed ESTIMATE

$8,000 - 12,000

PROVENANCE

Private Collection, United Kingdom

EXHIBITED

Auckland Society of Arts

REFERENCE

Claus Edward Fristrom (1864–1950) was born in Sweden. As a young naval cadet he deserted ship to join his brother Oscar who was working as a photographer and portrait painter in Brisbane. Oscar Fristrom is remembered as founder of the Queensland Art Society. Edward Fristrom exhibited fifty three paintings with the Society between 1899 and 1902, he married in Brisbane and had three children.

The family arrived in Auckland in 1903. Fristrom joined the Auckland Society of Arts and established a Queen Street studio. The painting, An Auckland Wharf was purchased at this time together with the following two lots, Incoming Tide, Mahurangi and At Palliser Bay. For many decades these works were held in a private, United Kingdom collection. Following repatriation they are now offered for sale.

Leaving New Zealand for Queensland in late 1909, Fristrom returned in 1911 to teach at Elam School of Art. In 1915, following his resignation over a pay dispute, he became mentor for a breakaway group of supportive students which included Minnie White, Ida Eise, George Finney and Marcus King. Fristrom’s work, like that of contemporaries James Nairn and Girolamo Nerli, received a somewhat mixed reception in New Zealand. At the time many collectors had a conservative approach to art while Fristrom’s work included elements of impressionism and avant-garde techniques.

In July 1915 Fristrom departed from Wellington for the United States. Settling in Northern California he exhibited rural and coastal views. He died on 27 March 1950 in San Anselmo, California. Fristrom, best known for his small, impressionistic oil paintings, is represented in all major New Zealand galleries and the Turnbull and Hocken Libraries.

EDWARD FRISTROM 1864 - 1950 At Palliser Bay

$4,500 - 6,500

Collection, United Kingdom

$5,000 - 8,000 PROVENANCE

DORIS LUSK

1916 - 1990

Mikonui, West Coast

W A (BILL) SUTTON

1917 - 2000

Road to Cromwell

Linocut, edition of 24 13.5 x 16.5

Signed, inscribed & dated 1945

ESTIMATE

$800 - 1,200

The role of printmaking in Sutton’s work is minor and confined to his formative years as an artist between 1936 and 1946. In 1937 he was awarded the Richdale Prize for etching. Whilst he had an interest in etching it was mostly through lino block prints that Sutton found greater opportunity to use colour. In the early 1940s he was able to apply his skill in linocut illustrations for the wartime magazine Korero.

Watercolour 36.0 x 53.0

Signed

ESTIMATE

$2,500 - 3,500

OLIVIA SPENCER BOWER 1905 - 1982

Canterbury Landscape

Watercolour 43.0 x 54.5

Signed

ESTIMATE

$5,000 - 8,000

1880 - 1956

Signed

ESTIMATE

$3,000 - 5,000

PROVENANCE

Original label affixed verso. Inscription reads Dowse Cat. No. 4

Signed

ESTIMATE

$6,000 - 9,000

PROVENANCE

Private Collection, Melbourne

Ex Artist’s Estate Collection

MAUD SHERWOOD

1880 - 1956

On the Italian Riveria

Watercolour 37.5 x 46.0

MAUD SHERWOOD

Beach Picnic

Watercolour 28.0 x 36.0

41 DON BINNEY

b. 1940

Ahu Ahu Southward, Karekare Beach

Oil on board 70.0 x 86.0

Signed & dated 1984

ESTIMATE

$150,000 - 200,000

PROVENANCE

Private Collection, Auckland

Purchased directly from the artist 1984

ILLUSTRATED

Inside front cover Rolling Thunder: The Spirit of Karekare Bob Harvey, Exisle, Titirangi 2001

REFERENCE

Auckland born Binney grew up in Parnell where he took art classes with John Weeks. From 1958 - 1961 he was a student at Elam School of Fine Arts. He later became Head of Painting at Elam, teaching there for twenty four years until retirement in 1998. Binney is one of New Zealand’s leading contemporary artists. He was awarded an OBE for services to the arts in 1995.

Binney describes himself as a figurative painter concerned with the psychic metaphor of the environment. Works frequently feature the west coasts of Northland and Auckland. Native birds, sea, sky and landforms reflect the artist’s connection, respect and innate understanding of environment. In birdwatching, Binney says he discovered a passage into the landscape and the opportunity to develop a personal relationship with it.

Ahu Ahu Southward, Karekare Beach contains many of the visual elements that have come to be associated with Binney. The painting has been held in a private collection since 1984 and was chosen for the inside cover of the 2001 publication, Rolling Thunder: The Spirit of Karekare by Bob Harvey.

42 FRANCES HODGKINS

1869 - 1947

Le Petit Choux

Watercolour 47.5 x 45.5

Signed ESTIMATE

$70,000 - 90,000

PROVENANCE:

Private Collection, Melbourne

Private Collection, New Zealand

EXHIBITED

Theosophical Society, Collins Street, Cat no. 28 Melbourne, Victoria

November 1912

REFERENCE

Painted in Paris, Le Petit Choux, was one of the works Frances Hodgkins chose to exhibit in Melbourne on her 1912 return to Australasia. The advent of war and her straitened economic circumstances made this her last visit. Hodgkins had written her mother a year earlier of her intention to permanently leave New Zealand as it is on the other side of the world that my work and future career lie.

Frances Hodgkins first port of call was Melbourne, before her intended tour of New Zealand. Here she exhibited seventy four watercolours in the Theosophical Society’s Room in Collins Street. Opening on 21 November 1912, the show was received with much enthusiasm. Over 3,000 people visited it within three weeks and in a letter to Rachael Hodgkins dated 12 November, Frances writes that she was royally entertained by society and the centre of debate amongst artists.

The newspaper critics were ecstatic. The Argus wrote ...... she paints with a giant's strength, until she arrives at some terrific examples of the ultra-impressionism that almost take one's breath away. The Herald reported .....a breath from one of the more important of the modern French art movements. The dominant idea in her work is one of vibrating light and movement, the sense of which is preserved throughout in decorative colour schemes of brilliancy and beauty. Purchasers included the National Gallery of Victoria and the Governor of Victoria.

Le Petit Choux, number 28 in the exhibition, was purchased by a Melbourne family who held it for seventy six years. Many works in the catalogue were acquired or have subsequently entered public collections in New Zealand and Australia and are amongst Hodgkins most loved works. After the Melbourne show, Hodgkins packed the remaining works and continued on to Wellington for Christmas with her family. Before her final return to Europe in October 1913 she held solo exhibitions in Sydney, Adelaide, Dunedin and Wellington.

The portrayal of mother and child was a favourite subject of Impressionist artists such as Renoir, Mary Cassatt and Berthe Morisot. Hodgkins, who first departed New Zealand in 1901, had spent much of her time up until 1912, in France, painting, studying and teaching. Her watercolours of that latter period, particularly, express a buoyancy of feeling in their brushstrokes and enthusiasm for her subject matter. Le Petit Choux depicts the same figures as Dunedin Public Art Gallery’s Woman and Child, c. 1912 and Summer, c. 1912. These people were possibly her landlady’s family and Hodgkin’s empathy with the intimacy of family life is palpable in the encompassing embrace, loving gaze and elevation of the beloved and seemingly indulged child. The child’s face is bathed in light with eyes as blue as the sky. The mother’s large hands speak of hard work contrasting with the child’s softness. This vitally painted work of a humble woman and her infant expresses the adoration and expectancy of the classic madonna and child.

