May 2016 Modern & Contemporary Art

Modern & Contemporary Art

Tuesday 24 May 2016

Conditions of Sale & A Guide to Buyers

The highest bidder shall be the buyer. In the event of any dispute as to the bidding in respect of any lot, that lot may be offered again at the discretion of the auctioneer whose decision shall be absolute and final.

The auctioneer has the right -

(i) to refuse any bid;

(ii) to advance the bidding at his absolute discretion;

(iii) to place a reserve on any lot;

(iv) to place a bid or bids on behalf of the seller;

(v) to withdraw any lot from sale;

(vi) to require a successful bidder to pay forthwith the whole or any part of the purchase price.

The auctioneer acts as the agent of the seller and neither he nor the seller shall be responsible for any defects or faults in any lot or for any errors of description or for genuineness or authenticity of any lot and no compensation shall be paid in respect of same.

From the time of lot being sold, such lot will be the responsibility of the buyer. Successful bidders are required to pay for purchases immediately on completion of sale unless otherwise arranged.

All intending buyers are required to register for a bidding number prior to auction commencing. Subscribers can use their permanent bidding number. We reserve the right to ask for identification if you are a first time client of International Art Centre.

Each lot shall be paid for and removed at the buyers expense by no later than 4pm Friday 27 May 2016 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 or paid for whilst auction is in progress.

SUBJECT BIDS

When the auctioneer declares a lot ‘subject’ this means the bid is below the set reserve and is subject to vendor accepting, rejecting or negotiating the bid. International Art Centre will endeavour to make contact with the vendor immediately after sale or the following day. If the bid is accepted, the highest bidder is obligated to make purchase.

ESTIMATES

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

ABSENTEE BIDS

Absentee bidding arranged - please refer to absentee bidding page in back of catalogue. Fax to (09) 307 3421 or post to PO Box 37 344 Parnell. Please do not be offended if a member of our staff asks for your credit card details as security.

Absentee bids can also be left via our website to registered members. International Art Centre website www.fineartauction. co.nz acts as a useful auxiliary to the catalogue but we recommend inspection or a condition report prior to leaving a bid.

Our staff will gladly supply you with a condition report on any lot.

TELEPHONE BIDS

Telephone bidding available to subscribers. There is no charge for this service.

PAYMENT FACILITIES

Eftpos: Available for transactions $2,000 or less which is the banks daily limit. For transactions less than $4,000 a 50% deposit on the evening and balance following morning is acceptable as long as the goods remain on our premises until full payment is made.

Bank deposits: Please ask for our bank details to be faxed or emailed if you wish to pay by direct debit. Quote the Lot number(s) Cheques: Accepted by known clients of International Art Centre or at our discretion. When posting cheques please ensure they are sent to the following address. International Art Centre PO Box 37344 Parnell, Auckland 1151. Make cheque payable to ‘International Art Centre’ Credit cards: Visa & Mastercard accepted with a 2% surcharge. No other credit cards accepted.

FREIGHT & PACKING

International Art Centre will gladly arrange in house or professional packing and international, national or local freight at cost. Please arrange insurance on your items prior to them leaving our premises. In some cases, we may be able to arrange delivery ourselves within the Auckland area.

OTHER ENQUIRIES

+64 9 379 4010 Toll Free 0800 800 322 info@fineartauction.co.nz www.fineartauction.co.nz

BUYERS PREMIUM

15% Buyers premium plus GST on premium applies to all lots. Total buyers premium is 17.25% including GST

Modern & Contemporary Art

6:30pm Tuesday 24 May 2016

Lot 29 Heather Straka

Absentee Bidding

Absentee Bid Form - page 96 Fax to (09) 307 3421 or email info@internationalartcentre.co.nz

Conditions of Sale - inside front cover

Bid via website www.fineartauction.co.nz

Auction Date & Venue

6:30pm Tuesday 24 May 2016

Scarborough Gallery, International Art Centre

Lower Ground Level 272 Parnell Road, Auckland

Viewing Times

Wednesday 18 May 9:00am - 5:30pm

Thursday 19 May 9:00am - 5:30pm

Friday 20 May 9:00am - 5:00pm

Saturday 21 May 11:00am - 4:00pm

Sunday 22 May 11:00am - 4:00pm

Monday 23 May 9:00am - 5:30pm

Tuesday 24 May 9:00am - 1pm ( Auction 6:30pm)

Front cover: Lot 26 Séraphine Pick

Illustration left: Lot 22 Andrew McCleod

Back cover: Lot 27 Max Gimblett

Directors: Richard Thomson, Frances Davies & Grahame Chote

272 PARNELL ROAD, AUCKLAND PO BOX 37 344 AUCKLAND 1151 TEL +64 9 379 4010 FAX +64 9 307 3421 www.fineartauction.co.nz

Lot 60 Patricia France

6 April Important & Rare highlights

C F Goldie fetched $1,175,000 plus buyers premium

International Art Centre’s 6 April Important & Rare auction achieved a record result with the highest price ever paid for a painting at auction in New Zealand. International Art Centre already held that position when C F Goldie’s Kawhena, painted in 1892, was auctioned in 2013. This was Goldie’s first Maori portrait and fetched $732,800.

