May2017modernandcontemporaryart

Modern & Contemporary Art

Tuesday 16 May 2017

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 19 May 2017 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

16.5% Buyers premium plus GST on premium applies to all lots. Total buyers premium is 18.98% including GST

Front cover: Lot 18 Don Binney

Back cover: Lot 45 Nigel Brown

Inside back cover: Lot 14 Paul Dibble (detail)

Fetched a new auction record of $100,000

Results are hammer price which attract buyers premium

The Sally Hunt Collection

July 2017

Sally Hunt’s Nelson residence is home to a large and varied art collection comprising hundreds of pieces by New Zealand and International artists. Sally Hunt is a passionate supporter of the arts community in Nelson, and previously in the United States. She is currently Patron of The Suter Art Gallery, Te Aratoi o Whakatu.

Sally and her late husband Robert, initiated the gallery’s successful education program and she actively sponsors their acquisitions program. Sally is involved in local art initiatives, including the Arthouse Installation Project which offers an opportunity for emerging artists to design, create and exhibit their work.

Further details of this single owner collection will be made available soon.

www.fineartauction.co.nz

Jane Evans

Under the Pergola, 1984

Gouache on paper 74 x 105 cm

Important & Rare AUGUST 2017

Important & Rare auctions are the proven, pre-eminent sale category for major works of art offered for sale in New Zealand. These auctions take place three times annually. As we approach our 50th year in business, experience continues to equal results. 2014 saw Important & Rare auctions 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. With the addition of the record $1.377 million paid for a C F Goldie in April’s 2016 sale, International Art Centre achieved the three highest art auction prices in New Zealand’s history. Due to an appreciative, and greatly valued clientele of nationwide and international buyers and sellers we look forward to breaking new ground.

Consign Today

Contact: Richard Thomson

Ph +64 9 379 4010

M. 0274 751 071

E. richard@artcntr.co.nz

CHARLES BLOMFIELD

Tourist’s Visiting the Pink Terraces, Rotomahana, 1905

Oil on canvas 72 x 102 cm

Estimate: $80,000 - 120,0000

Viewing Times

Wednesday 10 May 10:00am - 5:30pm

Thursday 11 May 9:00am - 5:30pm

Friday 12 May 10:00am - 5:00pm

Saturday 13 May 11:00am - 4:00pm

Sunday 14 May 11:00am - 4:00pm

Monday 15 May 9:00am - 5:30pm

Tuesday 16 May 9:00am - 1:00pm (Auction 6:30pm)

Parking During Viewing:

Allocated carparks located directly behind International Art Centre

Parking During Auction:

Upper and lower carparks at rear of International Art Centre

Further parking at St John’s Car Park, entry at 244 Parnell Road, 40 metres up from International Art Centre

Absentee Bidding

Absentee Bid Form - page 111 Fax to (09) 307 3421 or email info@internationalartcentre.co.nz

Conditions of Sale - inside front cover

Bid via website www.fineartauction.co.nz

1 Mervyn Williams Fanfare

Acrylic on canvas 80.4 x 80.4

Signed, inscribed & dated 2002 verso

$7,000 - 10,000

Provenance: Private Collection, Auckland

2 Stephen Bambury China IV

23 carat gold and resin on two aluminium panels mounted on board 17 x 35

Signed & dated 2002 verso

$4,500 - 6,500

Provenance: Private Collection

Purchased from Jensen Gallery, 2002

3

John Reynolds

Burning Bush VII

Mixed media on paper 50 x 64

Signed, inscribed & dated 1992

$1,500 - 2,500

Provenance:

Purchased from Sue Crockford Gallery, 1992 by current owner

4

John Reynolds

After the Bachelor Apparatus I, V, VII and VIII

The Procession of the Kings Jet of Blood

The Mirror Turn Lamp Warrior

Mixed media drawings on four black boards 68 x 68 (overall)

Each panel signed, Inscribed & dated 1989

$3,000 - 5,000

Provenance:

Purchased from Sue Crockford Gallery, 1989 by current owner

The Given as an Art-Political Statement, 1979 - 80

Set four prints - various sizes

Two 30 x 21, 42 x 30, 59 x 42.5

$2,000 - 3,000

These print-based ephemera speak to Billy Apple’s complex relationship with the “art institution” on the whole – galleries, museums and publications. Indeed, an acute self-awareness of his own presence within the art world has always been a point of overt exploration and celebration within the artist’s work. This selection of prints commemorates two iconic moments from the artist’s history: the REVEALED/CONCEALED site-specific exhibition which was held at Auckland Art Gallery, and his 1979 ALTERATIONS exhibition which explored the relationship between art and exhibition space at a number of sites including the Govett-Brewster Gallery.

6 Peter Siddell

Blue Glass

Digital print, edition 1/10, 37 x 27

Signed & dated 2010

$1,000 - 1,500

7 Peter Siddell

Six O’Clock

Screenprint, edition

87/90, 41 x 34

Signed & dated 1985

$1,000 - 1,500

8 Peter Siddell

Window Screenprint, edition

86/150, 58 x 45

Signed & dated 1982

$1,000 - 1,500

9 Gail Heffern Icon - Hard Cash 4

Metal, paper, board 37.5 x 61

Signed, inscribed & dated 1990 verso

$800 - 1,200

Provenance: Private Collection since 1990

Signed & dated 2013 verso

$2,000 - 3,000

11 Michael Dell

Arrangement with Objects

Acrylic on canvas board 30 x 30

Signed

$2,000 - 3,000

12 Kim Pieters

The Gathering, 1997

Mixed media on board 14.5 x 15

Signed & inscribed verso

$700 - 1,000

Provenance:

Purchased at Salamander Galleries, 2000

13 Mervyn Williams Samurai

Acrylic on canvas 113 x 63

Signed, inscribed & dated 2000 verso

$8,000 - 12,000

Provenance:

Private Collection, Auckland

Illustrated: p. 224 Mervyn Williams, From Modernism to the Digital Age Edward Hanfling, Ron Sang Publications 2014

14 Paul Dibble

Pacific Throne 1

Bronze, edition of 7, 40 x 38

Signed & dated 1990 on base

$6,000 - 8,000

Provenance:

Private Collection since 1990

This is the maquette for the monumental sculpture Pacific Monarch situated outside the Manawatu Art Gallery, Palmerston North. The sculpture is Dibble’s first completed public commission unveiled in 1992.