43 PETER SIDDELL

1935 - 2011

Opening Oil on canvas 122.0 x 170.0

Signed & dated 1988

ESTIMATE

$145,000 - 165,000

PROVENANCE

Dame Kiri Te Kanawa Collection

REFERENCE

Sir Peter Siddell has long been recognized as one of New Zealand’s leading realist artists. Auckland born Siddell was educated at Mt Albert Grammar School and the Auckland College of Education, he began painting professionally in 1972. In 1990 he 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.

Should one be asked to compose a checklist of stylistic elements identified with Siddell, all are to be seen in this work. Here, the artist’s wish to create a world from my imagination which will be immediately accepted by others as real is clearly fulfilled. To this suburban mosaic of villas and bungalows the artist introduces a personal pictorial note with the inclusion of his local Mt Eden Village shops. The title Opening is most likely inspired by the dramatic cloud formation which opens to reveal a blue sky.

Peter Siddell is represented in the permanent collections of public art galleries throughout New Zealand

44 GOTTFRIED LINDAUER

1839 - 1926

Tapita Matina

Oil on canvas 85.0 x 66.0

ESTIMATE

$100,000 - 150,000

PROVENANCE

Ex George Wooller Collection, Auckland Private Collection, North Island

REFERENCE

For comprehensive information on the life and work of Gottfried Lindauer visit Auckland Art Gallery Toi o Tamaki’s Gottfried Lindauer website www.lindaueronline.co.nz/

This exceptionally fine painting by Gottfried Lindauer is unusual in that it is a direct portrait study rather than a studio painting from photographs.

In a letter to Auckland dealer Barry Lett, dated November 1964, art curator Hamish Keith comments on the quality of the work and states that to the best of his knowledge it is the only known portrait of Tapita Matina.

For many years the painting was owned by the subject’s family. On her death it was gifted by her husband to Manawatu publicans Mr & Mrs Hancock, owners of the Awahuri Hotel near Palmerston North.

From a handwritten letter written by Mrs Hancock to her sister Josephine we learn that Tapita Matina was one of two sisters who owned land from Rangiwhai to Foxton Beach and the Oroua River through the King Country to Rangitikei. Tapita and her sister Henepaka were renowned horse women and local identities, their uncle being a signatory of the Treaty of Waitangi. We are further told that Tapita married Kiwi Reano a much loved and admired Otaki local, instantly recognisable on his grand white horse. Kiwi and Tapita adopted a young Pakeha boy who was later to lose his life in World War I .

In the early 1960s the painting was purchased at auction by Auckland businessman, George Wooller. It remained in the Wooller collection for twenty six years until its purchase in 1996 by current North Island owner.

Gottfried Lindauer and Charles F Goldie are the preeminent painters of Maori subjects from the late nineteenth and early twentieth centuries. Professionally trained at the Academy Fine Arts in Vienna, Lindauer migrated to New Zealand in 1874. His first portraits of Maori were painted in Nelson. A decision to move to Auckland in the mid 1870s resulted in a historically important meeting with businessman Henry Partridge. Over the next thirty years Partridge commissioned from Lindauer numerous Maori portraits and large scale works of traditional Maori life. Partridge gifted his Lindauer collection of sixty two portraits to the Auckland Art Gallery in 1915.

Lindauer travelled and painted extensively throughout New Zealand whilst retaining his European connections. In 1886 he visited Britain, exhibiting twelve of his Maori portraits at the Colonial and Indian Exhibition in London. Lindauer died in 1926 and is buried in the Old Gorge cemetery in Woodville.

CHARLES FREDERICK GOLDIE

1870 - 1947

Study of Still Life c. 1890

Oil on canvas 89.0 x 73.0

Inscribed ‘For competition, Class B, Section 7, Study of Still Life (in oil) by Karaka’ in artist’s hand on original label affixed to canvas verso

ESTIMATE

$130,000 - 160,000

PROVENANCE

Purchased by current owners from George Walker Auctions, Auckland c. 1967

ILLUSTRATED

p. 60 GOLDIE, Roger Blackley

Auckland Art Gallery Toi o Tamaki 1997

EXHIBITED

GOLDIE - The Exhibition

Auckland Art Gallery Toi o Tamaki, June - October 1997

Museum of Sydney NSW, May - July 1998

Dunedin Public Art Gallery, 1998

Robert McDougall Art Gallery, December 1998 - February 1999

Museum of New Zealand Te Papa Tongarewa, March - June 1999

Labels affixed verso

REFERENCE

This painting is an important and rare example of Goldie’s early work. An inscription on the label verso, illustrated above, confirms it as a study for a still life competition. In 1886, as a sixteen year old, the young Goldie had been awarded a prize for still life painting at the Art Students’ Exhibition in Auckland.

Over a century later curator Roger Blackley chose this work for inclusion in the major 1997 Goldie retrospective. The quality of paintings such as Study of Still Life c. 1890, led to Goldie being viewed as a prodigy by his teachers and contemporaries, while paving the way for his years spent at the Académie Julian in Paris.

Whilst Goldie retained a life long interest in the genre of still life, this work possesses the added dimension of the allegorical. The portrait of a young woman displayed on an easel alongside sable brushes, an artist’s palette, drying agents and French oil paints combine to tell the story of painting.

Label affixed to canvas verso

UNKNOWN PHOTOGRAPHER

Goldie in his Studio #1, circa 1908

Silver gelatin photographic print 17.5 x 23.5

Signed,inscribed & dated 1937 by Charles Frederick Goldie on mount

Inscribed To Mollie Gunson - with many pleasant memories, C F Goldie, Jan 1937

ESTIMATE

$1,000 - 1,500

ILLUSTRATED

p. 26 GOLDIE, Roger Blackley,

Auckland Art Gallery Toi o Tamaki 1997

EXHIBITED

GOLDIE - The Exhibition

Auckland Art Gallery Toi o Tamaki, 28 June - 28 October 1997

REFERENCE

In this historical photograph of C F Goldie in his studio, the arrangement of brushes, easel and peacock feathers next to the artist are those which feature in previous lot Study of Still Life c. 1890

UNKNOWN PHOTOGRAPHER

Goldie in his Studio #2

Silver gelatin photographic print 15.5 x 20.0

Signed,inscribed & dated 1920 by Charles Frederick Goldie on mount

Inscribed To my friend Bayliss with every good wish from C F Goldie, October 1920

ESTIMATE

$1,000 - 1,500

PROVENANCE

Private Collection, Auckland

EXHIBITED

GOLDIE - The Exhibition

Auckland Art Gallery Toi o Tamaki, 28 June - 28 October 1997

REFERENCE

Note indecipherable signature bottom left. Photo was taken at same time as similar pose p. 28 GOLDIE, Roger Blackley, Auckland Art Gallery Toi o Tamaki 1997, Collection of Auckland Art Gallery.

48 FRANCES HODGKINS

1869 - 1947

In Hyde Park

Watercolour 27.0 x 18.0

Signed & dated 1901

ESTIMATE

$60,000 - 80,000

PROVENANCE

Private Collection

ILLUSTRATED

p. 40 Portrait of Frances Hodgkins E H McCormick

Auckland University Press 1980, 1981 & 1990

EXHIBITED

Twelve watercolours by Frances Hodgkins, Cat no. 221

Otago Art Society, Dunedin November 1901

REFERENCE

p. 162, 163 & 226 Works of Frances Hodgkins in New Zealand

E H McCormick, Auckland City Art Gallery 1954

Otago Daily Times Review, 19 November 1901

At her lodgings in Selwood Terrace, South Kensington, London, Frances was within walking distance of the park. The watercolour was one of twelve she sent to the Otago Society’s show in November 1901. ‘It is evident’ commented the reviewer, ‘that Miss Hodgkins has already made considerable advance in her work, of which the colouring, as in her past work, is the most striking feature.

