Important, Early & Rare NZ Art Auction

Important,Early& Rare

6:30pm Wednesday 30th March 2011

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

Viewing Times Page 3

Index Page 114

Conditions of Sale Page 118

Absentee Bid Form Page 116

Cover Illustration: Lot 49

Inside Front Cover: Lot 30

Inside Back Cover: Lot 42

Back Cover: Lot 30

Celebrating Forty Fabulous Years 1971 - 2011

Location Map

Auction Contacts

Richard Thomson

Tel: 09 379 4002

Email: richard@artcntr.co.nz

Mobile: 027 4751 071

Frances Davies

Tel: 09 379 4010

Email: fran@artcntr.co.nz

Mobile: 027 4936 360

Auction administration

Jenny O’Warn

Tel: 09 379 4010

Email: jenny@artcntr.co.nz

Skype: fineartauction

Post sale freight requirements

James Watkins

Tel: 09 379 4010

Email: james@artcntr.co.nz

Other enquiries

Trish Young

Tel: 09 366 6045

Email trish@artcntr.co.nz

Works purchased may be uplifted at close of sale or Thursday 31st March 9.30am - 5.00pm

Payment may not be made during sale.

Celebrating Forty Fabulous Years 1971 - 2011

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.

Parnell

Choose Parnell as your evening destination. Many of Auckland’s finest restaurants are located within walking distance. Many Parnell restaurants provide parking on Parnell Road opposite Gibraltar Crescent entrance. Attend our auction then dine in Parnell.

Parking

Parking During Viewing Days:

Available on site during weekend viewings, Saturday 26th & Sunday 27th March. 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 6pm. A secure two level pay and display carpark is located at 282 Parnell Road, 70 metres from gallery.

Viewing Times

International Art Centre’s Scarborough Gallery, Lower Ground Level, 272 Parnell Road, Auckland Wednesday 23rd March 9:00am - 5:00pm Thursday 24th March 9:00am - 5:00pm Friday 25th March 9:00am - 5:00pm Lecture & Morning Tea 25th March 10:30am - 11:15am Saturday 26th March 11:00am - 4:00pm Sunday 27th March 11:00am - 4:00pm

28th March 9:00am - 5:00pm Tuesday 29th March 9:00am - 5:00pm Wednesday 30th March 9:00am - 12noon

Invitation

Preview Lecture & Morning Tea

Friday 25th March 10:30am

Dr Angela Mackie of the Cathedral Lectures discusses key elements of selected works 10:45am - 11:15am

RSVP Jenny O’Warn

jenny@artcntr.co.nz Phone 09 379 4010

Dr Angela Mackie Cathedral Lectures www.duomo.ac.nz

Important,Early& Rare

Wednesday 30th March 2011

The art market has remained relatively stable over the past twelve months with auction room optimism translating to buoyant bidding for offerings of quality. Such was the case at International Art Centre’s November 2010 sale. Charles F Goldie’s Forty Winks surpassed the half million dollar mark, making headlines and achieving a new auction record with a final sale price of $573,000.

Our first catalogue of 2011 features a notably diverse collection of many outstanding works. Les Deux Amies, dated 1953 by Parisian born Dame Louise Henderson (1902 - 1995), is one of New Zealand’s cubist treasures. This celebrated work is on the market for only the second time since 1954. Further entries include Lily Pond, a major work by Peter Siddell while Grahame Sydney’s Summer Night, Ida Valley, provides a fine example of New Zealand realism. Colin McCahon is well represented with three works from the late Brenda Gamble collection. Gamble, a close friend and colleague of the artist, worked with McCahon at Auckland City Art Gallery. Interestingly, these works are joyous McCahons of brightly coloured flowers.

The demand for quality historical works continues. Christopher Aubrey’s 1891 view of Eketahuna and W G Baker’s early view of Brooklyn, Wellington are of particular interest. Two oil paintings of Auckland by Sam Stuart are welcome offerings along with an intriguing collection of photographs from New Zealand’s most important nineteenth century photographic studios, Dunedin based Burton Bros (1866 - 1914). Also of note is a major work by Marcus King (cover illustration), a dramatic 20th Century rendition of a historical arrival on the shores of New Zealand.

I have just returned from Christchurch and do not wish go to print without sending sincere wishes for happier times to our many Cantabrian friends and clients.

Richard Thomson - Director

Celebrating Forty Fabulous Years 1971 - 2011

2010 Auctions at a glance

For three consecutive years, International Art Centre has led the market by achieving the highest price for a work of art sold at auction. In 2010, Dame Kiri Te Kanawa’s Charles F Goldie, Forty Winks sold for a hammer price of $501,000. This sale established a new auction record for Goldie whilst achieving the highest price paid at auction in fifteen years. A smaller work, by the same artist sold for $195,000 in the July sale. Last year International Art Centre held seven auctions. Interest in art as an investment continues to grow. Sale results from 2010 reflect a strong desire by buyers to acquire works of historic interest, along with quality 20th century paintings.