Last month, Goldie’s 1941 portrait Wharekauri Tahuna aged 102 made a spectacular $1,175,000 under hammer, with premium, $1,377,000. The first painting to exceed $1million dollars in a New Zealand auction room.

Going Going Goldie!

$1.377 million incl. bp

Surpassing the previous record $732,800 achieved at our November 2013 auction

Intense media and public interest throughout the viewing resulted in spirited bidding both in the room and via internet and telephone. Over a period of ten minutes, with mounting excitement, the bid climbed from $600,000 to $1,175,000. History was made and applause resounded, as a bidder in the rooms secured Goldie’s final portrait. A pencil drawing by Goldie also fetched a record when it sold for a hammer price of $80,000.

A small oil by Don Binney sold for $92,500 against an estimate of $50,000 – 75,000 while two small Colin McCahons sold at the top of their estimates, reaching $62,500 and $34,000. This landmark auction saw around $2.5million in sales under hammer. We now invite consignments for our August Important & Rare auction.

International Art Centre’s Important & Rare auctions are the proven, preeminent sale category for major works offered through the New Zealand art market. As we fast approach our 50th year in business, experience continues to equal results. 2014 saw International Art Centre realise five of New Zealand’s top ten auction prices. The following year saw new records set with the two top prices in Auckland achieved at our Important and Rare auctions. With the addition of record prices paid in April’s recent sale International Art Centre has now achieved the three highest art auction prices in New Zealand history. With an appreciative, and greatly valued clientele of nationwide and international buyers and sellers we look forward to breaking new ground.

Be part of the excitement - Consign Today

Important & Rare

On April 6, Charles Goldie’s magnificent 1941 portrait of Wharekauri Tahuna was sold by International Art Centre for $1.3m, making it the most expensive work of art to have been sold at auction in New Zealand. The energy and national excitement generated by this record sale is still palpable and will forever be an important milestone in New Zealand’s art historical narrative. Experience Equals Results.

EXTRAORDINARY ART FOR EXTRAORDINARY PEOPLE

CHARLES FREDERICK GOLDIE AND THE VALUE OF THE SECONDARY MARKET

On April 6, Charles Goldie’s magnificent 1941 portrait of Wharekauri Tahuna was sold by International Art Centre for $1.3m, making it the most expensive work of art to ever have been sold at auction in New Zealand. The energy and national excitement generated by this record-breaking sale is still palpable and will forever be an important milestone in New Zealand’s art historical narrative.

From a market-based perspective, it is obvious that the sale of Wharekauri Tahuna is testament to New Zealand’s burgeoning art market potential. More significantly, however, it represents the maturation of our collective national relationship with Charles Frederick Goldie, and speaks to the inherent value of Goldie’s art as a mainstay of our cultural currency.

In considering the various factors which have culminated in such a robust market appetite for Goldie’s paintings, the role of the secondary (auction) market as arbiters of taste and value is paramount. International Art Centre is proud to have played a long-standing role as the leading secondary market vendor for Goldies, and as the single major influence in the Goldie market to date. Since 1971, International Art Centre have spearheaded growth in the market with a number of record-breaking Goldie sales. The success of the current market is in many ways the product of this unique and productive relationship which has linked International Art Centre's boundary-pushing sales with the artist’s work over the last 45 years. Extrapolating some of the highlights of these sales over the decades will offer insight into the machinations and motivations of this market:

Going back to the 1980s, it is interesting to note that despite the overall economic strength and market stability of this era (prior to 1987), prices attained for Goldie's work at auction were not in accordance with the corresponding climate of financial buoyancy. This can be linked to the political and reputational discord being experienced by Goldie’s work at the time. For the market to evolve from this point, a certain academic endurance and culturallydisclaiming acceptance needed to crystallise.

Further evidence of the Goldie market’s ability to rebut the economic climate can be found in International Art Centre's 2008 sale of the magnificent 1933 portrait of Hori Pokai. This realised a record price of $454,000, well in excess of its $240,000 - $280,000 estimate, and standing in glorious defiance of the imminent economic downturn: a testament in its own right to the bullishness of the art market. The painting, also known as Sleep ‘tis a Gentle Thing, is an iconic work, and its wholehearted reception by the buying public affrmedtheincreasinglyunshakeable nature of Goldie’s market.

In considering the 'value' of art, there is a tendency to indulge the notion that art historical truth and reputation are qualities which exist independently of time, place and market fluctuations, and that the financial value of works by major artists - such as Goldie - is derived from this higher academic authority. However, it would be inaccurate to presume that the market appetite for Goldie’s works has been informed by, and followed the trajectory of, his academic reputation.

Rather than responding in a delayed manner to the art historical or institutional climate, the market for Goldie’s work in fact grew as a result of, and in the context of, a process of collaborative exchange between vendor and institution. The fluidity of this market / institutional relationship is perfectly exemplified in the 1992 sale by International Art Centre of two important Goldie works, Darby and Joan and The Widow, to the National Art Gallery for the sum of $900,000 plus GST. Not only did the sale serve to affrmGoldie’scommercialworth,butit also amplified his institutional presence and recognition, solidifying the visibility of his position in the New Zealand art historical canon. In this sense, and particularly with consideration to the Goldie market, it is important to realise that the relationship between market value and 'inherent' artistic value is dynamic, and the two are inextricable.