Text Portrait of Frances Hodgkins E H McCormick, Auckland University Press 1980, 1981 & 1990

49 DON BINNEY

b. 1940

Aspect of Erangi

Oil on canvas 77.0 x 110.0

Signed & dated 1977

ESTIMATE

$60,000 - 90,000

PROVENANCE

Private Collection, Wellington

Purchased directly from the artist 1977

REFERENCE

Auckland born Binney grew up in Parnell where he took art classes with John Weeks. From 1958 - 1961 he was a student at Elam School of Fine Arts. He later becoming Head of Painting at Elam, teaching there for twenty four years until retirement in 1998. Binney is one of New Zealand’s leading contemporary artists. He was awarded an OBE for services to the arts in 1995.

Whilst not a bird painting, Aspect of Erangi is a major work. The unmistakable Binney land and sea yields to a defined horizon line, above which a fabulous cloud formation mirrors the outstretched wings of wild gulls.

50 DON BINNEY

b. 1940

A Cape for Father Damien II Oil on board 118.0 x 62.5

Signed & dated 1993

ESTIMATE

$55,000 - 65,000

PROVENANCE

Private Collection, Wellington

EXHIBITED

Binney: Forty Years On, Dowse Gallery, Lower Hutt 2003 - 2004

ILLUSTRATED

p. 60 Don Binney: Nga Manu/Nga Motu - Birds/Islands, Damian Skinner, Auckland University Press 2003

Don Binney: Seven Paintings - A video recording directed by Roger Taberner, Auckland Art Gallery 2004

REFERENCE

Painted after Binney’s early 1990’s sabbatical in Hawaii, A Cape for Father Damien II features the volcanic landform of Molokai with a depiction of Father Damien on the beach wearing his wide-brimmed hat. In the sky above is a stylised image of a traditional feather cloak worn by Hawaiian chiefs.

Father Damien or Saint Damien of Molokai (1840 -1889) was a Roman Catholic priest from Belgium who ministered for sixteen years to lepers quarantined on the Hawaiian island of Molokai. In 2009 he was canonized by Pope Benedict XVI.

The work features as a full colour plate in Damian Skinner’s Don Binney: Nga Manu/Nga Motu - Birds/Islands, Auckland University Press 2003. In Roger Taberner’s documentary, Don Binney: Seven Paintings, the artist speaks about his seven favourite works. Binney stands alongside A Cape for Father Damien II speaking passionately of the work. A DVD (included with lot) of this talk will screen periodically during auction viewing.

51 JOHN HOLMWOOD

1910 - 1987

Lillies

Oil on board 94.5 x 69.0

Signed & dated 1950

ESTIMATE

$12,000 - 16,000

PROVENANCE

Collection of the Artist’s Estate

K R LEECH

19th Century New Zealand

Maungawhau - Mt Eden

Watercolour 18.4 x 27.3

Signed & dated May 1878

ESTIMATE

$5,000 - 10,000

PROVENANCE

Private Collection, Australia

REFERENCE

Maungawhau-Mt Eden is Auckland’s highest volcano providing an excellent vantage point from which to view the city and surrounds. The Maori name Maungawhau means mountain of the Whau tree . At the time of Maori inhabitation the small Whau tree thrived on the lower terraced slopes of Maungawhau-Mt Eden.

In 1840 this cone was one of three boundary points comprising the original land purchase of Auckland. Governor William Hobson named Mt Eden after his benefactor, Baron Eden a British Peer.

By the 1870s Maungawhau-Mt Eden was being farmed and its eastern slopes transformed as a fashionable location for the gracious homes of Auckland’s leading business people. Set in palatial grounds and enjoying magnificent views were Harewood House, Rocklands Hall - the home of Justice Gillies, Alfred Bucklands Highwic House and the Hellaby familys Florence Court. Josiah Clifton Firths Clifton House, also known as Clifton Castle features in the the middle left of this historical watercolour. We also see Mater Misericordiae, today the site of Mercy Hospital.

WILIAM MONTIGUE NEVIN WATKINS

1835 - 1904

Settlers in a South Island Landscape

Oil on canvas 37.0 x 50.2

ESTIMATE

$4,000 - 6,000

FELIX KELLY

1914 - 1994

Tower House - Park Village West

Oil on board 43.0 x 56.0

Signed

ESTIMATE

$8,000 - 12,000

PROVENANCE

Arthur Jeffress Gallery, London

Mr & Mrs J G Links

Arthur Jeffress Gallery label affixed verso

The life of expatriate artist Felix Kelly is as intriguing as his work. Born in Epsom, Auckland he attended Kings College but left New Zealand aged 21 years for the bright lights of London. Befriended and patronised by many leading society figures of the day, Kelly exhibited alongside Lucien Freud, Julian Trevelyan and on one occasion Frances Hodgkins. A life of glamour and creativity ensued.

Kelly painted the famous Garden Room Murals at Castle Howard, where the ITV series Brideshead Revisited was filmed, designed theatre sets for Sir John Gielgud and Dame Sybil Thorndike and illustrated magazines such as Harper’s Bazaar. Kelly’s distinctive work, rarely seen at auction, is held in British and American collections, Te Papa and Hawke’s Bay Museum and Art Gallery.

A major retrospective was held in 2010 at Hawke’s Bay Museum and Art Gallery, curated by Douglas Lloyd Jenkins. The exhibition was later shown in Auckland at Gus Fisher Gallery.

This painting of 12 Park Village West, Regent’s Park, London is of an eye catching residence designed in the early 1820’s by leading British architect John Nash. Nash was responsible for much of the layout of Regency London under the patronage of King George IV. One of his most famous designs is the Royal Pavilion, Brighton. The charming Italianate design seen here, with its octagonal tower and classical features would have appealed to Felix Kelly.

Kelly’s extraordinary life is documented in Donald Bassett’s biography Fix: The Art & Life of Felix Kelly

Signed

ESTIMATE

$55,000 - 75,000

101.5

55 GRAHAME SYDNEY

b. 1948 Ram

Oil on linen 71.2 x

56 RAYMOND CHING

b. 1939 Gold Rush 2005

Oil on board 117.0 x 132.0

Signed

Inscribed Yellow birds are first to leave the Ark together with numbered inscriptions of each bird / animal within the painting

ESTIMATE

$45,000 - 55,000

PROVENANCE

Private Collection, Canterbury

EXHIBITED

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

ILLUSTRATED

Front cover and p. 13 Ray Ching Ark 2007

57 RAYMOND CHING

b. 1939

North Island Saddleback; Adult pair, 1978

Watercolour 68.6 x 52.1

Signed

ESTIMATE

$18,000 - 22,000

PROVENANCE

Purchased from International Art Centre 1980

Private Collection, Queensland

Private Collection, Northland

EXHIBITED

Raymond Ching Paintings & Drawings, International Art Centre 1980

ILLUSTRATED

p. 110 Sketches and Studies of a Bird Painter

Raymond Ching and Errol Fuller

Landsdowne Editions 1981

REFERENCE

Originally widespread in New Zealand’s forests, the Saddleback already had begun to decline by the time Buller published his 1888 edition of A History of the Birds of New Zealand. The clearing of large areas of forest was a major factor in the reduction of numbers, but it has been suggested also that the bird is prone to unspecified avian diseases spread by species not native to the islands.