The popular Contemporary & Collectable auctions produced excellent results and is an exciting and welcoming arena for those new to the market. For more information visit www.fineartauction.co.nz

b. 1935

Through the Hallway Oil on board 39 x 21

Signed & dated 1976

8,000 - 12,000

Provenance:

Private Collection, Auckland

Purchased by current owner, Barry Lett Gallery, 1976

2 BUCK NIN

1942 - 1996

Tuatara Landscape - The Fighting Tuataras of Putararu Over the Marae

Acrylic on board 124 x 100

Signed & dated 1990

Inscribed verso

8,000 - 12,000

Provenance: Private Collection, Auckland since 1990

Born in Auckland in 1942, Buck Nin Ngati Ruakawa, Ngati

Toa taught art at Hamilton College for more than twenty years. He graduated from the University of Canterbury in 1965, later gaining a Masters in Education from the University of Hawaii, then a Doctorate in Fine Arts from Texas Technical University. In the 1970s he tirelessly campaigned to raise the profile of Maori Art. Dr Buck Nin’s work was inspired by both his Maori and Chinese ancestry. His work is in the collections of University of Hawaii, Te Papa, The New Dowse, Manawatu Art Gallery, COCA, Aigantighe Art Museum, Rotorua Museum of Art and History and Waikato Museum of Art and History.

Buck Nin became a major force in the contemporary Maori art movement with his strongly individual style of painting, his teaching, and his willingness to work with people from all walks of life. Buck was a larger than life person not only because of his physical size but also because of his considerable intellect, his energy, his powerful and often large paintings and his commitment to the development of art and its people. The imagery in the work of Buck Nin is drawn from Maori carving, weaving and rafter patterns, spread across a minimalist landscape, like a sacred cloak, warming, embracing and caressing the earth. This is his Maori earth Papatuanuku.

History will show him as one of Maoridom’s and subsequently New Zealand’s great contemporary artists...

Friend and fellow artist, Darcy Nicholas

3 NEIL DAWSON

b. 1948

Beam - Red Darts

Powder coated steel, halogen light fitting edition of 6

150 x 30

Signed & dated 1987

9,000 - 11,000

4 PETER SIDDELL

b. 1935

Lily Pond

Oil on canvas 65.5 x 83

Signed & dated 1987

35,000 - 45,000

Provenance:

Private Collection, Auckland

Purchased by current owner, International Art Centre, 1988

Illustrated p. 151 The Art of Peter Siddell Peter Siddell

Random House Publishing, 2011

In Mount Eden we had a lilypond which I could see from my studio, and the play of light on the water and leaves was a delight. However, when Emily announced that she was expecting our first grandchild my reaction was that we would have to cover the pond. Instead, we replaced it with a small fountain in which the water was well out of an infant’s reach. Peter Siddell

5 IAN SCOTT

b. 1945

Hills of Green

Acrylic on canvas 141 x 81

Signed, inscribed Keep NZ Green, McCahon ‘66 & dated October, 2002 verso

5,500 - 7,000

b. 1964

Naseby Street

Oil on canvas 107 x 122

Signed

14,000 - 16,000

7 PETER SIDDELL

b. 1935

Cypress Trees

Oil on board 60 x 39.5

Signed & dated 1982

15,000 - 20,000

8 JOHN WALSH

b. 1954

Migrating Koru, 2003

Oil on board 120 x 158

Signed & dated 2003

23,000 - 28,000

Provenance:

Private Collection, Auckland

Exhibited, John Leech Gallery, 2003

9 GARTH TAPPER

1927 - 1999

The Llb’s

Oil on board 31.5 x 38.5

Signed. Inscribed verso 7,000 - 10,000

Following Tapper’s 1980 exhibition The Law and Its People his legal series has become increasingly popular and sought-after. The series commenced with a commission received from the Auckland Law Society commemorating its centennial year. The Llb’s, a stylish work, features four Auckland University law graduates in cap and gowns, about to make their mark on the world.

10 MARK CROSS b. 1955

Floating Poet Oil on board 64 x 100

Signed 10,000 - 15,000

The main cause of accidental death in the Pacific being drowning, this painting is in response to the trauma caused by a friend being lost at sea, then the relief of his being found wandering in the forest, and then the cautious levity of the overall circumstances of the event after normality returns. Mark Cross - notes affixed verso

Soy yo que pide, que quiere.

Él que por ti cruje y suspira.

Soy yo que vive y que muere. Que todo lo da por un solo beso.

Soy él que sufre, él que no duerme y sueña. Él pronuncia tu nombre al viento.

Una y tantas veces llamándote, queriéndote cuando estás cerca, cuando estás lejos.

Soy él que flota en tu mar, en tus aguas. Sumergido en ti, mecido en silencios.

Am I she asks, he wants. He cracks it for you and sighs.

Am I living and dies.

That gives everything by a kiss.

I am he who suffers, he who never sleeps and dream.

He pronounces your name in the wind.

One and many times calling you, loving you when you are near, when you’re away.

I am he that floats in your sea in your water. Dipped in you, rocked in silence.

Poem by Pedro Vegara Meersohn affixed verso

b. 1949

Luck and Me

Acrylic on board 78 x 58.5

Signed, inscribed & dated 2004

9,000 - 12,000

b. 1961

Kopua - Hawkes Bay

Oil on canvas 66.1 x 182.7

Signed & dated 2005

19,000 - 24,000

What Are Yah?

Acrylic on board 78 x 57.8

Signed, inscribed & dated 2004

9,000 - 12,000

b. 1925

Achromatic Dark with Red

Mixed media on paper 53 x 42

Signed & dated 1982

15,000 - 20,000

15 ROBERT ELLIS

b. 1929

The City Passed By Oil on hardboard 91.5 x 76

Signed & dated 1965

9,000 - 12,000

16 IAN SCOTT b. 1945

Small Lattice No. 345

Acrylic on canvas 90.5 x 90.5

Signed & inscribed verso

4,500 - 6,500

17 COLIN MCCAHON 1919 - 1987

Waterfall

PVA on board 30.2 x 30.3

Signed & dated Dec 1964

Inscribed & dated December 1964 verso

45,000 - 55,000

Reference: Colin McCahon Online

Catalogue www.mccahon.co.nz No. cm000175

Throughout the mid 1960s Colin McCahon experimented with numerous commercial oil and water-based paint. In some cases he mixed these with artists’ oil colours, making the exact nature of the medium difficult to determine.