Two years after the sale of Hori Pokai, in 2010, the scene was once again set at International Art Centre as a record price of $573,000 was achieved for the sale of Forty Winks. This sale is of particular interest insofar as it offers an important point of consideration regarding the value of provenance. The portrait is a splendid work, exhibiting the very finest aspects of Goldie’s technical expertise, and is the only known work to have been painted of the sitter Rutene Te Uamairangi. The large scale and superb technical detail of the work magnificently showcase qualities highly sought-after in Goldie’s work. Furthermore, the work came from the collection of Dame Kiri Te Kanawa, affording it a significant additional aspect of cultural value, the elusive aura of its provenance drawing both on the celebrity status and authoritative cultural endorsement implied by the fact of its previous owner.

One further interesting aspect of the cultural-economic phenomenon which constitutes the market for Goldie’s work relates to the buying public’s unwavering commitment to the totality of the artist’s oeuvre. An increase in demand and more profound appreciation of Goldie’s work in recent years has prompted a dedicated approach to the acquisition of his paintings in a manner which extends far beyond a tokenistic mode of acquisition, or trophy collecting. This all-encompassing rigour and enthusiasm for the artist’s work has been evidenced by two key sales in particular. In 2012, International Art Centre's momentous sale of Goldie’s 1892 Kawhena achieved what was, at the time, another record price of $732,800. It is important to note that this work, Goldie’s first portrait of a Maori kaumatua, had never before been presented to the market, and did not carry the same degree of celebrity as, say, Forty Winks. Moreover, the highly-polished formal attributes of Kawhena are representative of Goldie’s early technique, and do not necessarily align closely with those most readily-identifiable and classically sought-after aspects of his work. The work is exquisite, and the fact that the market responded so eagerly to a previously unknown, arguably untraditional painting of Goldie’s demonstrates a genuine desire to celebrate the complexity and diversity of his artistic output, rather than just perfunctorily engaging with his trademark style.

This brings us back to the most recent sale of Wharekauri Tahuna, which stands in circular witness to the sale of Kawhena, book-ending Goldie’s career as the last-known portrait to have been completed, and once again setting a record for the artist. Notably, this was accompanied in the same sale by an outstanding Goldie drawing which achieved an exceptional hammer price of $80,000 against an estimate of $15,000 - $25,000. Looking ahead from the point of this watershed moment in the New Zealand art market history, the sale of Wharekauri Tahuna will without a doubt pave the way for the market to continue to flourish and break bold new territory in years to come.

2 DON BINNEY

Swoop of the Kotare, Waimanu

Screenprint, edition 7/175 66 x 48

Signed, inscribed & dated 1980

4,000 - 6,000

1 MICHAEL PAREKOWHAI

Spaceman Cigarettes

Screenprint, 19/70 80 x 50

Signed, inscribed & dated 2011

2,000 - 3,000

Screenprint, edition of 30, 54 x 68

Signed, inscribed & dated 2007

4,000 - 6,000

Provenance:

Private Collection, Auckland

Purchased from Peter McLeavey Gallery

4 PETER SIDDELL

One Tree Hill Oil on board 36 x 39

Signed & dated 5/1970

2,000 - 4,000

5 DON BINNEY

Motutapu Takahe Release III

Screenprint, edition 14/80 43 x 60

Signed, inscribed & dated 2012

2,000 - 3,000

6 YVONNE WESTRA

Releasing the Shutter #3

Photograph 20 x 30

Signed, inscribed and dated 2003

400 - 600

7 MICHEL TUFFREY

Povi Fa Series 1

Steel sculpture with tin cans 34 x 53

Signed & dated 2004

5,000 - 8,000

8 MICHEL TUFFREY

Cooks Transator Tupia

Acrylic on tin plate 9 x 48.5

Signed & dated 2004

1,000 - 2,000

9 ISRAEL TANGAROA BIRCH

Kei a Te Po the Timatatanga O Te Waiata tanga mai o te atua - It was in the night that the gods sung the world into existence

Acrylic on paper 24 x 98

Signed & dated 2008

1,800 - 2,500

10 JENNY DOLEZEL

That Lift Home Oil pastel on paper 27 x 76

Signed, inscribed & dated 1987

3,500 - 4,500

11 FRAN DIBBLE

Untitled

Mixed media collage 17 x 12

Signed & dated 2007

650 - 850

Untitled

Mixed media sculpture 95 x 85

2,500 - 3,500

L.L.P.BLK 1 2001 - Diptych

Mixed media on two boards 62 x 120

Signed, inscribed & dated July 2001 verso 2,000 - 3,000

Exhibited:

Purangiaho: Seeing Clearly, Auckland Art Gallery September - November 2001

14

HELEN BROWN

Hauraki Gulf

Oil on canvas 51 x 76

Signed & dated 1975

5,000 - 8,000

15

MICHAEL HIGHT

Hyde

Oil on canvas 40.8 x 50.8

Signed, inscribed & dated 2006

4,500 - 5,500

16

KARL MAUGHAN

Takaro

Oil on canvas 102.5 x 102

Signed, inscribed & dated 2015 verso

11,000 - 13,000

17 LORENCE TAUREREWA

Wogengroupe 1

Graphite on rice paper, 63.5 x 50.8

Signed, inscribed & dated 2013

1,500 - 2,000

18

QUENTIN MACFARLANE

Studio Sketch - Northland Coast Oil on canvas 58 x 47.5

Signed Inscribed & dated 1981 verso

1,800 - 2,500

19 MARY MCINTYRE

Death and the Maiden Oil on 100 wooden panels 150 x 150

Signed, inscribed & dated 2002

15,000 - 20,000

20

Cornfield

Oil on paper 17.5 x 29

Signed & dated 1996

14,000 - 18,000

Monet’s Garden

Oil on canvas 200 x 160

Signed & dated 1995 verso

25,000 - 35,000

Provenance:

Private Collection, NSW

Acquired by present owner 1995

22 ANDREW MCCLEOD

Miracle of Fishes, 2003

Pigmented inkjet print, edition of 3, 142 x 106 9,000 - 12,000

Provenance: Purchased in 2003 Peter McLeavey Gallery by current owner

23 COLIN MCCAHON

Near Craigieburn no. 4

Synthetic polymer paint on board 29.2 x 29.6

Signed & dated 1969

Inscribed verso

30,000 - 40,000

Provenance:

Private Collection since 1995

Webb’s, Fine New Zealand Paintings & Foreign Paintings, Drawings and Prints, Auckland, 22/11/1995

Colin McCahon database no. cm000349

Near Craigieburn no. 4 belongs to a series of works by McCahon where he sought to depict the Cantabrian landscape through expressions of textured, painterly dynamicity.

Contained within a modest square form, this work possesses a powerful, meditative potency. The yellowed hues of the landforms imbue the painting with an almost ethereal sense of sepiatoned timelessness, while at the same time offering something of a geographically non-specific, sublime abstraction. Thus, the painting’s form, colour and painted texture bear witness to a certain universal truth as interpreted by McCahon.

McCahon’s depictions of the distinctive northwest region of Canterbury, Craigieburn, represent an interesting moment in his artistic production.

These works were accomplished in 1969 - having recently transformed an industrial shed in Muriwai into his studio, McCahon was at this time immersed in a complex, intersemiotic exploration of his spirituality and artistic identity. This included the articulation of a number of his key ideas and philosophical explorations through a large series of text-based religious works. Near Craigieburn no. 4 is an accomplished work which offers a glimpse into the artist’s spiritual relationship and dialogue with the landscape at this seminal point in his career.

24 BILL HAMMOND

Wishbone Ash, Cornwall Rd Cave 2

Oil on canvas 110 x 85

Signed, inscribed & dated 2011

130,000 - 160,000

Provenance:

Private Collection Wellington Purchased from Peter McLeavey Gallery

Painted in Lyttleton in 2011, Wishbone Ash, Cornwall Rd Cave 2 depicts Hammond’s interpretation of Canterbury after the earthquakes. Land has receded and a new day dawns full of optimism and promise of the new.

Note the luminosity of the yellow-skirted birds with their elegant, graceful bodies Blowin’ Free just like the Wishbone Ash classic itself. The joyful, powerful and exquisitely euphoric. Wishbone Ash, Cornwall Rd Cave 2 is strikingly presented in it’s artist selected antique gilt frame.

25 MAX GIMBLETT

Both Light

Gesso, acrylic and vinyl polymers,iridescent gold fine, epoxy, acqua size, swiss gold leaf on canvas 204 x 204

Signed, inscribed & dated 2009 verso

70,000 - 90,000

Provenance:

Private Collection, Wellington

Purchased Page Blackie Gallery, Wellington

26 SÉRAPHINE PICK

Sevens

Oil on linen 200 x 165

Signed & dated 2013

55,000 - 70,000

Provenance:

Private Collection

Purchased Station Gallery, Melbourne

Exhibited:

Séraphine Pick: White Noise, The Dowse 27 June 2015 – 17 January 2016

Wellington based Séraphine Pick is a painter of national significance, one of the most successful artists of her generation. Over the last two decades Pick has become well known for her lyrical painting, in which she explores subject matter such as dreams, memory and psychology that dip in and out of everyday life.

Sevens

27 MAX GIMBLETT

Fra Angelico - The Golden Rule

Gesso, red clay, gold leaf on wood panel 101.5 x 101.5

Signed, inscribed & dated 2007 verso

50,000 - 60,000

Provenance:

Purchased Page Blackie Gallery, Wellington

Private Collection, Wellington

28 PAUL DIBBLE

Huia Feather, 2001

Unique bronze sculpture, 260 x 55 x 55

Signed on base

60,000 - 80,000

Provenance:

Private Collection, Auckland

Exhibited:

The Calici Smile, Bowen Galleries, Wellington 2001

29 HEATHER STRAKA Playdate

Oil on cotton coated board 88 x 60

Signed & dated 2012

10,000 - 14,000

Provenance:

Private Collection, Wellington

Purchased from exhibition Playdate, Page Blackie Gallery, Wellington, 2012

Bayleys Hill,

Oil on board 60 x 75

Signed

20,000 - 30,000

Provenance:

Private Collection, Otago

Purchased from Fine New Zealand Paintings auction, International Art Centre, July 2003

Drawing for Ian Weddes “Pathway to the Sea”