Whether the species can survive into the twenty first century could be doubtful. However, these birds have appeared to be on the verge of extinction for almost one hundred years now, and it may well be that New Zealand will lose other members of its avifauna before the Saddleback finally succumbs.

Text: Sketches and Studies of a Bird Painter

Raymond Ching and Errol Fuller, Landsdowne Editions 1981

58 FRANCES HODGKINS

1869 - 1947

Spanish Landscape circa 1935

Gouache on paper 44.0 x 36.0

Signed

ESTIMATE

40,000 - 50,000

PROVENANCE

Wertheim Gallery, London

Ex Collection of Mrs A E Hunt

Gillian Jason Gallery, London

Ex Collection of Sir Ivor Richardson

Private Collection, Wellington

EXHIBITED

Wertheim Gallery, London circa 1936

Gillian Jason Gallery, London 2000 - label affixed verso

RALPH HOTERE

b. 1931

Dawn, Water Poem

Mixed media on paper 106.5 x 77.3

Signed, inscribed & dated 1974

ESTIMATE

$38,000 - 48,000

PROVENANCE

Private Collection, Manawatu

Purchased by current owner from McMurray Galleries, Palmerston North, 1974

EXHIBITED

Ralph Hotere, McMurray Galleries, Palmerston North, 1974

Original McMurray Galleries label affixed verso

60 JOHN BARR CLARKE HOYTE

1835 - 1913

Milford Sound

Watercolour 60.0 x 90.0

Signed

ESTIMATE

$50,000 - 75,000

PROVENANCE

Private Collection, Wellington

REFERENCE

Part of New Zealand’s protected Fiordland, this famous scenic attraction is as unspoilt today as it was when painted by Hoyte in the late 1870s. Milford Sound is the grandest and most northerly of the fiords indenting the south western coastline of the South Island, twenty five kilometres south west of the Hollyford River. This narrow fifteen kilometre canyon occupies the front portion of a glacial trough. It cuts into surrounding mountains through which the sea flows when the glacial ice melts.

In a climax of natural beauty, numerous waterfalls cascade from sheer rock walls rising vertically from the sea. Nearest to the head of Milford Sound are the Bowen Falls and midway along the eastern wall, the Stirling Falls. One of the highest mountains rising straight up from the sea is Mitre Peak, described by British writer Rudyard Kipling as the eighth wonder of the world, it towers majestically above the rainforested mound known as the Footstool with Mount Phillips to the left. Opposite Mitre Peak, rising from the eastern shore is the Lion and further up the ridge, Mt Pembroke.

John Barr Clark Hoyte was considered the leading New Zealand watercolourist of his time. Painting in the Romantic English style, Hoyte travelled widely throughout the colony. In 1877 he circumnavigated the South Island, with particular attention being given to exploration of the coast of Fiordland. The work offered here, with its readily identifiable brushstrokes, subtlety and refinement of palette is the embodiment of ‘Hoyteness’.

The Eighth Wonder of the World

61 CHARLES DECIMUS BARRAUD

1822 - 1897

- The Pink Terraces, Rotomahana, New Zealand

Watercolour 35.5 x 49.5

Signed & dated 1881

ESTIMATE

$14,000 - 18,000

PROVENANCE

Private Collection, Australia since 1950s

Otukapuarangi

CHARLES DECIMUS BARRAUD

1822 - 1897

White Terraces, Rotomahana

Watercolour 35.5 x 49.5

Signed

ESTIMATE

$14,000 - 18,000

PROVENANCE

Private Collection, Australia since 1950s

GRAHAME SYDNEY

b. 1948

‘Windshear’ - Braid Road, Otago Peninsula

Acrylic polymer emulsion on paper 41.5 x 75.0

Signed & dated 1974

Inscribed Study for Tempera November 28 - 10 1974 & signed verso

ESTIMATE

$35,000 - 45,000

PROVENANCE

Private Collection, Christchurch

Private Collection, Auckland

EXHIBITED

Grahame Sydney, Lee Cramp Gallery, Auckland, March 1975

REFERENCE

Windshear - Braid Road, Otago Peninsula was painted in 1974, the first year of Grahame Sydney becoming a professional artist.

Our thanks to Grahame Sydney for his assistance with cataloguing this lot

MARGARET OLROG STODDART

1865 - 1934

Suffolk

Watercolour 25.0 x 35.0

Signed

ESTIMATE

$4,000 - 6,000

CHARLES BLOMFIELD

1848 - 1926

Lake Manapouri

Oil on board 43.0 x 69.5

Signed & dated 1910

ESTIMATE

$5,000 - 7,000

CHARLES BLOMFIELD

1848 - 1926

Beach at Whakatane

Oil on board 29.0 x 44.0

Signed & dated 1910 ESTIMATE

$5,000 - 7,000

CHARLES BLOMFIELD 1848 - 1926

Auckland Harbour from Parnell Rose Gardens

Oil on board 15.5 x 28.5

Signed & dated 1925

ESTIMATE

$7,000 - 10,000

JOHN

1835 - 1913

Otira Valley

Watercolour 41.0 x 68.5

Signed

ESTIMATE

$20,000 - 30,000

BARR CLARKE HOYTE

EDWARD AUGUSTUS GIFFORD

1819 - 1894

Town of Oamaru from the Sea - circa 1878

Watercolour 20.0 x 59.0

Signed ESTIMATE

$5,000 - 10,000

REFERENCE

In 1877 Gifford settled in Oamaru where he would spend the greater part of the next eighteen years. The many studies and townscapes executed during this time document the defining age of Oamaru when new industries flourished and much of the towns limestone architecture was created. Oamaru’s early prosperity stemmed from its status as a port. The busy harbour became a favourite subject for Gifford. In his final years Gifford produced very few works. He died suddenly in 1894 at his Lune Street residence. He is widely remembered as a quiet, gentle painter of exceptional merit.

Forrester Gallery Oamaru

It is no exaggeration to say that Mr Gifford was, perhaps, the greatest artist in the colonies, and the work he leaves behind him sufficient to bear testimony to his talent

Oamaru Mail, 9th November 1894

Ports were the beachheads of colonial expansion. No town could prosper without one. Those that had natural harbours spent huge sums deepening them to accommodate ever larger ships. Towns that lacked natural harbours spent even more money – Harbours where nature has not provided them, as Otago’s provincial harbourmaster complained in 1868 – and risked bankruptcy doing so. Napier, New Plymouth, Timaru and Oamaru all built big artificial harbours to stay in the progress game. Oamaru Harbour closed to shipping in 1974 and is now a registered historic place. It’s the best place in the country to see how and why all New Zealanders once depended so heavily on sea transport.