Signed & dated 2006

9,000 - 11,000

1936 - 2006

Learning to Kill for the King, From the Father Series Oil on board 57 x 64

Signed & dated 1979

14,000 - 16,000

1910 - 1998

Watercolour

Dated 1985

4,500 - 6,500

1910 - 1998

Oil on board 60 x 80.5

18,000 - 26,000

Signed

2,500 - 3,500

Signed

6,000

Provenance: Maud Sherwood Family Collection

25 RUDI GOPAS

1917 - 1983

Portrait of Artist’s Daughter

Watercolour 42 x 33

Certificate of Authenticity affixed verso

2,500 - 3,500

27 JOHN HOLMWOOD 1910 - 1987

Spring Evening Oil on board 95 x 61.5

Signed & dated 1974

3,000 - 5,000 26

26

1861 - 1935

Goldfish Study

Gouache on paper 40.5 x 40.5

Signed

800 - 1,200

Provenance: Ex Belinda Hector Collection, (Richmond Family)

28 GRAHAME SYDNEY

b. 1948

Summer Night, Ida Valley Oil on linen 91.5 x 112

Signed & dated 1999

80,000 - 100,000

Provenance: Private Collection, Dunedin

Exhibited: Regions of the Heart - A Retrospective

Dunedin Public Art Gallery, November 1999 - February 2000

Illustrated: p. 129, plate 100, The Art of Grahame Sydney Grahame Sydney and Contributors, Longacre Press, 2000

28 Grahame Sydney is best known for his magnificent landscapes of Central Otago, many of which hang in public and private collections in New Zealand and abroad. Such is the universal appeal of Sydney’s work that his paintings are owned by Elton John, Nelson Mandela and Sam Neill. Sydney's contribution to New Zealand art is considered so significant that in 2003 he was awarded an Officer of the New Zealand Order of Merit, (ONZM) for services to painting. For almost 30 years Sydney's paintings have been inspirational with their ability to evoke a sense of wonder and kinship.

From childhood drawings of Disney characters in the 1950s, through to the large majestic landscapes of Otago forty years onward, Grahame Sydney's passion for painting has never diminished. He has worked in oils, watercolour, tempera, etchings and lithographs. Following his first solo exhibition at the Moray Gallery in 1972, he spent a period overseas in the United Kingdom and Europe before returning to Dunedin in 1974 to begin life as a full-time artist. Those years have witnessed an impressive and substantial body of work, and an extensive exhibition history.

Sydney is a clever magician who plies his craft with great skill and subtlety, making paintings that are seemingly simple, but their plain reality tenders deeper emotions than simple recognition. You don't just see the land here, you feel it... These hills, these skies give us a voice that is unique, a voice that is evoked by the art of Grahame Sydney. It is the voice of us all. Keith Stewart.

It seems to me that the essentials of landscape are seen with the heart. There’s a lot of feeling in his work, but it’s not up front, it’s not indulgent, it’s not demanding of emotion - but there’s a lot of emotional tension there in the paintings. Owen Marshall.

29 LOUISE HENDERSON

1902 - 1994

Les Deux Amies (The Two Friends), 1953

Oil on canvas 74 x 56

Signed

75,000 - 100,000

Provenance: Private Collection, Auckland

Purchased by current owner, International Art Centre, 1998

Exhibited:

Louise Henderson: The Cubist Years 1946 - 1958

Auckland City Art Gallery, 29 August - 13 October, 1991

Loan collection, New Gallery, Auckland 1995 - 1998

Illustrated: p. 11, cat. no. 15,

Louise Henderson: The Cubist Years 1946 - 1958

Published on the occasion of the above exhibition

Auckland City Art Gallery, 1991

Reference: p. 2,11 & 37

Louise Henderson: The Cubist Years 1946 - 1958

In February 1954, Colin McCahon wrote of this work: ‘the two women become real to us through the building up of apparently unrelated planes to become the very being of the two friends, quite real people with real personality; that is, if we look at this picture not filled with our own ideas of what such people should look like, but as the scientist looks at the minute world in a drop of water, prepared to accept new aspects of reality, rather than turn away from discovery fearful that past theories may now be invalid’.

30 RHONA HASZARD

1901 - 1931

From My Studio Window, Sark, 1926

Watercolour 20 x 27.4

Signed & inscribed on original mount

12,000 - 16,000

Provenance: Collection of Shona McFarlane Estate

Rhona Haszard (1901–1931) was born in Thames, New Zealand, one of five children of a devoted mother, Alice, and a father who worked for the Lands and Survey Department, becoming a Commissioner of Crown Lands in 1910. As a result of her father’s job the family moved often and lived in Auckland, Christchurch, Hokitika and Invercargill.

At the age of 18, Rhona enrolled at the Canterbury College School of Art (now the School of Fine Arts, Canterbury University), joining a set of women artists including Ngaio Marsh, Evelyn Page (née Polson), Rata Lovell-Smith (née Bird) and Olivia Spencer Bower. She was taught amongst others by Archibald Nicoll, the newly appointed head of the school. Haszard was very bohemian. She dressed eccentrically, spoke positively of de facto relationships and advocated vegetarianism and unprocessed food.