Watercolour 56 x 76

Signed, inscribed & dated 1974

20,000 - 26,000

Provenance: Private Collection, Otago

LATE ENTRY

31A RALPH HOTERE

Black Painting

Brolite lacquer on hardboard 121.5 x 60.5

Signed, inscribed & dated Dunedin1969 verso

35,000 - 45,000

Provenance:

Private Collection, Auckland

Robert McDougall Art Gallery label affxedverso

Canterbury Society of Arts label affxedverso

32 DICK FRIZZELL

Red Sea Oil on canvas 150 x 185

Signed, inscribed & 11/8/2007 24,000 - 28,000

Provenance:

Private Collection, Auckland

Purchased by current owner 2007 who hung it in their New York apartment 2007 - 2010 and later San Francisco 2010 - 2015

Choirs of Plytadis Part II

Acrylic on linen 76.4 x 60.8

Signed & dated 2013

3,800 - 4,800

Untitled - Fruit Tree

Cast bronze, edition of 5, 35 x 20.5

Signed & dated 1983

2,500 - 3,500

35 TERRY STRINGER

Table

Bronze 103 x 40 x 28

Signed & dated 1983

17,500 - 22,500

Men @ Work, Sea of Men

Gesso & acrylic ink on reclaimed ply wood 117 x 119

Signed

Inscribed & dated 2015 verso

1,800 - 2,200

Provenance

Cover of Concrete Magazine Volume 58, no. 1, 2015

37 MICHAEL DELL

Large Cluster

Acrylic on linen 80 x 80

Signed, inscribed & dated 2005 verso

5,000 - 6,000

Oil on canvas 105 x 162

Signed, inscribed & dated 2-IV-01

15,000 - 20,000

Provenance:

Private Collection Wellington

Purchased from Janne Land Gallery, Wellington 2001

39 HENRYK SZYDLOWSKI

The Frogs Concert Oil on canvas 30 x 41

Signed & dated 1989

Inscribed verso 1,500 - 2,500

40 HENRYK SZYDLOWSKI

The Birds Concert at Night Oil on canvas 38 x 36

Signed & dated 1989

Inscribed verso 1,500 - 2,500

41 GRETCHEN ALBRECHT

Sunset over Wakatipu

Acrylic on canvas 170 x 170

Signed & dated 1972

14,000 - 18,000

42 ZENA ELLIOTT

Transit, 2014

Acrylic & spray paint on marine ply 102.1 x 102

Signed 4,500 - 6,000

43 CHARLOTTE HANDY

In this Hour

Oil & acrylic on canvas 79 x 79

Signed & dated 2010

4,000 - 5,000

44 GRETCHEN ALBRECHT

Heart 80’

Acrylic on paper 80 x 60

Signed, inscribed & dated 1980

8,000 - 12,000

Provenance:

Private Collection, Dunedin since 1980

Purchased Abernathy’s Galleries, Dunedin

Heart 80’ is a unique, rare and symbolic of Albrecht’s move from Quadrants into Curves and Hemispheres. Heart 80’ embraces both the curve and quarter sphere and precursor of the Hemisphere.

Albrecht was awarded the Frances Hodgkins fellowship at the University of Otago in 1981

Canterbury Plains

Conté crayon on paper 20 x 26

Signed, inscribed & dated 1948

8,000 - 12,000

Provenance:

Private Collection, Auckland

Colin McCahon database no. cm000481

Exhibited: An Exhibition of Paintings from July 1947 to August 1948 by Colin McCahon, Dunedin Public Library Hall, September 1948

Wiremu Kingi Whiti to HapuronaRangiaohia 1861

Ink on paper 56 x 40

Signed, inscribed & dated 1972

18,000 - 25,000

71

Signed & dated 2005

15,000 - 20,000

Whareakeake from Purakanui

Oil on canvas 102 x 152

Signed & dated 2016

6,000 - 8,000

Signed & dated 1985

15,000 - 20,000

Landscape 139 Oil on canvas 130 x 160

Signed, inscribed & dated 2013 14,000 - 17,000

51

52

SHANE COTTON

Alpha / Omega

Lithograph, edition 5/25 52.5 x 75

Signed, inscribed & dated 1998 1,000 - 1,500

JAMES WATKINS

Red Roof at Dusk

Oil on canvas 24 x 49.5

Signed, dated 2005 2,000 - 2,500

53

SHANE COTTON

Hopa

Lithograph, edition 5/25 52.5 x 75

Signed, inscribed & dated 1998 1,000 - 1,500

54

SHANE COTTON

Broken Water

Screenprint, edition of 40 x 50

Signed 1,200 - 1,400

55

ELIZABETH REES

View Eight - Momentum Series

Oil on canvas 137 x 137

Signed

Inscribed verso 4,000 - 6,000

Provenance:

Private Collection, Wellington

Chinese ink, watercolour, gouache, synthetic flocking on canvas 61 x 92

Signed, inscribed & dated 1994 verso 2,500 - 3,500

Cascade

Mixed media collage, 140 x 240

Signed, inscribed & dated 1988

10,000- 20,000

Turning a Blind Eye Oil on board 36 x 55

Signed, dated 7/83 verso

800 - 1,200

59

PATRICIA FRANCE

A Difference of Opinion

Gouache 39 x 45

Signed

Inscribed & dated 1984 verso 3,000 - 5,000

Provenance: Private Collection

60

PATRICIA FRANCE

The Woman in the Pink Hat Oil on board 48.5 x 38

Signed 6,000 - 8,000

Provenance: Private Collection

Illustrated: Painting out the Past : The life and art of Patricia France, Richard Donald Longacre Press 2008