15 David Armitage

Still Life with War Mask and Skipping Rope

Acrylic and dye on canvas 110 x 210

Signed & dated 1973

$4,500 - 6,500

Provenance:

Private Collection, Auckland

Purchased from Ferner Galleries, 2003

Exhibited:

Armitage Survey Exhibition

Dunedin Public Art Gallery, 1974

Original label affxedverso

Still Life with War Mask and Skipping Rope demonstrates the mastery of colour for which Armitage is known, its vibrant backdrop of red and orange afford the scene an almost irresistible eye-popping quality. Armitage has described his own fascination with memento mori and childhood passion for the work of Francisco Goya, a passion which is certainly reflected in this subject matter of choice. Inviting the viewer to partake of his unique tradition of still-life painting, Armitage has succeeded in striking a balance between the playful, absurd and grim. This work was exhibited as part of the Art New Zealand 1974 Commonwealth Games Exhibition in Christchurch.

16

Robert Ellis

City of Childhood

Oil on board 91.5 x 76

Signed & dated 1965

Inscribed verso

$12,000 - 16,000

Provenance:

Collection of Neville Price, Architect, Auckland

Purchased in Auckland 1971 - same era as his renown Minnehaha Ave townhouse and West Plaza building projects

Exhibited:

Eight New Zealand Artists, Commonwealth Institute Gallery, London 25 February - 20 March 1965, Original label affxedverso

Robert Ellis’s City of Childhood formed part of an exhibition at the Commonwealth Institute Gallery in 1965, where it featured alongside works by McCahon, Hanly and other important names in New Zealand modernism. It belongs to the seminal City series of the mid-1960s in which Ellis applied his skill as an observation-based painter to the creation of aerialbased portraits of Auckland, documenting and

Artist’s statement:

I am thrilled to see this painting. I painted the work in Glenelg, a suburb of Adelaide, in a friend's garage in incredible heat. I hadn’t seen the painting since. The palette reflects the Adelaide environment, the intense temperatures and the sand. I also remember the flies. I later asked Russell (Tass) Drysdale the well known Aussie painter how he coped with the numerous

commenting on the city’s rapid transformation through the introduction of motorways. Thick, painterly incisions indicate the presence of complex roads and arterial routes whilst across the top of the painting, a band of earthy-red marks the uncomplicated and striking edge of contrast to this urban conversion.

insects and he said, ‘I don't worry, just mix them in with the paint!’ I showed nine oil paintings, about the same size, in the Rudy Komon Gallery, Sydney. I was always fond of that series and I’ve only seen one of them in a private collection since that time.

Robert Ellis, April 2017

17 Friedensreich Stowasser Hundertwasser

Good Morning City, Bleeding Town

Screenprint in 18 colours, including 2 phosphorescent, with metallic imprints in 10 colours, overall edition 10,000. This edition Series ff 78/200, 84 x 55

Signed, embossed, inscribed & dated 1971

$4,000 - 6,000

Provenance:

Collection of Neville Price, Architect, Auckland

Purchased in Auckland 1971

Hundertwasser’s revision of the Good Morning City edition, in the late summer of 1970 resulted in 10 more colour variants of 200 impressions each. Every run of 200 was again subdivided into four variants of 50 each, which brings Good Morning City - Bleeding Town to a total of 80 variants. For Hundertwasser this meant an enormous effort. Phosphorescent colours were again used. An ingenious device of rubber

layers developed by Alberto della Vecchia and Lino Coin in the Studio Quattro allowed metal drops to be embossed. Convex shaped, they stand out in relief and undoubtedly led to a new kind of surface effect in serigraphy.

Hundertwasser: The Complete Graphic Work 1951-1986, Walter Koschatzky, 1986

18 Don Binney

Fox Glacier Bird (Kea)

Acrylic and oilstick laminate on canvas 30 x 37.5

Signed & dated MMVI

$45,000 - 65,000

Provenance:

Private Collection, Auckland

Exhibited: Don Binney, Beyond the Road

The Diversion Gallery, June - August 2007

Cat. no. 1

Illustrated in the exhibition catalogue

Don Binney is well known for his clean-edged modernist paintings of birds in the landscapes of New Zealand. In his search for subject he is inspired by dramatic wilderness areas and environments which he draws from to express both his passion for painting and his love of ornithology and nature. In an interview with Patricia Sarr and Tom Turner in 1977, Binney described his motivation for painting:

I paint and draw because I'm thoroughly committed to and involved with environmental, natural stimulithe landscape, the wild-life . . . you must approach the landscape or the bush with reverence.

19 Michael Smither

Stakeout, 2013

Acrylic on 84 wood blocks 115 x 22

$3,500 - 5,500

Provenance:

Purchased from Artis Gallery, Auckland, 2013

Private Collection, Auckland

20 Ian Scott

Lattice No. 128

Acrylic on paper 30 x 30

Signed, inscribed & dated 1985 verso

$1,000 - 2,000

Signed, inscribed & dated 1983 verso

$5,000 - 8,000

Provenance: Private Collection since 1983

22

Robyn Kahukiwa

2 Hina Supa Heroes Oil on canvas 214 x 121

Signed & dated 2014

$12,000 - 15,000

Provenance: Collection of the Artist

Exhibited: Wahine me Wahine,   Warwick Henderson Gallery, April 2014

Waitangi  Wahine, New Zealand Touring exhibition of Maori Women artists, April 2015 - April 2017 Museum of Waitangi, Northland Tauranga Art Gallery, Tauranga Tairawhiti Museum, Gisborne Whangarei Art Museum Hastings Art Gallery

Robyn Kahukiwa is one of New Zealand’s senior and foremost women painters. She was one of the artists included in the major exhibition Five Maori Painters, Auckland Art Gallery, February - June 2014.

Her paintings reflect social history and are vital and relevant. A skilled and experienced practitioner the artist paints without compromise and for this she makes no apology.