In 1922 she married Ronald McKenzie a teacher and fellow student. However in 1925 she abandoned this apparently happy marriage to run off with an ex-British Army officer Leslie Greener. After being confronted with the disapproval of society the couple travelled to France in 1926. They settled in Paris and studied briefly at the Académie Julian. Haszard continued to paint landscapes and exhibited at the Paris Salon in 1927, London with the Royal Society of Women Artists and Cairo, as well as sending works to be exhibited in New Zealand.

The couple completed numerous painting trips to the Channel Islands, Cyprus and Greece. In 1927 Greener was employed by Victoria College, Alexandria, Egypt to teach art. In 1928 Haszard had a serious accident that left her with a back injury and she returned to London to seek medical treatment in 1929 and 1930. Sshe remained committed to painting and to the bohemian art and theatre circles. She returned to Alexandria in 1930. Haszard’s life ended suddenly when she fell from the four storey tower at Victoria College, Alexandria in 1931 the night after her last exhibition opened. She was thirty years old.

31 COLIN MCCAHON

1919 - 1987

Flowers, 1967

Synthetic polymer paint on paper 74.1 x 54.5

Signed & inscribed The flowers I should have sent you, Colin & For Brenda

25,000 - 40,000

Provenance:

Collection of the late Brenda Gamble by descent

Illustrated: Front cover of Field of Flowers, Glenn Sylvester Poetic Justice Publishing, 2009

Record number cm000387

Colin McCahon online catalogue www.mccahon.co.nz

Colin McCahon as Colleague and Friend - Brenda Gamble, 1977

Thinking back to my impression of Colin McCahon as a colleague and friend, my mind’s eye immediately produced a memory image of the first meeting I had with him. It was a morning in the winter of 1953. I was working as secretary to the director of the Auckland City Art Gallery, Mr Eric Westbrook. A man came into the office and asked if he could see the director. A young, very thin, pale man, with dark eyes - worried eyes - a man who obviously had problems. It was Colin McCahon. He had arrived in Auckland the previous day to take up a job offered to him by the director while on a visit to Christchurch a short time earlier. Wintertime in Christchurch meant that there was not much work offering for gardeners; which was the job Colin was doing for a living at the time. No work meant no money to keep a wife and four healthy children, so what money he had he spent on transporting his family to Auckland to live. The staff at the Auckland City Art Gallery at that time consisted of the director, two office staff and the attendants. As it turned out, contrary to his expectations, there was no specific job waiting for Colin. The director had suggested that Colin should work at the Gallery but I think he did not expect Colin to take him at his word: anyway, not immediately. All that could be offered to him was a job as a cleaner! This he agreed to take and started immediately. Colin found a small summer bach - not nearly big enough, but at least cheap - in French Bay, one of the beautiful bush areas in Titirangi, and he, Anne and the four children settled in. He set about adding to the bach, which was built on a steep hillside among kauri trees, eventually making it into a delightful studio home.

Colin tackled the Gallery job with his usual integrity and soon became a tremendous asset, in that once his official 'duties' were done, he developed avenues of activities never before embarked on. As soon as the Auckland City Council decided that a professional curator was needed, Colin applied for the position and was selected from the other applicants and offered the post. He organised painting classes, encouraged individuals and groups to use the Gallery, and soon had poetry readings, music and drama as regular additions to the Gallery's programme. From the outset he made himself available to painters and sculptors who came to the Gallery seeking advice and practical help and was unstinting of his time and energy in every aspect of art and crafts: this, of course, as well as being responsible with the director for the selection of exhibitions, plus the hanging, packing and care of the temporary exhibitions and the permanent collections.

During all this time he somehow found time to paint and exhibit. Patronage and appreciation came mostly from the South Island where people such as Charles Brasch, Rodney Kennedy, Ron O'Reilly (to name a few collectors of New Zealand painting) and his old art school colleagues, were appreciative of some of the unique qualities of mind and spirit that manifested themselves in Colin's work. These friends, I am sure, sustained Colin at this difficult time because the reception his work received from the Auckland public was usually less than fair; in many cases it was hurtful and insulting.

.../ continued overleaf

32 COLIN MCCAHON

1919 - 1987

Flowers

Synthetic polymer paint on paper 74.2 x 54.5

Dated 1967

20,000 - 30,000

Provenance:

Collection of the late Brenda Gamble by descent

Record number cm000385

Colin McCahon online catalogue www.mccahon.co.nz

continued .../

Gallery visitors familiar with the predominantly nineteenth century European tradition of pretty scenery, galloping horses, ruminating cattle, leading-lady style women and literary based historical subjects were baffled and confused when confronted by Colin’s uncompromising, uniquely personal philosophy, his way of painting the New Zealand landscape with Christian theology placed in a New Zealand setting. Unfortunately, they certainly were not speechless, and this led to Colin being subjected to endless interrogations demanding him to ‘explain’ his work and why he chose to paint the way he did. Eventually, when it could no longer be disputed that Colin’s work was important, the adverse criticism died down and his work gained public acclaim and acceptance in the time-honoured tradition of all unique, visionary artists.

In 1964 Colin resigned from the Gallery staff to take up a post as lecturer at the Elam School of Fine Arts, University of Auckland. During the years I worked with Colin I enjoyed his stimulating company and I grew to admire his work and respect him for his quality of mind; a generous spirit, creative energy, loving sympathy and positive criticism - the qualities one seeks and hopes for in close friends but rarely finds embodied in one soul.

, . . .For these that you have given me, thanks indeed.