61 EMILY KARAKA

Ko Au Te Awa

Oil on canvas 152 x 304

Signed & inscribed 8,000 - 12,000

62 GARRY CURRIN

Various Distances Apart III

Oil on canvas 80.3 x 90

Signed, inscribed & dated 2010

8,000 - 10,000

63 EMILY KARAKA

Motutapu Waewaetapu Triptych

Mixed media on canvas 152 x 304

Signed & inscribed

8,000 - 12,000

Exhibited

Manawhenua Fields of Stone, Mangere Arts Centre, 2015

Oil on board 20 x 20

Signed & inscribed

800 - 1,200

Oil & alkyd on canvas 46 x 60

Signed & dated 2011

800 - 1,200

66

MARK OLSEN

Olive

Oil on canvas 100 x 100

Signed 1,500 - 2,500

67 GARRY CURRIN

Untitled Oil on canvas on board 112 x 109

Signed & dated 1993

800 - 1,200

68

SARA HUGHES

Runway, 2000 Oil on canvas 58 x 58

Signed, inscribed & dated 2000 verso 1,000 - 2,000

Provenance:

Made in Hong Kong, George Fraser Gallery, Auckland, 2000

Signed & dated 1994

Signed & dated 1994

2,500 - 3,500

Provenance: Corporate Collection, Auckland

74

Untitled Triptch Oil on three stretched canvas panels 91 x 183 1,500 - 3,000

Corrugated steel spiral 33 x 51

800 - 1,200

73 JEFF THOMPSON Ridge Line from Roofing Suite

Screenprinted Corrugated Roof 21 x 31

Signed & dated 2003

400 - 600

Bronze sculpture on wooden base, edition of 10, 40 x 40 2,000 - 3,000

75 JUSTIN SUMMERTON Forget it Dick, The Recession Will Soon be Over Acrylic on paper 51 x 41

Signed & dated 2010 3,000 - 4,000

76 ROBERT WYNNE

Australian b. 1950

Untitled Glass and sandstone sculpture 32 x 61

Signed

500 - 1,000

77 JANE EVANS

Young Lovers in the Night Oil pastel, pastel, gouache and watercolour 60.5 x 40

Inscribed & dated 1998 verso

3,500 - 4,500

78 PETER MCINTYRE

Cable Car Lane, Wellington

Watercolour 72.5 x 53.5

Signed

10,000 - 15,000

Card affxedversoreads: With Best Wishes Peter McIntyre

Provenance: Private Collection, Wellington

Illustrated: plate 12, Peter McIntyre’s, Wellington

A H & A W Reed, 1975

Queenstown Oil on board 47 x 60

Signed & dated 1953

8,000 - 12,000

Lake Kirkpatrick and the Hills at Moke Oil on board 56 x 71

Signed & dated 1958

Inscribed verso 4,000 - 6,000

81

MICHAEL SMITHER

Hawkdun Range, Central Otago

Acrylic on paper 24 x 98

Signed & dated 2008

1,800 - 2,500

82 GAVIN CHILCOTT

Caryatid and Flowers

Mixed media on paper 56 x 76

Signed & dated 2002

1,500 - 2,500

83

DOUGLAS MACDIARMID

Landscape

Oil on board 35.4 x 53

Signed & dated 1973

$2,000 - 3,000 84

QUENTIN MACFARLANE

Untitled

Gouache on paper 49 x 72

Signed

2,000 - 3,000

85

REUBEN FRIEND

Huaki Pouri - From the World of Darkness

Acrylic on board 120 x 79

Signed, inscribed & dated 2005 verso

800 - 1,200

86

MICHAEL SMITHER

Bell Bird Song

Acrylic on canvas 51 x 51

Signed & dated 2008 verso

1,000 - 2,000

87

DICK FRIZZELL

Another Big Kiss

Screenprint, edition printers proof, 80 x 75

Signed & dated 2009

2,000 - 3,000

88 SHANE HANSEN Whanaungatanga

Oil on board 120 x 240

Signed & inscribed verso

1,000 - 1,500

Provenance:

Corporate Collection, Auckland

89 RUSSELL JACKSON Invasion of the Frog People of Browns Island

Oil on board 120 x 120

Signed, inscribed & dated 1992

1,500 - 2,500

Provenance:

Corporate Collection, Auckland

90 ALISTAIR NISBET-SMITH Head

Oil on canvas 122 x 76

800 - 1,200

War Machine

Handmade screenprint, edition of 28, 38 x 52

Signed, inscribed & dated 1967 1,000 - 1,500

Planchette Gamble Oil on metal 18 x 13

Signed, inscribed & dated MMXIII

700 - 1,200

Exhibited:

The Artist As Peasant Auckland Art Faiir 7 - 11 August 2013

93

DICK FRIZZELL

Masterpiece

Screenprint, edition 23/80 56.5 x 76.5

Signed, inscribed & dated 2003

700 - 1,200

94

JOHN REYNOLDS

Panton Chair

Acrylic on Panton Chair Classic by Vernon Panton 2010

1,200 - 1,800

95

RUDY WHITEHEAD LOPEZ

Untitled Oil on board 75 x 50

Signed & dated 2003

400 - 600

96

JANE GRAY

Bach Series Oil on foamboard 120 x 87

Signed & inscribed 2,000 - 3,000

97

JANE GRAY

Inner Beauty Oil on deer skull 80 x 48

600 - 1,000

98

TERRY STRINGER

Nude Study

Watercolour 56 x 32

Signed & dated 1980 1,000 - 1,500

99

CRISTINA POPOVICI

Anima Chaise #1

Painted fibreglass chair

800 - 1,200

100 ALLEN MADDOX

Untitled

Lithograph, edition 5/12 64 x 46

Signed & dated 1986

600 - 800

102 STANLEY PALMER

The Three Boatman, Pipiotahi Bamboo engraving, edition of 100 41 x 65.5

Signed, inscribed & dated 1994

800 - 1,200

103 STANLEY PALMER

Motu - Maraenui

Bamboo engraving, edition of 100 42 x 60

Signed, inscribed & dated 1989

800 - 1,200

104 STANLEY PALMER

Arrival - Western Viaduct

Artist’s proof, edition of 100, 41.5 x 60.5

Signed, inscribed & dated 1988

800 - 1,200

105 STANLEY PALMER

Antipodean Albatross

Screenprint 56 x 76

Signed & dated 2012

800 - 1,200

106 MICHAEL SMITHER

Beach and Clouds

Screenprint, 1/16 25 x 39

Signed & dated 1977

800 - 1,200

107 NIGEL BROWN

Aotearoa

Woodcut, edition 65 x 85

Signed 1,200 - 1,800

108 PARATENE MATCHITT

Murara ana te ao

Screenprint 38/50 35 x 50

Signed & dated 2011

650 - 850

109 PARATENE MATCHITT

The Whawhai Totou Kutoa Mote Ora

Screenprint 35 x 50

Signed & dated 2011

650 - 850

110 JANE EVANS

The Pink Dress

Watercolour 75 x 57

Signed & dated 1985

4,000 - 6,000

111 PIERA MCARTHUR

The Orchestra

Crayon on paper 49 x 71

Signed 1,200 - 1,600

112 JANE EVANS

Lady with a Blue Hat

Watercolour 60 x 36

Signed & dated 1988

3,000 - 5,000

113 PIERA MCARTHUR

Repeated Curtain Calls

Indian ink and watercolour 25 x 45

Signed & inscribed

800 - 1,200

114 PETER JAMES SMITH

Shield of Orion

Acrylic on paper on canvas 70 x 200

Signed, inscribed & dated 1997

3,500 - 4,500

115 SIMON EDWARDS

Urban Grain II, 2007

Oil on board 33.7 x 43.6

Signed

3,600 - 4,200

116 PIERA MCARTHUR

Nudes at Play

Mixed media on paper 54 x 72

Signed, inscribed & dated 1982 1,500 - 2,500

117 DICK FRIZZELL

Open

Acrylic on paper 20.5 x 14

Signed & dated 1/4/2004 1,000 - 2,000

118 TED DUTCH

Jazzmen

Handmade screenprint, edition of 50, 43 x 57

Signed, inscribed & dated 2003 800 - 1,200

119 PRO HART

Flowers

Oil on board 12 x 10

Signed 2,400 - 2,800

120 STANLEY PALMER

Parengarenga Morning

Bamboo engraving, 19/50, 40 x 72

Signed inscribed & dated 2004

800 - 1,200

121 RIDUAN TOMKINS

Untitled

Acrylic on paper 31 x 32 1,800 - 2,200

Provenance:

Purchased directly from the artist by the current owner

122 RIDUAN TOMKINS

Untitled (Blue / Green)