I want to paint the reality of Maori life today... Kahukiwa stated in a recent interview with the Auckland Art Gallery. My Maori Supa Heroes, Maui and Hina, represent Maori men and women who are fighting daily for Maori rights, both on the national scene and at the flax roots level. 2 Hina Supa Heroes 2014, is a homage to Maori women who have committed their lives to the ongoing struggle of Maori to reaffrmourselvesasTangataWhenuaof Aotearoa/New Zealand.

23

Roy Good

Octagon Series - Two Cubes

Acrylic on canvas 75 x 75

Signed & dated 1976 verso

$5,000 - 7,000

Roy Good studied at Ilam School of Fine Arts in Christchurch from 1963 – 1965 before moving to Auckland. During the 1970s, he was one of a group of abstract artists which included Milan Mrkusich, Ian Scott, Geoff Thornley, Gordon Walters and Phillip O’Sullivan, who, encouraged by their far-sighted dealer Petar Vuletic, rejected more popular subjects and styles and aspired to the diffcultstandardsof international modernism.

Good was subsequently part of the artist collective that established Gallery DATA in 1977 – a gallery devoted to abstract painting.

An enduring feature of Roy Good’s art is his use of shaped supports: multiple canvases or boards arranged to form a shape other than the conventional rectangle or, most often, a single canvas on a shaped stretcher. One of the first exponents of shaped canvases in New Zealand, a practice strongly associated with American abstraction of the 1960s, Good has employed shaped supports since the early 1970s.

Roy Good’s abstract paintings are minimalist in form, but carry a painterly subtlety when viewed at close hand. Within panels of each work, the colours are intensely worked, although the surface is often pared back so that from a distance, it appears smooth. His use of colour creates planes which appear to advance and retreat against each other. Sometimes it is physical rather than illusion – he layers geometric forms so they literally project from the wall.

In 2007 a retrospective exhibition of paintings spanning forty years was held at the Lopdell House Gallery in West Auckland.

In 2011 the Centre of Contemporary Art in Christchurch held its own retrospective exhibition, Triangles, Octagons and Lintels, which surveyed three seminal series of work from 1972 to 1974. The exhibition also included new works from 2003 to 2009 based on conceptual drawings from this earlier period.

Glenda Randerson

Bill Manhire, Wellington

Oil on linen, ground Liquitex gesso 104 x 74

Signed & dated 1999. Inscribed verso

$5,000 - 7,000

Acrylic on canvas board

mounted on  board 49 x 39

Signed, inscribed & dated 1993

$4,000 - 8,000

26

Lara Ivanovic

Morris Ute and Shearing Shed, Dubbo, NSW

Oil on canvas 106 x 168

Signed, inscribed & dated 2004 verso

$2,000 - 4,000

Provenance:

Private Collection, Auckland

Purchased from Harris Courtin Gallery, Sydney 2004

Lara Ivanovic is a British-born artist who currently resides in New York.

In 1999 during a visit to Australia, Lara was inspired to paint a much-acclaimed series of abandoned, rusty vehicles in the outback.

These vehicles make soulful, lonely markers of time and the eerie, ghostly quality of the sunburnt landscape, Lara noted at the exhibition.

x 82

Signed, inscribed & dated 1969 verso

$10,000 - 15,000

Signed, inscribed & dated 2004 verso

$20,000 - 28,000

29 Warren Viscoe

Song of the Saddleback

Painted wooden sculpture 36 x 34

$3,000 - 4,000

Provenance:

Purchased directly from the artist

30

Mary McIntyre

The Judgement of Paris - Triptych

Oil on 3 panels 27 x 61 (overall)

Signed & dated 2001

$3,000 - 4,000

Stained glass and leadlight 50 x 62

Signed & dated 1992

$10,000 - 15,000

Provenance:

Purchased directly from the artist, 1992

32 Pat Hanly

Cyclop and Bouquet

Oil on board 54 x 85

Signed & dated 1960

$25,000 - 35,000

Provenance:

Purchased from Christopher Taylor Fine Art, 1999 Dr Allan Godfrey Collection, Golden Bay

Illustrated: p. 32 Hanly, Gregory O’Brien, Ron Sang Publications 2012

Cyclop and Bouquet is a superlative example from Hanly’s Fire Series: a collection created by the artist whilst living in London at the time of the Cold War. This painting possesses a wonderful energy, one borne of the unique language of poetic, lyrical surrealism which characterised this series, and technical finesse and passion with which Hanly manipulated colour. Art historical comparison has often been drawn between Hanly’s works of this period and Marc Chagall; this is certainly evident in the case of the present painting.

The work affords an alluringly abstract quality. Two seemingly disconnected elements have been married together and presented, without explanation, as an ideological fait accompli. The viewer is immediately compelled into an alternative, surrealist reality in which a narrative between the disfigured human visage which has earned the title of Cyclop and a so-called bouquet which, channelling the apocalyptic qualities of the series, recalls both the form of a burning bush and the hopeful symbol of the tree of life.

Hanly was now, for the first time, using the motif of the yacht: this symbol of freedom, one of personal significance in relation to his own experience of the water, of being on the Auckland harbour, would become iconic and recurrent in much of his later work.

Hanly’s identity as a politically active artist is crucial to appreciating this work, for it lends extra significance to the impetus of his artistic remit. Cyclop and Bouquet, along with other works from this series, were created in response to the possible threat of nuclear war. Despite this, the work’s defining characteristic is the conveying of a hopeful alternative. This goes to the very heart of Hanly’s art. The yacht is a symbol of hope, of possible escape to a better reality. Through engaging mythological devices and imagery, we are presented with some alternative reality which reminds us of the possibility for human growth, escape and spiritual redefinition.

33 Ralph Hotere

Nineteen Ninety Lithograph, edition P.P., 74 x 54

Signed, inscribed & dated 1990

$3,800 - 5,200

34 Ralph Hotere Signals III Oil on wood assemblage 59.5 x 59.5

Signed & dated 1964

$8,000 - 12,000

Provenance:

Private Collection, Sydney, NSW

Acquired directly from the artist by the current owners family, 1964

35 Ralph Hotere

BIKO

Dyed silk banner 216.5 x 47.5

Signed & dated 1988

$8,000 - 12,000

Provenance:

Purchased from Judith Anderson Gallery, Auckland, circa 1991

36 Ralph Hotere

BIKO

Dyed silk banner 181 x 26.5

Signed, inscribed & dated 1988

$8,000 - 12,000

Hotere’s BIKO works embody the outwards looking socio-political agenda which underpinned the artist’s practice throughout his entire career. Steve Biko was a South African anti-apartheid activist who, following his imprisonment and torture, died at the hands of the Afrikaner police in 1977, an event which sparked international outrage. Hotere’s response to this tragic death is powerful: these works lay forth a simple, elegiac tribute in which Biko’s name is boldly and spiritedly delineated. The banner form of these works necessarily calls to mind the protest sign, a point of particular relevance given Hotere’s involvement in the anti-Springbok protests several years earlier.