I share in these words by Charles Brasch, from his 1948 poem To Colin McCahon quoted in the Manawatu Art Gallery’s catalogue, McCahon: Religious Works 1946-1952. I saw this exhibition in 1975 at Barry Lett Galleries, Auckland. It was one of the most impressive exhibitions I have ever seen and experienced. Brenda Gamble, 1977

33 COLIN MCCAHON

1919 - 1987

Flowers

Synthetic polymer paint on paper 74.4 x 55

Signed & dated 1967

20,000 - 30,000

Provenance:

Collection of the late Brenda Gamble by descent

Record number cm000386

Colin McCahon online catalogue www.mccahon.co.nz

1855 - 1920

Point Britomart from Official Bay, Auckland

Oil on board 25 x 43

Signed

11,000 - 16,000

36

MARGARET OLROG STODDART

1865 - 1934

White Daisies and Butterfly Watercolour 66 x 48.5

Signed & dated 1894

12,000 - 16,000

37 PETRUS VAN DER VELDEN

1837 - 1913

Winter’s Tale Oil on canvas 57 x 44

Signed

18,000 - 25,000

Please note:

This work is an oil painting of the same scene by Petrus van der Velden offered in our November 2010 auction. The work offered in November was pastel.

38 ADAM EDWIN PROCTOR

British 1864 - 1913

The Cottage Gardener Oil on canvas 75 x 50

Signed & dated 1902

10,000 - 15,000

39 PETRUS VAN

VELDEN 1837 - 1913

The Card Players Oil on canvas 70 x 94

25,000 - 35,000

40 RAYMOND CHING

Song Thrush

Watercolour 66.5 x 50.5

Signed

20,000 - 30,000

Illustrated p. 19

Raymond Ching, The Bird Paintings with text by David Snow, A H Chisholm & M F Soper

William Collins Sons & Company Limited St James Palace, London 1978

The dapper Song Thrush with khaki brown back, cleanly spotted underparts and rather long pale legs, is a familiar bird of the wooded parts of Europe and western Asia. Yet the Song Thrush is not a typical member of its family or genus; its song, feeding habits and nest are all in some way unusual and striking. Evidently it was highly prized by the early settlers of Australia and New Zealand, for it was introduced into both countries in the 1860s. It spread all over New Zealand, but the hotter and drier conditions of Australia suited it less well and it is confined to a limited area around Melbourne.

Browning associated the month of May with the voice of “the wise thrush, who sings each song twice over”. In fact the Song Thrush often sings its phrases more than twice over - often three or four times. But no other thrush composes its song of such varied phrases so exactly repeated, some loud and clear and some almost whispered, some intricate and some simple, separated by gaps long enough to give the listener the impression that the bird is pausing to decide which phrase to utter next. Though May is a good month for thrush song, it can be heard for most of the year except late summer and early autumn. The song, like that of most other birds, is mainly a proclamation of ownership of territory. Many Song Thrushes remain attached to their territory all year round; but some migrate, especially from the colder parts of the range, and move south and southwest to the Mediterranean area and the Middle East.

A great eater of earthworms, like many other thrushes, the Song Thrush also exploits another source of animal food denied to its relatives. It has the instinctive ability to smash open snail shells, gripping them by the lip of the aperture and striking them sharply against a stone or some other hard surface. With access to an alternative and often abundant food, Song Thrushes are less affected than Blackbirds by prolonged droughts which cause earthworms to retreat deep into the soil; but in the modern world this unique behaviour is often dangerous, for roads make good “anvils” for snails found in adjacent hedges and many feeding thrushes are killed by cars.

Text: Raymond Ching, The Bird Paintings with text by David Snow, A H Chisholm & M F Soper William Collins Sons & Company Limited St James Palace, London 1978

41 BURTON BROTHERS DUNEDIN

1836 - 1880 (Walter John Burton, Founder)

Leather bound album containing 112 albumen prints most 14 x 19.5cm

Photograph album 31 x 27

Many include Burton Brothers logo and most have photo number and title inscribed 5,000 - 8,000

A rare opportunity to acquire over 100 images of early New Zealand fauna, landscape, cityscapes and inhabitants.

Highlights include:

Historic images of cities and towns, Dunedin, Napier, Queenstown, Clyde, Cromwell.

Seventeen images of the Pink and White Terraces.

Images of Early Maori life.

Views of Mt Cook region, including climbers step-cutting on the Tasman Glacier and a clear view of The Hermitage, Mt Cook.

Two images of Waitakere Falls near Auckland, together with Sutherland and Stirling Falls, Fiordland.

Landscape views of Milford Sound and other Fiordland and Otago landmarks.

Early railway and tunnel construction.

PDF of all images may be viewed and downloaded at www.fineartauction.co.nz

1910 - 1996

Devonport and the City, Circa 1977

Oil on board 66 x 87

Signed

24,000 - 28,000

Provenance:

Private Collection, Auckland

Purchased by current owner from an Exhibition Peter McIntyre, New Zealand Landscapes, John Leech Gallery, May 1992.