Landmarks Kenneth Cumberland, Readers Digest 1982

70 PETER MCINTYRE

1910 - 1995

St Bathans

Oil on canvas 52.0 x 63.0

Signed ESTIMATE

$15,000 - 20,000

PROVENANCE

Purchased by current owner from John Leech Gallery, Auckland 1964

Original purchase receipt affixed verso

Private Collection, Australia

ILLUSTRATED

Plate 56 Peter McIntyre’s New Zealand, A H & A W Reed 1964

REFERENCE

St Bathans is more like a dream world than a reality. Its street has the empty echo of a ghost-town, and all around its lake is a fantasy of chalky forms. Gold was discovered here in 1864 and hydraulic sluicing washed away the face of the earth to reveal a new world of strange shapes beneath. It was, in a way, a man-made speeding up of the same processes that created the great deserts of the world. The result is a desert in miniature. Peter McIntyre

Text Peter McIntyre’s New Zealand, A H & A W Reed 1964

Peter McIntyre was born in Dunedin in 1910 and educated at Otago Boys’ High School and at the University of Otago. At the age of twenty he went to London to study at the Slade School of Art. Subsequent work included book illustrations and stage decoration.

At the outbreak of war he joined a New Zealand volunteer unit formed in London as an anti-tank battery, and served as a gunner in Egypt. McIntyre was commissioned by General Freyberg as Official New Zealand War Artist. In this capacity he served in Greece, Crete, North Africa and Italy.

In 1970, Queen Elizabeth awarded the Order of the British Empire to Peter McIntyre for his increasing success as an author and for his accomplishments in the fine art fields.

Publications include his illustrated autobiography, The Painted Years, Peter McIntyre’s West, Peter McIntyre’s Pacific, Peter McIntyre’s New Zealand, Peter McIntyre’s Wellington, Peter McIntyre: War Artist, McIntyre Country and Kakahi

1835 - 1913

Signed

ESTIMATE

$20,000 - 30,000

JOHN BARR CLARKE HOYTE

Pink Terraces, Rotomahana

Watercolour 32.5 x 57.5

1835 - 1913

Signed

ESTIMATE

$20,000 - 30,000

JOHN BARR CLARKE HOYTE

White Terraces, Rotomahana

Watercolour 32.5 x 57.5

73 CHARLES BLOMFIELD

1848 - 1926

The Sleeping Geyser, Rotomahana with Pink Terraces Beyond Oil on canvas 58.0 x 93.5

Signed & dated 1895

ESTIMATE

$25,000 - 35,000

PROVENANCE

Private Collection, Queensland

Purchased from Fishers Fine Arts, Christchurch circa 1998

Label affixed verso

REFERENCE

The name Charles Blomfield is synonymous with the Pink and White Terraces. Blomfield first saw the Terraces in December 1875 and made the comment that they were exceedingly beautiful and graceful. Returning nearly ten years later, he spent six weeks painting them. Blomfield’s paintings were sold from his Victoria Arcade studio in Queen Street. Open daily, the studio was a popular destination for tourists. The Terraces were tragically destroyed by the Tarawera eruption of 1886. In response to public demand Blomfield continued to paint this favoured subject, immortalising the lost terraces in his paintings.

74 J ROLLASON

19th Century

Browns Wharf and Royal Hotel, Wellington - c. 1860

Oil on board 48 x 74.5

Signed

ESTIMATE

$1,000 - 1,500

REFERENCE

Nineteenth Century New Zealand Artists A Guide and Handbook

Una Platt’s lists this artist as working in New Zealand in the 1840s

JOHN BARR CLARKE HOYTE 1835 - 1913

Mt Ngauruhoe and Lake Rotoaira

Watercolour 36.5 x 50.5

ESTIMATE

$10,000 - 15,000

76 RAYMOND CHING

b. 1939

Goshawk, First Winter Bird

Watercolour 71.2 x 55.0

Signed ESTIMATE

$15,000 - 20,000

PROVENANCE

Private Collection, Queensland

Private Collection, Northland

EXHIBITED

International Art Centre 1980

ILLUSTRATED

p. 59 Raymond Ching The Bird Paintings

Text by David Snow, A H Chisholm & M F Soper

William Collins Sons & Company Limited 1978

REFERENCE

Among the diurnal birds of prey two groups far outnumber all others in the number of species: the typical falcons, with long pointed wings, placed in the genus Falco; and the hawks of the genus Accipiter, with relatively shorter and more rounded wings. The Goshawk is the largest and most powerful member of the latter group. It is a northern species, distributed across the whole of Eurasia and North America, south in the Old World to the Mediterranean area and the Caucasus, and in the New World to northern Mexico.

Whereas falcons hunt their prey in the open, the accipitrine hawks are adapted for hunting in woodland, their broad wings and rather long tails enabling them to twist and turn among the trees with great agility. This is the Goshawk’s method, and for its size - its length is about two feet and its wing span nearly four feet - it is remarkably manoeuvrable. It takes birds and mammals of many kinds, up to about its own size. Often it ends its attack, if its quarry is on the ground, with a long straight glide at very high speed. Its legs and feet are exceptionally powerful and the prey, once seized, is quickly crushed to death.

Goshawks are most numerous in the extensive coniferous forests of the taiga zone but occur also in mixed woodlands. Persecution by man and destruction of the forests have reduced their numbers in many areas. But where man tolerates them they can survive in close proximity to him, as long as enough woodland remains. They are in some demand by falconers, for though they are not easy birds to train or handle they rival the largest falcons in their ability to kill large game-birds and can take mammals up to the size of hares.

The Goshawk’s bulky stick nest is placed usually at a fair height in a tree, and may be added to from year to year. The clutch is usually three to five eggs which hatch after about thirty-seven days. The young fly at the age of about forty-five days, and if they survive the dangerous early period of heavy mortality, they may live long; individual ringed birds are known to have lived for at least twenty years.

David Soper

Raymond Ching The Bird Paintings William Collins Sons & Company Limited 1978

RAYMOND CHING

b. 1939

Weka - (gallirallus australis)

Acrylic on paper 71.1 x 55.2

Signed & dated 1980

ESTIMATE

$15,000 - 20,000

ILLUSTRATED

p. 58 Ray Harris-Ching Journey of An Artist

Text by Carol Sinclair Smith, Gulf Publishing 1990

p. 118 New Zealand Birds, An Artist’s Field Studies

Raymond Ching and Grahame Turbott QSO, Reed Methuen Publishers Ltd 1986

Anyone who has camped out in the New Zealand forests will know these handsome rails to be inveterate camp raiders. I’ve tried to imply the bold personality of these birds, so long isolated from danger that they have lost the power of flight and have confidence enough to rummage through tents and take food direct from your plate.

I wanted the painting to acknowledge the conventions of a 19th century ornithological stone lithograph by its general composition, texture and colour. Raymond Ching

p. 59 Text Ray Harris-Ching Journey of An Artist

JOHN GOULD 1804 - 1881

Huia Birds

Hand coloured lithograph 55.0 x 36.5

Published London, 1848 - plate 18

ESTIMATE

$2,500 - 3,500

THOMAS CANE 1830 - 1905

Craigieburn, West Coast Road

Watercolour 33.0 x 47.0

Signed, inscribed & dated 1881

ESTIMATE

$4,000 - 6,000

ESTIMATE

Private Collection, Christchurch

REFERENCE

Thomas Cane was born in Brighton, Sussex. Prior to his 1873 arrival in Canterbury he had trained as an architect and quantity surveyor under the firm of Banks and Barry. He was also employed by one of the masters of the Victorian Gothic Revival architectural style, Sir Gilbert Scott, who designed Christchurch’s Anglican Cathedral. Cane travelled widely throughout Europe visiting France, Germany, Belgium and Holland to study medieval architecture. He developed his skills as a watercolourist while working as an architect, which would have required producing detailed sketches of building designs. Cane was the architect who designed the famous Lyttelton Timeball Station damaged by the February 2011 earthquake then later destroyed by a second quake in June. He died in Christchurch in 1905 - his works rarely appear for sale. This is one of the finest examples to appear on the market and is in excellent condition.