Litho drawing on paper 36 x 26

Signed, inscribed & dated 11-8-90

$2,000 - 3,000

Lithograph, edition 10/20, 77 x 56

Signed, inscribed & dated 1997

$2,000 - 4,000

39 Ralph Hotere

Nineteen Ninety

Lithograph, edition P.P., 60 x 45

Signed, inscribed & dated 1990

$3,800 - 5,200

40 Ralph Hotere

Eclipse II

Oil on paper with painted wooden surround 59.5 x 59.5

Signed, inscribed & dated 1964 verso

$5,000 - 10,000

The interplay of cultural, political, spiritual and artistic concerns in Hotere’s body of work meant that at any given time in his career whilst certain ideas were coming to maturation, others were nascent. Eclipse II is one such example of this: as the artist was completing his acclaimed Sangro series, he was also seeking to evolve formalist concerns through works such as this. The painting comprises a closely-rendered interplay between light, dark, form and line: elements which collaboratively evoke the work’s title. Contained within a painted wooden surround, the materials for this work are thought to have possibly been acquired by Hotere after having been discarded from a London television factory.

41 Ian Scott Days in the Sun from New Zealand Paintings Series

Acrylic & silkscreen ink on canvas 102.5 x 78.5

Signed & dated 2002

$5,000 - 7,000

Provenance:

Private Collection, Auckland

Purchased from Ferner Galleries, Auckland 2002

Ian Scott's New Zealand Paintings Series began in 1990 and was added to periodically over the ensuing two decades. The series was first and foremost a way of trying to make new-looking paintings. Usually, painters use unoffcial rules ofcompositiontomake their paintings appear unified and therefore satisfying to the eye. They will make sure the various parts of the painting are evenly balanced or in proportion, and that everything seems to belong naturally to the whole. Scott felt that to follow such rules would mean to make pictures people were already familiar with - pictures that were good in an old-fashioned predictable way, lacking the potential to surprise the viewer or offer a genuinely new kind of experience.

Scott also felt that the contrasting colours and cultures of New Zealand could be a blueprint for what he was after. So he took hold of readily

recognisable images that carried dissimilar values and associations - emblematic images of native bush and beaches, the diffcultandawkwardartofColin McCahon, pressing them together in daring and eccentric combinations that dazzle the eye, provoke strong feelings and set up tantalising puzzles. This method also allowed Scott to choose and produce images to suit his own sensibility and style; dashing off virtuoso renderings of McCahon's paintings; mapping out boldly coloured squares, and printing onto them photographs of the West Auckland environment in which he grew up. These paintings are a remarkable synthesis of Scott's feeling for vibrant abstract forms and colours (evident in his celebrated Lattice paintings) with his lifetime love of the New Zealand landscape.

Ed Hanfling

Screenprinted corrugated iron 68 x 45

Signed & dated 2005 verso

$600 - 1,000

42 Jeff Thompson

Pohutukawa

Screenprinted corrugated iron 56 x 54

Signed & dated 2003 verso

$600 - 1,000

44 Jeff Thompson

Kowhai

Screenprinted corrugated iron 62 x 50

Signed & dated 2005 verso

$600 - 1,000

Provenance Lots 42 - 44:

Acquired directly from the artist

2003 - 2005

45 Nigel Brown Joy, Happiness, Luck

Acrylic on board 60 x 79

Signed, inscribed & dated 2005

Also dated 2004-05 verso

$7,000 - 12,000

In this powerful work derived from the I Am series, Nigel Brown artfully stacks the words Joy, Happiness, Luck against a backdrop of Pahia Hill. Once again we see the influence of Colin McCahon, who taught Brown during the time he attended Elam School of Art (1968 - 1971). Painted whilst the artist was living at Cosy Nook, Southland the work was inspired by Chinese good luck tokens seen during a visit to the home of a friend.

46

Allen Maddox

Don’t...Migare, c.1976

Oil on canvas laid onto canvas 130 x 110

$18,000 - 24,000

Provenance: Estate of Allen Maddox

Allen Maddox is remembered as being one of New Zealand’s finest exponents of abstractexpressionism. His work, spanning over three decades, investigates the tensions between structure and gesture, primarily utilising the motifs of grids and crosses.

47 Dick Frizzell

The Sailor Returns Oil on canvas 244.5 x 233.5

Signed, inscribed & dated 2007

$50,000 - 80,000

The iconic ‘maverick of parody’, artist Dick Frizzell has enjoyed a long and varied career. He is an artist who plays by his own rules. Known primarily for his pop art style and graphic edge, Frizzell continues to break trends in works that frequently blur the boundaries between high and low art. There is an on-going sense of irony and humour within Frizzell’s oeuvre as depicted in this playful yet provocative work.

The Sailor Returns is a parody of Pablo Picasso’s Les Demoiselles d’Avignon, which is often celebrated as the cornerstone of Modernism and the birth of Cubism. It depicts five women of Barcelona, and was a deliberate breaking away from the classical rendering of female nudes in high art. Frizzell’s work skillfully integrates properties of the Cubist aesthetic

with his own language of object and colour, to construct a compelling composition celebrating the centenary of Les Demoiselles.

The earliest sketches of Picasso’s work feature two men inside the brothel: one a sailor and the other a medical student. Frizzell chooses to reintroduce the sailor giving him and the two central nudes comic book facial features reminiscent of his comic book Cubism of the 1970s. A major point of difference in The Sailor Returns is the introduction of Polynesian overtones, with the left-hand figure dressed in a lava-lava and Picasso’s African and Iberian masks replaced with a Maori tiki and a distinctly Polynesian mask.