There is a sparkle in Auckland that seems to come from its harbour and the blue beyond - Peter McIntyre

1891 - 1949

Maori Chief

- 6,500

1848 - 1926

Hinemoa’s Pool, Mokoia Island, Lake

Oil on canvas 44 x 60

Signed & dated 1905

6,000 - 9,000 45 VERA CUMMINGS

1891 - 1949

Harata Rewiri Tarapata Oil on canvas 29.5 x 24

Signed 3,000 - 4,000

1848 - 1926

Kauri Bush

Oil on board 43 x 29

Signed. Inscribed verso

3,000 - 5,000

47

47 GEORGE CLARENDON BEALE

1856 - 1939

Detached Squadron

Watercolour 38 x 46

Signed 2,000 - 3,000

Inscription on matt board as follows:

HMS Tourmaline

HMS Inconstant - Flag Ship

HMS Bacchante

HMS Caryfort

HMS Cleopatra

48

48 JAMES COOK 1728 - 1779

Riviere Tamises et Baye Mercure, Nle Zéland from the French/ German edition of Cook’s first voyage Lithograph print published 1774, 30 x 45

Inscribed

500 - 700

49 MARCUS KING 1891 - 1977

The Arrival

Oil on canvas 121 x 181

Signed 12,000 - 16,000

Provenance: Hung in the collection of Waitomo Caves Hotel for over thirty years

50 CHARLES HEMUS

Circa 1850 - 1925

Ratahi Te Maia, Arawa Tribe

Oil on board 59 x 35

Inscribed & dated 1895

1,500 - 3,000

51 RITA ANGUS

1908 - 1970

Mangonui, Northland

Watercolour 28.8 x 35.8

Signed & dated 1953

18,000 - 26,000

Provenance:

Private Collection, Europe

This work is a similar composition to Mangonui, a watercolour from the collection of Museum of New Zealand Te Papa Tongarewa, illustrated page 143 Life & Vision, edited by William McAloon & Jill Trevelan, Te Papa Press, 2008.

Rita Angus visited friends Roy and Joyce Milligan at Mangonui, Northland during the winter 1953 and again in December. By October 1954 she was living in a cottage there and working on landscapes of the surrounding area. Paintings produced at this time, including Mangonui, Northland were exhibited with The Group. When plans to purchase the cottage fell through the artist returned to Wellington in April of 1955.

52

52 JOHN ARROWSMITH 1790 - 1873

Map of the Colony of New Zealand - 1844

Lithograph print published 1843, 63 x 50

Inscribed

1,000 - 1,500

Eketahuna, as a European settlement, owes its origins to Sir Julius Vogel's Immigration and Public Works Act of 1870 which initiated a new wave of colonisation. Some 7,500 new arrivals, the majority from Scandinavia, landed in New Zealand by the middle of 1873. Vogel's scheme was essentially to open up the hinterland of the country by the clearing of the bush, and the building of new roads, bridges and railways.

Those who first settled in Eketahuna were mostly Swedish. They arrived in Wellington on the 'Forfarshire' on 4th March 1873 and, after a brief period of rest at the immigration barracks, made their way over the Rimutakas to Kopuaranga north of Masterton, where a camp had been established by earlier Scandinavian arrivals. These were mostly Norwegian, Danish and some Germans. Living conditions in this temporary accommodation were crowded, primitive and unhygienic but there they had to stay since their promised new home at the Eketahuna Block, some 35 kilometres north, had not been surveyed.

It was in October 1873 that four of these hardy God-fearing Lutheran immigrants, Nis Lund and Anders Olsen, each with wife and child, Berndt Syversen with wife and three children and Anders Andersen without his wife who had remained behind at Kopuaranga as she was expecting a child, made their way to Waiwaka, three kilometres south of the present township. There they found a derelict surveyor's hut which they made weatherproof and which became their 'home' until the men had completed the stretch of road to the Eketahuna Block. They were joined by other Scandinavian helpers including Alex Jacobsen who found no spare room so he and his wife improvised accommodation in a hollow hinau log with a canvas sheet over one end. It at least kept the elements from them! The Jacobsen's daughter, Annie Louise, (later Mrs Hardingham) was the first white child born in Eketahuna - on 29th January 1875.

The settlers called their new home Mellemskov which means, 'Heart of the Forest' and maps of the 1870s give this name for the settlement. However, by the end of the seventies the name had reverted to the Maori one of Eketahuna which means, 'to run aground on a sandbank'; so named by the 'tangata whenua' to describe that location where their waka or canoes could travel no further up the Makakahi River, which bisects the township. Peter Best

Reproduced courtesy www.eketahunakiwicountry.co.nz

1830 - 1902

Watercolour 35 x 66

Signed & dated 1891

18,000 - 25,000

1864 - 1929

Titahi Bay

Watercolour 25 x 40

Signed & inscribed

2,500 - 3,500

55 WILLIAM GEORGE BAKER 1864 - 1929

Mt Cooper, Titahi Bay

Watercolour 8.5 x 14

Signed 800 - 1,200

56 WILLIAM GEORGE BAKER 1864 - 1929

Ohiro Farm, Brooklyn, Wellington

Watercolour 38 x 49

Signed & dated 10.7.1884

4,000 - 6,000

b. 1939

Kiwi and Weta

Watercolour 52 x 38

Signed

15,000 - 25,000

58 RAYMOND CHING

b. 1939

Straw Necked Ibis

Oil on panel 53.3 x 38.1

Signed & dated 1981

15,000 - 20,000

Illustrated p. 178 Wild Portraits - Paintings & Drawings by Raymond Harris-Ching

Peter Hansard & Raymond Harris-Ching, Seto Publishing, Auckland 1988

The study with the pair of Straw-Necked Ibis, show Harris-Ching’s continuing interest in both the splendour and diversity of glossy plumage and reflect his quite obsessive curiosity with the surface of things. The artist’s dilemma remains the challenge of capturing the tenuous facets of light by means of solid and permanent strokes of paint.