PETER MCINTYRE

1910 - 1995

Rock Pool

Oil on board 90.0 x 125.0

Signed

ESTIMATE

$24,000 - 32,000

PROVENANCE

Ex Collection Shell NZ Ltd

Private Collection Wellington

Private Collection, Auckland

REFERENCE

In 1970, Queen Elizabeth awarded the Order of the British Empire to Peter McIntyre for his increasing success as an author and for his accomplishments in the fine art fields.

RAYMOND CHING

b. 1939

Wedgetail Eagles and Corellas

Oil on board 79.0 x 91.5

Signed, inscribed Victoria & dated 1981-89-96

ESTIMATE

$25,000 - 35,000

PROVENANCE

Private Collection, Asia

KEES BRUIN

b. 1954

‘Sumnerscape’ and Homage to William Sutton

Acrylic on canvas 100.0 x 200.0

Signed, inscribed & dated 2001

ESTIMATE

$25,000 - 35,000

PROVENANCE

Private Collection, Canterbury

83 RAYMOND CHING

b. 1939

New Zealand Blue Duck - (hymenolaimus malacorhynchos), 1980

Watercolour 72.5 x 52.1

Signed ESTIMATE

$15,000 - 20,000

PROVENANCE

Purchased from International Art Centre 1980

Private Collection, Queensland

Private Collection, Northland

EXHIBITED

Raymond Ching Paintings & Drawings, International Art Centre 1980

ILLUSTRATED

p. 98 New Zealand Birds, An Artist’s Field Studies

Raymond Ching and Grahame Turbott QSO,

Reed Methuen Publishers Ltd 1986

REFERENCE

The plumage of the Blue Duck is a dullish, slate blue colour and along with the curiously toned, reddish brown patterning occurring on the breast, provides an excellent example of protective colouration. When an intruder approaches the rushing high-country streams where this duck is found, the birds remain perfectly still, becoming almost impossible to see against the tumble of rocks and rust-coloured lichens that form their secluded river home.

No other New Zealand duck chooses to live in quite this environmental niche, but habitat is not the only feature that makes the Blue Duck unique: there are few indigenous waterfowl in New Zealand, but the Blue Duck is one that can be found nowhere else. It’s a specialised species, with definite requirements in the matter of habitat, and apparently quite dependent upon various aquatic animals that flourish in water highly charged with oxygen. In consequence, it is pretty much tied to running, freshwater streams. (The torrent ducks of South America and the harlequin ducks of the Northern Hemisphere are two examples of birds that make use of similar territory, although the latter live on the sea during winter, moving inland to mountain streams to breed.)

When seen at close quarters, the bill of the Blue Duck is particularly distinctive. The large, white mandibles sometimes have a faint, pinkish tinge, and some writers suggest that, depending upon the emotional state of the bird, the bill can “blush” into a definite pink colour on occasion. However, the most remarkable features are the loose, rubbery, black “flaps” at the tip of the upper mandible. These modified lobes hang down over the lower bill and are apparently used to help collect food from underwater rocks, the lobes acting rather like the seal around the bottom of an upright vacuum cleaner. This feeding is carried out in relatively shallow water (there is some debate on their ability as divers), often during the twilight hours.

When disturbed, they prefer to float away downstream rather than take to the air, even though they are strong fliers.

New Zealand Birds, An Artist’s Field Studies Reed Methuen Publishers Ltd 1986

PETER MCINTYRE

1910 - 1995

Waikanae Valley

Oil on board 55.0 x 68.5 cm

Signed

ESTIMATE

15,000 - 20,000

PROVENANCE

Private Collection, Wellington

Original McGregor Wrights Gallery label affixed verso

REFERENCE

In 1970, Queen Elizabeth awarded the Order of the British Empire to Peter McIntyre for his increasing success as an author and for his accomplishments in the fine art fields.

85 RAYMOND CHING

b. 1939

Laughing Kookaburras - (dacelo novaeguineae), 1976

Watercolour 69.9 x 54.6

Signed

ESTIMATE

$15,000 - 20,000

PROVENANCE

Purchased from International Art Centre 1979

Private Collection, Queensland

Private Collection, Northland

EXHIBITED

International Art Centre 1979

ILLUSTRATED

p. 74 Sketches and Studies of a Bird Painter

Raymond Ching and Errol Fuller

Landsdowne Editions 1981

REFERENCE

The Laughing Kookaburra dacelo novaeguineae is widely known, not just in its native Australia but throughout much of the world. The species is recognised by an unusually distinctive laughing cry, which has given rise to a number of popular names. Perhaps the most commonly used is ‘the Laughing Jackass’; another, ‘the Bushman’s Clock’, is a reference to the bird’s habit of calling mostly loudly either early in the morning or around sunset. The sound produced is exceptionally loud and prolonged, and usually is delivered with the head tilted upwards while the tail flicks up and down.

Kookaburras are handsome birds. Their appearance is quite as distinctive as their call. They are, in fact, among the largest living representatives of the kingfisher family. To those familiar only with the smaller, more elegant species of this family, the length of 45cm and the Kookaburra’s bulky appearance can be a surprise. The beak looks exceptionally weighty and impressive, and is clearly a formidable weapon. The feet and legs, however, are comparatively weak and the wings are not well adapted to sustained periods of flight. The Laughing Kookaburra is distributed throughout much of eastern and southern Australia; its range has been extended further by introductions into western parts of the country in 1898 and Tasmania in 1905. Kookaburras are common wherever suitable conditions exist and although originally the birds inhabited areas of open forest, they now can be seen in urban parks and gardens, where individuals are said to become quite tame. Although it is possible to see single birds, Kookaburras are more likely to be observed in pairs or small parties, especially in the evening. The birds nest in holes in trees and usually breed between the months of September and January. As with so many members of the kingfisher family, Kookaburras are by no means only fish eaters. Essentially a forest species, they take a wide assortment of prey and will eat most living things small enough to be vulnerable to an attack. The nests of other bird species are at risk, and rodents, frogs and lizards are all consumed when available. Farmyards sometimes are raided and the chicks of domestic fowl and duck are threatened. Although they may represent something of a nuisance, Kookaburras compensate for such behaviour by taking a variety of creatures that are considered pests, including many kinds of insects. The birds probably are most renowned for their alleged partiality for snakes, a habit that though overemphasised, no doubt has contributed further to the Kookaburra’s popularity. Sketches and Studies of a Bird Painter Landsdowne Editions 1981

The House of Books - Diptych Lacquered twenty three ¾ Swiss gold leaf and silver leaf on two boxed panels 38.0 x 76.0 Signed, inscribed & dated 1995 verso