48

Damien Hirst

Untitled Spin Painting

Acrylic paint on paper 45.7 x 45.7

Signed & inscribed For Tom Damien Hirst

$15,000 - 20,000

Provenance:

Gifted directly to present owner after working with artist on a film set in London, 2010 Artist’s label Science,13 - 14 Welbeck Street, London W1G 9XU affxedverso

Darbyshire Frames, London label affxedverso

From 1995 Damien Hirst started a series of spin paintings. His finished pieces are circular in shape and mounted onto steel frames. This is a series of original works of art and screen prints. He was inspired by memories of the technique of spin painting which he saw as a child on the BBC’s Blue Peter. In the Guardian, August 2012, Hirst quotes “I grew up with Blue Peter. I got my idea for the spin paintings from an episode in the 1970s.” Hirst adds: “I never thought it was real art. I remember thinking: ‘That’s fun, whereas art is something more serious.’ And then as I got older, I started thinking about Van Gogh and all those painters, and cutting your ear off when you’re painting, and at that point I just thought:

‘Why does it have to be like that?’ I thought: ‘No, actually, the better art is the art made with the spin machine.’”

Damien Steven Hirst is an English artist, entrepreneur, and art collector. He is the most prominent member of the group known as the Young British Artists (or YBAs), who dominated the art scene in the UK during the 1990s. Hirst is internationally recognised and is reportedly the United Kingdom’s richest living artist, with his assets valued at £215m in the 2010 Sunday Times Rich List.

Acrylic and mixed media on paper 29 x 38

Signed, dated June 14, 1991

$1,200 - 1,800

51 Richard Killeen

A Bit of Backbone

Oil and acrylic on canvas 170 x 80

Signed, inscribed and dated November 1973 on original artist’s studio label affxedverso

$8,000 - 12,000

Provenance:

Purchased from Petar James Gallery, Auckland, circa 1974 by current owner.

The early 1970s represented a seminal time in Killeen’s artistic development and, more broadly, the crystallisation of our own national response to Abstract Expressionism and quest for abstraction. A Bit of Backbone belongs to the artist’s Comb series of 1973-74 which repeatedly drew on the motif of a Polynesian comb to create a beautifully minimalist,

Acrylic and mixed media on paper 29 x 38

Signed, dated June 14, 1991

$1,200 - 1,800

cross-cultural abstract space. Killeen has realised something of a paradox: the image appears to float in an infinity of alternate, abstracted space, whilst at the same time existing in complete two-dimensional flatness. Herein, the clarity of the void which divides the mottled white teeth of the comb is therefore as significant as the stencilled shape itself.

We Go in the Name of Christ Oil on paper 50 x 32

Inscribed

$1,000 - 1,500

Provenance: Allen Maddox estate no. aMAD832

The Holy Communion Oil on paper 50 x 32

Inscribed

$1,000 - 1,500

Provenance: Allen Maddox estate no. aMAD832

Signed, inscribed & dated 12-XII-87

$16,000 - 22,000

55 Max Gimblett Eagle

Leaves of gold, gesso, resin, gelatin, 23.75kt rosanoble gold leaf / wood panel 85 x 84

Signed, inscribed & dated 2015 verso

$30,000 - 40,000

Provenance:

Private Collection, Auckland

Purchased from Gow Langsford Gallery, Auckland

57 Pat Hanly

Bride & Groom

Screenprint, edition 32/50, 65 x 55

Signed, inscribed & dated 1990

$2,500 - 3,500

58 Piera McArthur

Viewing the Latest Acquisition

Oil and acrylic on canvas 112 x 83

56 Terry Stringer

Jug and Bowl

Bronze sculpture affxedto painted metal background, edition 1/3, 47 x 28

Signed & dated 1986

$4,000 - 6,000

Signed

$4,000 - 6,000

Provenance:

Private Collection, Auckland original label affxedverso

59 Don Binney

A Cape for Father Damien II

Oil on board 118 x 62.5 cm

Signed & dated 1993

$45,000 - 65,000

Provenance:

Private Collection, Wellington

Exhibited:

Binney: Forty Years On, The Dowse, 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

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 widebrimmed 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. This DVD is included with lot.

60 Dick Frizzell Eh!

Oil on board 60 x 60

Signed, inscribed & dated 10/7/1985

$5,000 - 8,000

61 Jeffrey Harris Portrait of an Artist Mixed media on paper 43.5 x 69.5

$1,500 - 2,500

62 Jeffrey Harris On the Beach Oil on canvas 57 x 80

Signed & dated 1975

$15,000 - 20,000

Provenance: Private Collection, Wellington

Despite the almost constant presence of the landscape in Jeffrey Harris’ work, particularly in earlier years, this has always been a subject of secondary importance to the expression of human relationships and emotion for the artist. It is his own experience of angst, tension and love that lie at the heart of Harris’

work, and many of his paintings therefore function as autobiographical snapshots of his life. This 1975 work was most likely created as a portrait of Harris, his wife Joanna and their baby daughter Imogen. Through a deft and symbolic handling of colour, On the Beach reveals this familial narrative unto the viewer.

Watercolour and acrylic on paper 47 x 63

Signed & dated 1965

$4,000 - 6,000

Provenance: Private Collection, since 1965

Signed & dated 1994

$5,000 - 8,000

Provenance: Purchased directly from the artist, 1994

65 Evelyn Page

Old Law Courts, Wellington Oil on canvas 49 x 60 cm

Signed

$25,000 - 35,000

Provenance:

Estate of Evelyn Page

Evelyn Page was commissioned to undertake this painting of the Wellington Law Courts in 1970 - the same year that her place in the New Zealand art historical canon was cemented with an important retrospective at Wellington's National Art Gallery. That the commission for this work occurred at such a watershed moment in the artist's career can be viewed as something of a metaphor: Page's work was by this point widely celebrated and acknowledged for its modern vivacity and destabilisation of the mundane, tired ways of depicting New Zealand. The capital city's old Law Courts, on the other hand, stood as a powerful symbol of those deeply ingrained pillars of judicial tradition and establishment in our country. As such, the act of revisiting this traditionalist subject matter through a new and exciting modernist lens was a powerful statement, and truly brought to light the emphatic change achieved by Page in unlocking the potential of a new modern visual language for New Zealand art.