Text: Wild Portraits - Paintings & Drawings by Raymond Harris-Ching, Peter Hansard, Seto Publishing, Auckland 1988

1933 - 1978

Signed & dated 1963 verso

24,000 - 32,000

New Zealand 19th Century

50

One signed & dated 1904. Both inscribed verso

8,000 - 12,000

61 WILLIAM GEORGE BAKER

1864 - 1929

Lake Wakatipu

Oil on canvas 32 x 47

Signed & inscribed

3,000 - 4,000

See framed image page 119

62 ALFRED WILSON

1859 - 1916

Kaikoura Coast

Watercolour 10 x 12.7

Signed & dated 1911

800 - 1,200

63 CHARLES BLOMFIELD

1848 - 1926

Whanganui River with Ruapehu Beyond

Oil on board 30 x 40

Signed & dated 1889

4,500 - 6,500

1894 - 1961

Potts Road, Canterbury

Oil on board 50 x 60

Signed

2,500 - 3,500

Signed

15,000 - 20,000

1869 - 1947

8,000 - 12,000

1910 - 1995

Late Summer

Oil on board 60.8 x 90

Signed

12,000 - 15,000

7,000 - 10,000

1910 - 1995

130.2 Signed 8,000 - 12,000

70 JOHN WEEKS

1888 - 1965

Scottish Fishing Village

Mixed media on paper 30 x 41

Signed 2,000 - 3,000

Weeks O’Connor studio stamp verso

71 JOHN WEEKS 1888 - 1965

Paris

Mixed media on paper 21 x 30

2,500 - 3,500

72 JOHN WEEKS 1888 - 1965

Afternoon on the Seine, Paris

Oil on canvas 36 x 44.5

Signed 5,000 - 8,000

Weeks O’Connor studio stamp verso

73 MINNIE FRANCES WHITE 1891 - 1983

Lake Wanaka Oil on canvas board 40.3 x 50.2

Signed 1,400 - 1,800

74 JOHN WEEKS 1888 - 1965

King Country Oil on canvas 33 x 45

Signed 1,500 - 2,500

Weeks O’Connor studio stamp verso

75 JOHN WEEKS 1888 - 1965

St Tropez

Mixed media on paper 50 x 61

3,000 - 5,000

77

1865 - 1926

Milford Sound Oil on canvas 74.5 x 59

Signed 2,500 - 3,500

1845 - 1925

Hollyford Valley Oil on canvas 60 x 90

Signed

3,000 - 5,000

78 JAMES PEELE

1846 - 1905

Gathering Wildflowers

Oil on canvas 88.5 x 58

Signed

4,000 - 6,000

79 JOHN BARR CLARKE HOYTE

1835 - 1913

Mountain Scene, Southland

Watercolour 55 x 40

Signed

8,000 - 12,000

80 WALTER ARMIGER BOWRING

1874 - 1931

Hioani Ngapuhi (Remuera)

Watercolour 20.5 x 14

Signed

2,000 - 3,500

Walter Armiger Bowring was born in Auckland in 1874. He illustrated New Zealand’s involvement in the South African War. He was an illustrator for the Christchurch Press and a painter in oil and watercolour of historical subjects and portraits. Bowring died in Sydney, NSW in 1931.

Archives New Zealand Documentation, National Collection of War Art

81 GIROLAMO

PIERI BALLATI NERLI

1860 - 1926

Neapolitan Peasant Woman

Oil on board 43 x 22

Signed 8,000 - 12,000

Nerli was born in Siena in 1860. His father was an Italian aristocrat, and perhaps it was from him that Girolamo inherited the style and flair for which he later became famous. The young Girolamo went to Florence to study art, and there he encountered a group of Italian artists called the Macchiaioli, who were reacting against the formal rules of art of the time. Inspired by them, he brought a distinctly different approach to painting, first to Australia, then to New Zealand.

Nerli was a flamboyant individual as well as an unconventional painter, and his three years in Dunedin helped to make the city the art centre of the country. He was elected to the council of the Otago Art Society, and in 1894 was one of a group of three artists who opened the Otago Art Academy. He was a charismatic teacher, and his private classes were so popular that the Dunedin School of Art and Design decided to employ him as a teacher of painting. It was clearly better to hire him than compete with him.

Nerli encouraged his students to look beyond the limitations of New Zealand art to the innovativeness of Europe. Among these students was Frances Hodgkins, who later became one of New Zealand’s most famous expatriate artists. In 1896, Nerli suddenly moved to Auckland where he opened a studio and exhibited his work. In 1898, he married Marie Cecilia Josephine Barron, and immediately after their marriage the couple sailed for Australia. They never returned to New Zealand, although from time to time Nerli sent back paintings for exhibition. Eventually, he went back to Europe with Marie. The last years of his life were a struggle with poverty as he tried to rebuild his declining reputation. He died in Italy in 1926.

82 TOM ESPLIN

1915 - 2005

Chioggia, Venice

Oil on board 26 x 38

Signed 5,500 - 7,500

83 JOHN ELDER MOULTRAY

1865 - 1922

Kinloch, Queenstown Oil on board 20 x 29

Signed 2,500 - 3,500

84 WILLIAM MATTHEW HODGKINS

1833 - 1898

Otira Valley Watercolour 23.8 x 30

Signed

4,000 - 6,000

85 MARGARET OLROG STODDART

1865 - 1934

Fluers Hut, St Ives, Cornwall Watercolour 25 x 35

Signed

7,000 - 9,000

86

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 Royal collection s of both England and Thailand. Badcock was a Kelliher Art Award winner and several books have been published on his work. He gained second prize in the 1959 Kelliher Art Award and third prize in the 1962 award. Badcock died in 2009.