$7,000 - 10,000

GRETCHEN ALBRECHT

b. 1943

Untitled Golden Shadow

Acrylic on canvas 151.3 x 85.2

Signed & dated 1973

ESTIMATE

$14,000 - 18,000

PROVENANCE

Private Collection, Auckland

Purchased by current owner from Govett Brewster Gallery New Plymouth 1973

EXHIBITED

Govett Brewster Gallery, New Plymouth 1973

JOANNA BRAITHWAITE

b. 1962

Dangerous Liaisons

Oil on canvas 122.0 x 137.0

Signed, inscribed & dated 2003 verso

ESTIMATE

$8,000 - 12,000

PROVENANCE

Private Collection, Auckland

EXHIBITED

Wild Things, Cat no. 22, Milford Galleries, Auckland November 2003

Exhibition label affixed verso

JOANNA BRAITHWAITE

b. 1962

Bee Lady

Oil on canvas 182.0 x 182.0

Signed, inscribed & dated 2000 verso

ESTIMATE

$10,000 - 14,000

PROVENANCE

Private Collection, Auckland

EXHIBITED

The Cloak, Cat no. 12, Milford Galleries, Auckland November 2002

90 EVELYN PAGE

1899 - 1988

Study for Nude Sewing

Charcoal on paper 31.5 x 25.5

Signed & inscribed ‘A Study’

ESTIMATE

$4,000 - 6,000

PROVENANCE

Collection of the Artist’s Estate

91 EVELYN PAGE

1899 - 1988

Study for Girl in a Coffee Bar

Charcoal on paper 35.0 x 26.0

Signed

ESTIMATE

$4,000 - 6,000

PROVENANCE

Collection of the Artist’s Estate

REFERENCE

Study for Nude Sewing

Acknowledged as New Zealand’s most celebrated and accomplished painter of nudes, Evelyn Page painted no more than a dozen major works from this genre throughout her career. Of these Nude Sewing is one of her finest and is now in the collection of Te Papa.

As with all her major works, Page made many preliminary sketches and usually one final drawing which she signed.

The model for Nude Sewing was a young household help who posed before the light-filled French doors in the artist’s home.

REFERENCE

Study for Girl at a Coffee Bar (1981)

Girl at a Coffee Bar (Bank of New Zealand collection) is one of Evelyn Page’s most well loved paintings. The work is based on the Mon Marie coffee bar, an iconic Wellington meeting place from the 1960s and 70s.

The preparatory sketches were made at the coffee bar in Marjoribanks Street, but finding the models too busy and too allusive, Evelyn Page had a coffee bar set up in her living room and used friends and colleagues as models.

Study for Girl at a Coffee Bar is a completed study for the final work and features the subjects and objects Page included in the finished oil.

UNIDENTIFIED ARTIST

European 19th / 20th Century

Scene from the Franco-Prussian War, 1870 - 1871

Oil on canvas 121.0 x 241.0

Signed & dated (illegible)

ESTIMATE

$15,000 - 25,000 93

JOHN GULLY 1819 - 1888

Lake Matheson, Southland

Watercolour 34.0 x 52.0

Signed

To be offered with a copy of New Zealand’s Romantic Landscape, Paintings by John Gully, John Sidney Gully, Millwood Press 1984

ESTIMATE

$5,000 - 10,000

PROVENANCE

Estate of Sir Gilbert Edward Archey OBE, Former Director, Auckland Museum

JOHN BARR CLARKE HOYTE 1835 - 1913

Dunedin from the Tairie Hills

Watercolour 35.5 x 56.5

Signed

ESTIMATE

$8,000 - 12,000

DOUGLAS BADCOCK

1922 - 2009

Shag Point Seal Colony, Moraeki

Oil on board 39.5 x 59.5

Signed

Inscribed & dated 2004 verso

ESTIMATE

Born in Balclutha 1922 Douglas Badcock had a highly successful professional art career. Preferring to paint en plein-air, mostly in oil, Douglas earned a reputation as one of New Zealand's leading landscape painters. His paintings are included in the Queen of England's collection and King of Thailand's collection. Douglas was a Kelliher Art Award winner and several books have been published on his work. He came second in the 1959 Kelliher Art Award and third in the 1962 award.

Badcock held his first exhibition in Wellington in 1960, selling out within two days. A review at the time described him as ‘a realistic painter and absolutely sincere with a natural talent and a high technical standard ... A master of the New Zealand landscape, he paints New Zealand as he sees it’. He produced at least three publications: My Kind Of Country then later My Kind of Painting and A Painter in Fiji.

$2,500 - 3,500

DOUGLAS BADCOCK

Carey’s Bay, Port Chalmers, Dunedin

Oil on board 36.0 x 49.5

Signed

Inscribed & dated 1984 verso

ESTIMATE

$5,000 - 7,000

Douglas Badcock at his easel, 2004 (Photo supplied by Badcock family)

Works from the Estate of Douglas Badcock 1922 - 2009

In a Listener article in 2004, Mr Badcock said: I paint seas, skies, mountains. I paint the world I know, as it appears to me. I have an image that is there and I have to record it. When I’m painting I let the subject reveal itself. Picasso said I don’t seek, I find. And finding is a revelation – intellectually, emotionally, spiritually. The primary motivation is self-expression, but if there’s no vision, if we don’t see beauty in nature any more, then we’re nowhere.

DOUGLAS BADCOCK

Ohau Basin, Central Otago

on board 40.5 x 60.5

Signed

Inscribed & dated 1996 verso

$6,000 - 8,000 99

DOUGLAS BADCOCK

Hot ‘N Dry, Fraser Dam Road, Oil on board 40.5 x 60.5

Signed

Inscribed & dated 1991 verso ESTIMATE

$3,500 - 4,500 100

DOUGLAS BADCOCK

Fraser River, Central Otago

41.0 x 54.5 Signed

Inscribed & dated 2001 verso

$4,500 - 5,500

DOUGLAS BADCOCK

Seascape, Kaikoura

on board 35.0 x 48.5 Signed

Inscribed & dated 1993 verso

$2,400 - 2,800

102

1927 - 1999

Mrs Raimon

Oil on board 36.5 x 29.0

Signed & dated 1950

ESTIMATE

$3,000 - 5,000

1900 - 1971

Sydney Harbour

Oil on canvas on board 34 x 46

ESTIMATE

$2,200 - 2,800

GARTH TAPPER

103 FRANCES DOLINA ELLIS

103

- 1926

Signed & dated 1881

ESTIMATE

$7,000 - 10,000

104

CHARLES BLOMFIELD

Lake Taupo

Oil on canvas 34.0 x 59.5

105

PETER MCINTYRE 1910 - 1995

St Andrews on the Terrace

Ink on paper 54.0 x 45.0

Signed

ESTIMATE

$3,000 - 4,000

ILLUSTRATED

Illustrated p. 49

Peter McIntyre’s ‘Wellington’

A H & A W Reed 1975

106

JOHN WEEKS 1886 - 1965

Sid-Bou-Medennine Tunisia

Pastel on paper 28.5 x 30.0

Certificate of Authenticity signed by Allan Swinton affixed verso

ESTIMATE

$2,000 - 3,000

107

WILLIAM JAMES REED 1908 - 1996

Still Life with Geraniums

Acrylic on card 28.5 x 39.6

Signed

ESTIMATE

$1,500 - 2,500

108 A LOIS WHITE 1903 - 1984

Study for Winters Approach

Charcoal on paper 62.0 x 57.0

Certificate of Authenticity affixed verso

ESTIMATE

$3,000 - 5,000

PROVENANCE

Ex Artist’s Estate Collection

109

RAYMOND CHING

b. 1939

Diana Monkey - (cercopithecus d. diana) from life

Oil on board 45.0 x 40.0

Signed, inscribed & dated 1990

ESTIMATE

$10,000 - 15,000

PROVENANCE

Private Collection Asia

Purchased from International Art Centre 2004

110

RAYMOND CHING

b. 1939

Stichbirds

Watercolour 68.9 x 53.4

Signed & inscribed

ESTIMATE

$10,000 - 14,000

PROVENANCE

Private Collection, Waikato

Purchased by current owner from International Art Centre c. 1980

ILLUSTRATED

p. 195 New Zealand Birds, An Artist’s Field Studies

Raymond Ching and Grahame Turbott QSO,

Reed Methuen Publishers Ltd 1986

REFERENCE

The Stitchbird or Hihi (Notiomystis cincta) is a medium-sized forest species and is one of New Zealand’s rarest birds. Recent DNA analysis has shown it to be the sole representative of another bird family found only in New Zealand whose closest relatives may be the iconic Wattlebirds including the Kokako, Saddleback and the extinct Huia. The shy, attractive Stitchbird is a honeyeater, regularly visiting flax, pohutukawa and puriri. The laying period is usually November resulting in three to five chicks. Both parents feed the chicks on nectar and small insects.