When encountering this work, the viewer is immediately struck by what a brilliant expression of painterly expertise it is. Having been heavily influenced by French masters such as Matisse and Degas, Page has adapted this impressionistic language for a uniquely identifiable New Zealand context, and deployed an assured deftness of brushstroke to convey rich and lively collisions of colour. Daring to express colour and form in such a vibrant and confronting manner, Page has also executed perspectival flattening in a manner which contributes to a gracefully synthesised compositional construction: the buildings have been thrust to the forefront of the canvas; all surrounding trees, buildings and people have been stacked on the same plane of this closely woven composition.

Old Law Courts Wellington embodies many of the formal qualities which served to secure Evelyn Page a place as a pioneer of New Zealand modernism.

66

67

Colin McCahon North Otago Landscape

Screenprint from the Barry Lett Multiples 56 x 76

Exhibited: Barry Lett Galleries, Auckland November 1968

$3,000 - 4,000

Darcy Nicholas Daughter of the Heavens

Acrylic & gold foil on paper 32 x 28

Signed

$1,000 - 1,500

68

Shane Cotton

Pararaiha

Lithograph on BKF Rives paper, edition of 40, 56 x 76

Signed, inscribed & dated 2004

$1,000 - 2,000

69

Paratene Matchitt

No 8 of 10 Guitars Suite

Screenprint, edition 14/50, 130 x 80

Signed inscribed & dated 9/2016

$1,500 - 2,500

Me Whawhai Tatou Katoa Mo Te Ora

Screenprint, edition 34/50, 35 x 45

Signed inscribed & dated 2011

$700 - 1,000

Murara Ana Te Ao Kure He Ana Te Ao

The World is Ablaze, The World is Folding / Wrinkling

Screenprint, edition 34/50, 35 x 45

Signed inscribed & dated 2011

$700 - 1,000

72 Richard Thompson Ancestral Code (No. 10)

Acrylic on canvas 101.50 x 101.50

Signed, inscribed & dated 2006 verso

$2,000 - 3,000

Provenance: Gow Langsford Gallery label affxedverso

73 Andre Hemer Things to do with Paint That Won’t Dry

Acrylic on linen 20 x 20 cm

Signed, inscribed & dated 2008 verso

$500 - 1,000

74 David Bromley Painting Faces Oil on board 92 x 183

Signed

$2,750 - 4,000

75 Joshua Robbins Hut in the Crown Range Oil on sculptured board 70 x 100

Signed & dated 2005

$2,500 - 3,500

Three White Coats and Un-ion

Acrylic on board 47.5 x 87

Signed & dated 2002

$4,000 - 6,000

Provenance:

Purchased from Ferner Galleries, 2002

Gallery label affxedverso

Late Summer II - Gisiele in St Clair Pool

Oil on canvas 101 x 101

Signed & dated 2016

$5,000 - 7,000

78 Louise Henderson

Untitled (Hour series) Oil on canvas 51 x 68.5

Signed, inscribed & dated 1965 certificate verso

$1,500 - 2,500

79

Louise Henderson

Night - The Hour Series Oil on board 82 x 62

Signed

$1,500 - 2,500

80 Michael Moore

Blaketown Houses, West Coast Oil on canvas 46 x 91

Signed, inscribed & dated 4/9/95 verso

$1,000 - 2,000

81 Paul Hartigan

Warp

Pigment ink on vinyl 202 x 200

Signed & dated 1998 verso

$3,500 - 4,500

Almond

Acrylic on canvas 61 x 76.5

Signed

$1,000 - 2,000

Watercolour 17 x 8.5

Signed

$2,500 - 3,500

Works from Artaka Art Collective

87 Max Gimblett

Tasman Point V Oil on paper 97 x 68

Signed & dated 2005

$10,000 - 12,000

Raintail Tender

Monoprint, 96 x 73

Signed & dated 2008

$3,000 - 4,000

Backyard Bird Sanctuary, Huia 1

Oil, wax, feathers & pencil on board 83.5 x 84.5

Signed & dated 2006

$3,500 - 4,000

Signed & dated 2003

$5,000 - 6,000

Acrylic on canvas 50 x 55

Signed & dated 2009

$5,000 - 6,000

90 Dean Raybould

Golden Buoy, Golden Bye, Golden Beer Oil on three canvas panels 25 x 75

Signed & dated 2008

$2,200 - 2,800

Acrylic on geo-textile canvas 51 x 55

Signed & dated 2009

$3,500 - 4,500

With the Company of Ancients Oil on canvas 25 x 25 Signed & dated 2008

$1,200 - 1,500

Signed & dated 2004

$850 - 1,150

Exhibited: Songs of the People, Stories of the Land, The Sutor, Nelson, 2006

94 Robin Slow I Te Poi

Acrylic, kokowai, soot & charcoal and binder on paper 32 x 50

Signed & dated 2004

$850 - 1,150

Exhibited: Songs of the People, Stories of the Land, The Sutor, Nelson, 2006

95 Grahame Sydney

Myself Looking Back

Lithograph, edtion 42/55, 89 x 70

Signed, inscribed & dated 2005

$2,400 - 2,800

96 David Ryan

Listening to Rain

Watercolour and Chinese Ink on Arches paper 27 x 143

Signed & dated 2011

$2,400 - 2,800

97 Jane Evans I Can’t Help it Chagall

Lithograph, edition 33/50 52.5 x 37

Signed, inscribed & dated 1996

$600 - 800

98 Terry Stringer

Untitled Female Portrait

Screenprinted aluminium 20 x 29.5

Signed & dated 1983

$1,500 - 2,500

99 Martin Popperwell

Study for Hey Stoopid

Indian ink & watercolour 55 x 38

Signed & dated 06/03

$800 - 1,200

100 Dean Proudfoot

Billy Holds up a Mirror to a New Zealand Landscape

Oil on canvas 84 x 122

Signed & inscribed

$1,500 - 2,000

101 Angus Collis

Small Bird

Bitumen on paper 52 x 95

Signed, inscribed dated 2007

$2,000 - 3,000

102

David Shennan

Quatrieme Ciel

Oil on fifteen canvas boards 47 x 103

Signed, inscribed & dated July 1998 verso

$800 - 1,200

103 Vida Steinert

King Country Road

Watercolour 44 x 57

Signed

$1,000 - 2,000

104 Casey Moore

Puriri Moth

Fibre-based silver bromide print, edition 1/8, 95 x 136

Signed & dated 2013

$1,000 - 2,000

105 Casey Moore

Giant Bush Dragonfly

Fibre-based silver bromide print, edition 1/8, 95 x 136

Signed & dated 2013

$1,000 - 2,000

Provenance:

Private Collection, Auckland

Purchased from FHE Galleries

106 Mary McIntyre

Life and Death in the Pohutukawa Forest 2

Mixed media on paper 55 x 75

Signed & dated 1999

$800 - 1,200

107 Mary McIntyre

I Believe in Santa Claus

Mixed media on paper 56 x 75

Signed & dated 7-1-86

$800 - 1,200

108 Ken Kendall

Man with Dog

Terracotta sculpture 45 x 23

Signed

$800 - 1,200

109 Grahame Cooper

Before, During & After (Pregnancy)

Three bronze sculptures 13 x 30

Signed & dated 2008

$1,000 - 2,000

111 John Weeks

River Reflections

Oil on board 39 x 50

Signed

$2,500 - 3,500

112 Jeffrey Harris

Two Figures in a Landscape, 1969

Gouache and oil pastel on paper 70 x 105

$1,000 - 2,000

113 Luise Fong

Onetangi, 1997 (Diptych)

Acrylic, gouache, sand & Carborundum on canvas board 46 x 30

$800 - 1,200

114 Luise Fong

Magenta Pulse

Acrylic & PVA on canvas 45 x 45

Signed & dated 2004 verso

$800 - 1,200

115 Neil Frazer Green Lip

Mixed media on canvas 76 x 76

$1,500 - 2,500

116 Sarah Dolby

The Expectant Seamstress Oil on linen 76 x 76

Signed

$3,000 - 5,000

Provenance:

Oedipus Rex Gallery label affxedverso

117 John Papas

Journey Down the Nile I

Painted ceramic on panel 110 x 108

Signed & dated 1989

$1,000 - 2,000

118 John Papas

Journey Down the Nile II

Painted ceramic on panel 110 x 108

Signed & dated 1989

$1,000 - 2,000

119 John Papas

Towards the Archipelago Oil on board 116 x 118

Signed

$1,000 - 2,000

120 Emily Karaka Whanau

$1,800 - 2,600 116

Oil on Kauri panel 50 x 50

Signed

Signed

Inscribed on artist’s label affxedverso

$4,500 - 6,500

122 Gavin Chilcott

Basaltware & Self

Synthetic Polymer on paper 55 x 75

Signed & dated 1989

$1,000 - 1,500

123 Gavin Chilcott

Golden Drinking Horns and Landscape

Synthetic Polymer on paper 55 x 75

Signed & dated 1990

$1,000 - 1,500

124 Keith Patterson Mediterranean Moon Mactorno I

Mixed media collage on board 50 x 35

Signed & dated 1989

$500 - 1,000

Mixed media collage on board 50 x 35

Signed & dated 1989

$500 - 1,000

Provenance: 124 & 125

Purchased directly from the artist, 1989

Works from the collection of Niyaz Wilson, Former President of the Friends of Auckland Art Gallery

126 Phillipa Blair

Untitled

Pastel on paper 150 x 59

Signed & dated 1998

$800 - 1,500

127 Toss Woollaston

Patrick Lucas

Screenprint from the Barry Lett Multiples 56 x 76

$600 - 1,000

128 Barry Cleavin

Bell Bird

Etching, edition A/P, 26 x 19

Signed, inscribed dated 1999

$200 - 400

129 Christine Boswijk

Untitled

Glazed stoneware bowl 20 x 50

Signed label affxedtobase

$800 - 1,200

Provenance:

Purchased from Ron Sang Collection

130 Terry Stringer

Mother & Child

Screenprinted three dimensional paper 25 x 25

Signed & dated 1974

$800 - 1,200

Lithograph, edition 45/47, 34 x 54

Signed, inscribed and dated 1990

$400 - 800

132 Michael Smither

Egmont

Screenprint, edition, 294/449, 21 x 21

Signed & dated 1981

$500 - 1,000

Back Beach

Screenprint, edition 71/90 47 x 82

Signed & dated 1980

$800 - 1,200

134 Michael Smither

Gulls (12) Over Rocks

Screenprint, edition 37/46, 62 x 54

Signed & dated 1982

$800 - 1,200

135 Michael Smither Egmont

Screenprint, edition, 30/100 50 x 74

Signed, dated 1980

$800 - 1,200

136 Michael Smither

Taranaki Coast

Screenprint, edition of 35, 66 x 56

Signed & dated 1981

$800 - 1,200

137 Michael Smither

Three Gulls

Screenprint, edition, 46/50 67 x 47

Signed & dated 1982

$800 - 1,200

138 Michael Smither

Sunset

Screenprint, edition X, 37.5 x 49

Signed & inscribed X

$300 - 600

139 Michael Smither

Boatshed

Screenprint, edition 76/80, 50 x 50

Signed & dated 2006

$500 - 1,000

140 Michael Smither

Capsule

Screenprint, edition 1/25 85 x 53

Signed & dated 1972

$500 - 1,000

141 Michael Smither

Untitled

Screenprint, edition 28/100, 56 x 38

Signed & dated 1986

$300 - 500

142 Michael Smither Clouds over Egmont, c. 1978

Mono screenprint 64 x 45

Unframed

$400 - 600

143

Michael Smither Colour Chart

Screenprint, edition 43/70, 71 x 61

Signed & dated 1979

Unframed

$400 - 800

144 Michael Smither Rectangle

Screenprint, edition of 1/16 81 x 55

Signed & dated 1973

Unframed

$300 - 500

145 Ian Scott Lattice

Screenprint, edition 52/65, 65 x 63

Signed, inscribed & dated February 1979

$800 - 1,200

146 John Drawbridge To Pat Lopdell

Engraving, Artist’s proof, 52 x 34

Signed & inscribed

$400 - 600

147 Fatu Feu’u Mulata Auta

Screenprint, edition 26/45, 78 x 90

Signed $800 - 1,200

148 Euan McCleod MK 3

Open-bite etching and aquatint 32 x 22

Signed & dated 2003

$300 - 600

149 Michael Smither Walnut

Screenprint, edition of 1/50 50 x 60

Signed & dated 1976

$200 - 400

150 Dick Frizzell

Five Star Screenprint, edition 56/100, 70 x 100

Signed & dated 2015

$700 - 1,000

151 Stanley Palmer

Memories of Northland

Lithograph, edition A/P, 70 x 64

Signed & dated 1988

$500 - 1,000

Hughes

Letter

153 Ewan McDougall

Reasons to Be Cheerful

Part IV

Oil on canvas 22 x 15

Signed $1,000 - 1,500

154 Ewan McDougall

Reasons to Be Cheerful

Part V

Oil on canvas 22 x 15

Signed $1,000 - 1,500

155

155 Emily Karaka

The Turning Tides

Mixed media on canvas 101.5 x 51

Signed

$1,800 - 2,600

156 James K Baxter & Inge Dousberg

Pine trees in the Key of F and a Rose in the Key of G Solar plate, etching and woodblock on Hahnemuhle paper, Edition 66/85, 38 x 29

$500 - 1,000

157 Carole Shepherd Identity Fragments - Pyramid & Sands

Mixed media on paper 71 x 53

Signed, inscribed & dated 1981

$400 - 600

158 Des Robertshaw Inside Out - Night Stations, Art Deco Series

Acrylic on board 92 x 68

Signed

$2,000 - 3,000

159 David Boyd War Games

Lithograph, edition 60/75, 59 x 77

Signed & inscribed

$1,200 - 1,600

Oil on canvas board 82 x 112

Signed & inscribed

$3,000 - 5,000

The Remarkables

Watercolour 37.5 x 46.5

Signed

$2,500 - 3,500

162 Jack Dale Menegenen

25 August - 15 September 2001 162

Boab Tree Hill

Ochre and oil on canvas 87 x 172

Signed verso

$3,000 - 5,000

Provenance:

Private Collection, Auckland

Purchased by the current owner from exhibition Djunba Ceromonies - Jack Dale

Flinders Lane Gallery, Melbourne

163 Doreen Reid Nakamarra

Rock Wallaby Dreaming Wakulyarri

Oil on canvas 110 x 95

Signed

$800 - 1,200

164 Sophie Sanders Door

Acrylic on canvas 33 x 41

Signed, inscribed & dated 1990 verso

$700 - 1,100

165 Tim Wilson

George Sound Oil on canvas board 77 x 52

Signed

$1,000 - 2,000

166 Peter O’Hagen

The Queen Mary’s Maiden Voyage into Auckland

Gouache on paper 79 x 80

Signed

$1,500 - 3,000

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APPLE B ................................................ 5

ARMITAGE D ...................................... 15

BAMBURY S 2

BARKER LADY M .............................. 110

BAXTER J K & I DOESBURG 156

BINNEY D...................................... 18, 59

BLAIR P ............................................. 126

BOSWIJK C ...................................... 129

BOWER O S ...................................... 161

BOYD D 159

BROMLEY D ....................................... 74

BROWN H........................................... 82

BROWN N .................................... 25, 45

BURTON S ........................................... 91

CAPON K 10

CHILCOTT G ............................. 122, 123

CLEAVIN B 128

COLLIS A .......................................... 101

COOPER G ...................................... 109

COTTON S 68

DAVIES A ............................................ 88

DAY M 85

DELL M ............................................... 11

DIBBLE P ............................................ 14

DOLBY S 116

DRAW B J ......................................... 146

ELLIS R 16

ESPLIN T ............................................ 121

EVANS J ............................................. 97

FEU’U F 147

FONG L ............................................ 114

FRAZER N 115

FRIZZELL D .............................47, 60, 150

GIMBLET M ............................. 28, 55, 87

GOOD R ............................................ 23

Index

HANLY P ................................. 31, 32, 57

HANNA G 76

HARRIS J ............................... 61, 62, 112

HARTIGAN P ...................................... 81

HEFFERN G 9

HEMER A ............................................ 73

HENDERSON L 64, 78, 79, 80

HIRST D ............................................... 48

HOTERE R ........................ 33, 34, 35, 36, 37, 38, 39, 40, 54

HUGHES S......................................... 152

HUNDERTWASSER F S 17

IVANOVIC L ....................................... 26

KAHUKIWA R .............................. 22, 131

KARAKA E ................................ 120, 155

KENDALL K ....................................... 108

KILLEEN R 49, 50, 51

LUSK D ................................................ 63

MADDOX A ........................... 46, 52, 53

MATCHITT P ............................ 69, 70, 71

MCARTHUR P ..................................... 58

MCCAHON C 66

MCCLEOD E .................................... 148

MCDOUGALL E 153, 154

MCINTYRE M...................... 30, 106, 107

MENEGENEN J D ............................. 162

MOON N 86

MOORE C ................................ 104, 105

MRKUSICH M 27

NAKAMARRA D R ........................... 163

NICHOLAS D ..................................... 67

O HAGAN P 166

PAGE E ............................................... 65

PALMER S 151

PAPAS J .............................117, 118, 119

PATTERSON K ........................... 124, 125 PIETERS K 12

POPPERWELL M ................................. 99

PROUDFOOT D 100 RADFORD PL ..................................... 83

G ................................. 24

D 90

J..................................... 3, 4 ROBBINS J 75 ROBERTSHAW D............................... 158 RYAN D............................................... 96

SANDERS S 164

SCOTT I ................................ 20, 41, 145

SHENNAN D 102

SHEPHERD C .................................... 157

SIDDELL P ......................................6, 7, 8

SLOW R 93, 94

SMITHER M .................. 19, 21, 132, 133, 134, 135, 136, 137, 138, .......... 139, 140, 141, 142, 143, 144, 149

STEINERT V........................................ 103

STRINGER T ........................... 56, 98, 130

SUMMERTON J ................................... 77

SYDNEY G 95

THOMPSON R .................................... 72

THOMPSON J......................... 42, 43, 44

TUFFERY M.......................................... 89

VISCOE W .......................................... 29

WEEKS J 111

WHITE A L ........................................... 84

WILKINSON F 92

WILLIAMS M ................................... 1, 13

WILSON T ................................. 160, 165

WOOLLASTON T 127