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, Listener, 2004

86 DOUGLAS BADCOCK

1922 - 2009

Backwater Midday, Bendigo, Lake Dunstan Oil on board 39 x 60

Signed & dated 1991

3,500 - 4,500

Provenance: Estate of Douglas Badcock

87 DOUGLAS BADCOCK

1922 - 2009

Motapu Peak, Wanaka Oil on board 44.5 x 60

Signed & dated 1985

4,500 - 6,500

Provenance: Estate of Douglas Badcock

88 DOUGLAS BADCOCK 1922 - 2009

Windblown Autumn Hawera Oil on board 40 x 65

Signed 1,400 - 1,800

89 DOUGLAS BADCOCK 1922 - 2009

Midsummer Heat, Lindis River, Ardgour Oil on board 40 x 65

Signed 1,400 - 1,800

90 JOHN BARR CLARKE HOYTE 1835 - 1913

Whangarei Harbour

Watercolour 28 x 37

Signed

8,000 - 12,000

1891 - 1949

1891 - 1949

7,000 - 9,000

96 A AUSTEN DEANS

b. 1915

Reclining Nude Oil on board 22.5 x 44

Signed & dated 2005 1,500 - 2,500

97 A AUSTEN DEANS

b. 1915

Lake Wakatipu

Watercolour 38 x 55

Signed 2,500 - 3,500

98 A AUSTEN DEANS b. 1915

Rockscape with Mt Sibbald Oil on board 55.5 x 81

Signed 4,000 - 6,000

99 A AUSTEN DEANS

b. 1915

Early Summer, Peel Forest Watercolour 36 x 54

Signed & dated 1955

2,500 - 3,500

Signed

3,000 - 5,000

101 HENRY WILLIAM KIRKWOOD 1854 - 1925

Sunset, George Sound

Oil on board 30.5 x 45.5

Signed 2,500 - 3,500

102 WILLIAM GEORGE BAKER 1864 - 1929

Near Greytown

Oil on board 29 x 44

Signed & inscribed 1,500 - 2,500

103 ALBERT EDWARD ALDIS 1869 - 1921

Waikato River

Oil on canvas 30 x 44.5

Signed

800 - 1,400

104 ALBERT EDWARD ALDIS 1869 - 1921

Lake Waikaremoana

Oil on canvas 30 x 44.5

Signed & dated 1896

800 - 1,400

105 SCHOOL OF JOHN GULLY

19th Century New Zealand

Mt Cook

Watercolour with irregular, rounded top corners 16.2 x 25

Signed with monogram lower right

800 - 1,200

106 SCHOOL OF JOHN GULLY

19th Century New Zealand

Volcanic Mountain - NZ

Watercolour with irregular, rounded top corners

16.2 x 25

800 - 1,200

1855 - 1940

Manukau Harbour

Oil on board 14 x 24.5

Signed

800 - 1,400

108 GEORGE

CARRINGTON 1855 - 1940

Near St Leonards, Otago

Oil on board 17 x 35.5

Signed

800 - 1,400

109 GRACE BUTLER 1870 - 1962

Otago Snow

Oil on canvas board 26 x 42

Signed

800 - 1,500

110 HENRY WILLIAM KIRKWOOD 1854 - 1925

Becalmed

Watercolour 14.2 x 22.4

Signed

800 - 1,200

1854 - 1925

A Rift in the Clouds Oil on board 14 x 22

Signed

800 - 1,500

1854 - 1925

Nancy Sound Oil on board 22.5 x 14

Signed

800 - 1,500

113 JOHN DOUGLAS PERRETT

1859 - 1937

Takapuna Beach from Rangitoto

Oil on canvas 20 x 29

Signed 1,000 - 2,000

114 HENRY WILLIAM KIRKWOOD

1854 - 1925

Calm Seas

Watercolour 21 x 12.5

Signed

800 - 1,200

115 ALBERT EDWARD ALDIS

1869 - 1921

Auckland Harbour from Titirangi

Oil on canvas 20 x 38

Signed 1,500 - 2,000

116 JAMES CROWE RICHMOND

1822 - 1898

St Michael’s Mount, Cornwall

Watercolour 24 x 41.5

Signed & dated 1887

800 - 1,200

117 JOHN DOUGLAS PERRETT

1859 - 1937

Rangitoto

Oil on board 15 x 19

Signed

800 - 1,200

118 WALTER WRIGHT

1866 - 1933

Freemans Bay, Auckland, c. 1900 Oil on board 19 x 31

Signed

800 - 1,200

119 ARTIST UNKNOWN

New Zealand 19th Century

Great Barrier Island Oil on canvas 19 x 31

Signed M.H.B., inscribed Great Barrier Island & dated 1906

800 - 1,200

120 HENRY WILLIAM KIRKWOOD

1854 - 1925

Ruamahanga River, Wairarapa Oil on board 14.4 x 24.3

Signed

800 - 1,200

121 ALBERT EDWARD ALDIS

1869 - 1921

Clevedon Oil on board 24 x 29.5

Signed

800 - 1,200

Celebrating Forty Fabulous Years 1971 - 2011

CONTEMPORARY & Collectable Art

Auction: 6:00pm Thursday 5th May

Entries Close 4th April Viewing commences Friday 29th April Catalogue online from 21st April www.fineartauction.co.nz

Important, Early & Rare Art Auction Wednesday 30th March 2011

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Celebrating Forty Fabulous Years 1971 - 2011

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