In 2006 sixty Stitchbirds were released in the Karori Wildlife Sanctuary near Wellington and in October of that year, for the first time in more than 120 years, chicks were hatched on mainland New Zealand. A dedicated conservation programme has been underway at Tiritiri Matangi for some years. However the species is classified as vulnerable, and found in only five locations, amongst which are Little Barrier Island and Mokoia Island in Lake Rotorua as well as the Waitakere Ranges. Currently the world population is estimated at 1,000 adult birds.

Raymond Ching New Zealand Birds, An Artist’s Field Studies

Reed Methuen Publishers Ltd 1986

111

RAYMOND CHING

b. 1939

Little Shag - (phalacrocorax melanoleucos)

Pencil on paper 22.0 x 28.0

Signed & inscribed

ESTIMATE

$2,000 - 3,000

PROVENANCE

Private Collection, Asia

ILLUSTRATED

p. 63 New Zealand Birds, An Artist’s Field Studies

Raymond Ching and Grahame Turbott QSO, Reed Methuen Publishers Ltd 1986

CHARLES DECIMUS BARRAUD 1822 - 1897

Mt Cook from Lake Pukaki

Watercolour 32.0 x 51.0

Signed & dated 1884

ESTIMATE

$8,000 - 11,000

WILLIAM GEORGE BAKER 1864 - 1929

Buller Gorge

Oil on canvas 60.0 x 90.0

Signed & inscribed

ESTIMATE

$3,000 - 4,000

112

113

114

JOHN GULLY

1819 - 1888

Rakaia Gorge and Upper Waitara - A Pair

Watercolour 43.0 x 59.5

One Signed & dated 1862

ESTIMATE

$6,000 - 10,000

PROVENANCE

Private Collection Auckland

Ex Collection of Major Francis Eastwood Cambell

Clerk of the First New Zealand Parliament - affixed verso

113

114 114

115

WILLIAM GEORGE BAKER

1864 - 1929

Lake Wanaka

Oil on board 16.7 x 24.0

Signed

ESTIMATE

$1,500 - 2,500

116

LAURENCE WILLIAM WILSON 1850 - 1912

The Dart River Valley, Lake Wakatipu

Watercolour 28.0 x 51.0

Signed, inscribed & dated 1900

ESTIMATE

$2,500 - 3,500

117

LOUIS AUGUSTE DE SAINSON

1800 - 1887

Danse des naturels au bord de l’Astrolabe (haka performed on board the Astrolabe) from Voyage de la corvette l’Astrolabe

Lithograph 30.0 x 41.0

Inscribed “de Sainson pinx/Raffet Lith/Baie Houa

Houa/Naturels executant une danse abord de L’Astrolabe/) Nouvelle Zeland) /J. Tastu Editeur/Lith . Bes”

ESTIMATE

$800 - 1,200

118

LOUIS AUGUSTE DE SAINSON

1800 - 1887

Missionary Settlement, Bay of Islands (Paihia)

Lithograph 27.0 x 36.0

Signed

ESTIMATE

$800 - 1,200

Falcon

x 26.0 cm

$8,950 incl. GST order now 0800 800 322

Peregrine

1: JANE EVANS

Under the Pergola, 1984 Gouache on paper 74 x 105cm

2: COLIN MCCAHON

Moby Dick is Sighted of Muriwai Beach, 1972

Lithograph 49.5 x 59.5cm

3: JAN NIGRO

Portrait of a Musician, 1985

Mixed media on paper 76 x 54

4: JAMES ABBOTT MCNIELL WHISLTER

Billingsgate, 1859

Etching 15.2 x 22.8cm

Absentee Bid Form

Early & Rare Art Auction Thursday 26th July 2012

Please bid on my behalf for the following lots up to the price recorded below. Bids are to be executed as cheaply as is permitted by other bids or reserves, if any, and subject to Conditions of Sale printed in this catalogue.

Bidding Number

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Expiry date ................/................. Signature ................................................................................

Fax to +64 9 307 3421 or Post to International Art Centre PO Box 37344 Parnell Auckland 1151 Alternatively subscribe online www.fineartauction.co.nz or by calling Toll Free 0800 800 322 with credit card details

Private Treaty Sales - Please contact me when works by the following artists are available for sale by private treaty

Important, Early & Rare

NOVEMBER 2012 - An Invitation to Consign

International Art Centre is currently accepting entries for the next Important, Early & Rare New Zealand Art Auction to be held November 2012.

Consigning works to this sale contact: Richard Thomson Toll Free 0800 800 322 Ph +64 9 3794010 or upload images for preliminary appraisal at www.fineartauction.co.nz

CHARLES F GOLDIE

Ngaheke, a Chieftainess of the Tutea Taoi Hapu fetched $217,300 November 2011

International Art Centre was delighted to be invited to partner with HSCB Bank in presenting a dazzling collection of paintings at a very special event hosted by HSBC Bank.

To celebrate the New Zealand String Quartet's twenty fifth year, HSBC arranged an evening of beautiful chamber music complemented by our outstanding artworks held at Fale Pasifika, Auckland University on Thursday June 7th.

A large crowd of around 250 HSBC clients enjoyed an exhibition of selected artworks from our auction and retail gallery.

Our thanks to the CEO and staff of HSBC for our inclusion in this extremely successful and very special evening.

Early Morning, Shoal Bay

$7,950.00

ALBRECHT G .................................................. 87

BACKHOUSE J P ................................... 6, 14, 18

BADCOCK D 96, 97, 98, 99, 100, 101

BAKER W G ....................................... 1, 113, 115

BARNES F .......................................................... 9

BARRAUD C D 61, 62, 112

BINNEY D ........................................... 41, 49, 50

BLOMFIELD C 16, 65, 66, 67, 73 104

BRAITHWAITE J ........................................ 88, 89

CHING R.......................... 56, 57, 76, 77, 81, 83, ................................................ 85, 111, 109, 110 COOK J 21, 22

CORONELLI V ................................................. 23

CUMMINGS V ................................ 7, 12, 13, 19 DE SAINSON L A 117, 118

ELLIS F D ....................................................... 103

Conditions of Sale and 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;

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(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.

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Each lot shall be paid for and removed at the buyers expense by no later than 4pm Monday 30th July 2012 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

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ESTIMATES

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

ABSENTEE BIDS

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BUYERS PREMIUM

12.5% Buyers premium plus GST on premium applies to all lots. (Total buyers premium is 14.38% including GST) www.fineartauction.co.nz