Lithograph, edition of 14 30.5 x 60.5

Signed 800 - 1,200

123

EILEEN MAYO

Musk Duck

Woodblock print, edition 9/50 18 x 20

Signed & inscribed

800 - 1,200

124

EILEEN MAYO

Linodendrom

Woodblock print, edition 9/50 20 x 16.5

Signed & inscribed

800 - 1,200

125 PETER CRAMOND On the Land

Pencil on paper 30 x 88

Signed & dated 2011

400 - 700

126 KENT BADDELEY

Solitude of Must

Oil on canvas 91 x 112

Signed, inscribed & dated 2005 verso

800 - 1,200

127 PATRICIA FRANCE

Upon Consideration

Oil on board 45 x 38

Signed 3,500 - 4,500

129

Sudden in a Shaft of Sunlight

Oil on board 29 x 23

Signed 2,500 - 3,500

Remembering Childhood Nightmares Woodblock print, edition 29/30 65.5 x 50

Signed, inscribed & dated 1986

600 - 1,000

130 FRANK GROSS

Fossills

Watercolour 60 x 50

Signed

800 - 1,200

131

PARATENE MATCHITT

Huakina

Silkscreen print, edition of 20, 55.3 x 81

Signed, inscribed & dated 1986

1,500 - 2,000

132 ROSS RITCHIE

Three - Barry Lett Gallery Multiple

Screenprint 72 x 55

300 - 500

133 GORDON CROOK

Morning Call

Lithograph on stienback paper, edition 11/12, 110 x 72

Signed, inscribed & dated 1984

500 - 1,000

134

PETER JAMES SMITH

Rain II

Acrylic on paper on canvas 26 x 126

Signed, inscribed & dated 1997

2,000 - 3,000

135

MICHAEL SMITHER

Breaking Waves

Screenprint, edition, 66 x 48

Signed & dated 1970

800 - 1,200

136 ALAN TAYLOR

Maungawhau Mt Eden

Screenprint, edition 16/40, 72 x 55

Signed, Inscribed & dated 2006

400 - 600

137 ALAN TAYLOR

Maungapohatu

Screenprint, edition 10/30, 76 x 52

Signed

400 - 600

138 JOS KIVITS

Still Life

Oil on panel 28 x 23

Signed

500 - 1,000

139 LOUISE HENDERSON

For Your Pleasure Only - No. 3 Series Oil on board 75 x 106

Signed & dated 1984

Inscribed verso

4,000 - 6,000

140 LOUISE HENDERSON

Study for a Stained Glass Window, 1960 Watercolour, gouache and pencil on paper 69 x 90

Signed 4,000 - 6,000

Believed to be the study for the stained glass window for Church of the Holy Cross, Henderson, Auckland

Abstract - Pink

Gouache on paper 70 x 86

Signed 1,000 - 1,500 142

Portrait of Thomas Lucke - Artist’s husband

Oil on board 91 x 61

Inscribed ‘Thomas Lucke’ verso

500 - 1,000

143 LOUISE HENDERSON

Abstract Composition

Oil on board 74.5 x 205

3,000 - 5,000

144 LOUISE HENDERSON

Harbour Landscape

Oil on jute on board 59.5 x 90

Signed & dated 1991

500 - 1,000

145 LOUISE HENDERSON

Peacock Design No.4

Watercolour, gouache and pencil on paper 69 x 90

Signed

400 - 600

Maori Girl, Otago

Signed, inscribed & dated

Window Screenprint, edition of 150, 57 x

Signed, inscribed & dated

Drawing For Last Stand

Pencil on paper 19 x 36

Signed & dated 2012

500 - 1,000

156 ALVIN PANKHURST

Drawing For Lost Luggage

Pencil on paper 38 x 59

Signed & dated 2010

800 - 1,200 157 AUSTIN DAVIES

Of Woman and War

Acrylic on panel 18 x 21

Signed & dated 1996

300 - 500

Lake

Acrylic on board 31 x 27

Signed & dated 2010

800 - 1200

Absentee Bid Form

Modern & Contemporary Art Tuesday 24 May 2016

Alternatively, register then bid online www.fineartauction.co.nz

I instruct International Art Centre to bid on my behalf for the following lots up to the prices indicated below. My bids are to be executed at the lowest attainable price level. All bids are subject to Conditions of Sale printed in this catalogue.

Registration Bidding Number

Name

Address

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Lot Number Bid $NZ (excl. premium) Artist and Title

Signature........................................................ / / 2016

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ALBRECHT G 41, 44, 57

BADCOCK D ................... 79, 80, 150

BADDELEY K ................................. 126

BARKER D 158

BINNEY D................................ 2, 5, 20

BIRCH ISRAEL T ................................ 9

BLAIR P ..................................... 69, 71

BROWN N .................................... 107

BROWN H 14

BRUIN K .......................................... 49

CHILCOTT G ................................... 82

COTTON S 51, 53, 54

COUPER M..................................... 91

CRAMOND P ............................... 125

CROOK G .................................... 133

CROSS M ..................................... 149

CURRIN G 62, 67

DAVIES A ...................................... 157

DELL M ........................................... 37

DIBBLE P 28

DIBBLE F.......................................... 11

DOLEZEL J ...................................... 10

DUTCH T ................................. 92, 118

EDWARDS S.................................. 115

ELLIOTT Z ......................................... 42

ELLIS R ............................................ 47

EVANS J ..........................77, 110, 112

FONG L 56

FRANCE P .................59, 60, 127, 128

FRIEND R ........................................ 85

FRIZZELL D 32, 87, 93, 117

GIMBLETT M ............................. 25, 27

GRAY J ..............................96, 97, 101

Index

GROSS F ....................................... 130

HAMMOND B ............................ 3, 24

HANDY C 43

HANSEN S....................................... 88

HART P.......................................... 119

HENDERSON L 139, 140, 142, .............. 141, 143, 144, 145, 146, 147

HIGHT M 15, .................................. 38

HOTERE R ................................. 31, 46

HUGHES S....................................... 68

JACKSON R 64, 89

KAHUKIWA R .................................. 65

KARAKA E ................................ 61, 63 KING V 74

KIVITS J ......................................... 138

LANE TERESA H R ........................... 36

LELEISI’UAO A ................................ 33

MACDIARMID D ............................ 83

MACFARLANE Q ..................... 18, 84

MADDOX A ................................. 100

MATCHITT P .................. 108, 109, 131

MAUGHAN K 16, 21

MAYO E ................................ 123, 124

MCARTHUR P ............... 111, 113, 116

MCCAHON C 23, 45

MCCLEOD A ................................. 22

MCINTYRE M.................................. 19

MCINTYRE P ................................... 78

NISBET-SMITH A .............................. 90

OLSEN M 66

PALMER S ............................ 102, 103, .............................. 104, 105, 120, 152

PANKHURST A 155, 156