Important, Early & Rare
6:30pm Thursday 22 November 2012
6:30pm Thursday 22nd November
Scarborough Gallery, International Art Centre,
Lower Ground Level, 272 Parnell Road, Parnell, Auckland
Viewing Times Page 3
Index Page 118
Conditions of Sale Page 120
Absentee Bid Form Page 112
Cover Illustration: Lot 17
Inside Front Cover: Lot 45
Inside Back Cover: Lot 110
Back Cover: Lot 36
Location map
Works purchased may be uplifted at close of sale or day after sale on Friday 23rd November 9.30am - 5.00pm.
Payment may not be made during sale.
Auction Contacts
Richard Thomson Frances Davies
Ph: 09 379 4002
Ph: 09 379 4010 richard@artcntr.co.nz fran@artcntr.co.nz
Mobile: 027 4751 071
Mobile: 027 4936 360
Auction assistants and administration
Luke Davies
Ph: 09 379 4010
James Watkins
Ph: 09 366 6045 luke@artcntr.co.nz james@artcntr.co.nz
Trish Young www.fineartauction.co.nz
Ph: 09 366 6045
Skype: fineartauction trish@artcntr.co.nz info@internationalartcentre.co.nz
Auction Venue
Scarborough Gallery, International Art Centre, Lower Ground Level, 272 Parnell Road, Auckland.
On Evening of Sale:
Please join us in our main gallery from 5.30pm for a glass of wine and refreshments. Coffee served before and during auction. For your additional comfort and viewing pleasure our street level gallery remains open until end of sale.
Car Parking
Parking During Viewing Days:
Available on site during weekend viewing, Saturday 17th & Sunday 18th
November. Use Scarborough Lane entrance beneath our main gallery. During other viewing times on site parking available on request.
Parking During Auction:
Limited parking is available on site. Use Scarborough Lane entrance beneath our main gallery to access these carparks on evening of sale. Parking on Parnell Road is free after 6:00pm. A secure two level pay and display carpark is located at 282 Parnell Road.
Viewing Times
International Art Centre’s Scarborough Gallery, Lower Ground Level, 272 Parnell Road, Auckland
Friday 16 November 9:00am - 5:00pm
Saturday 17 November 11:00am - 4:00pm
Sunday 18 November 11:00am - 4:00pm
Monday 19 November 9:00am - 5:30pm
Tuesday 20 November 9:00am - 5:30pm
Wednesday 21 November 9:00am - 5:00pm
Thursday 22 November 9:00am - 1:00pm Auction 6:30pm
Other times by appointment
Important, Early & Rare
Held 26 July
International Art Centre’s July sale saw excellent results with five paintings individually achieving more than $100,000. Three new auction records were established confirming increasing interest in the acquisition of premium works of art. 80% of offering was sold under hammer.
C F Goldie fetched $183,000
Gottfried Lindauer fetched $100,000
Raymond Ching fetched $57,000
Felix Kelly fetched $13,150
Don Binney fetched $173,000
Peter Siddell fetched $218,000 - new auction record
Don Binney fetched $108,000
July & August results at a glance
Collectable & Contemporary Held 29 August
A pleasing result for our early May auction saw 75% of the 200 lot offering sell under hammer and most of the remaining lots sell post auction. The popularity of these sales continues to increase as they appeal to both existing clients and new buyers entering the market on a limited budget.
Edward Fristrom fetched $9,700
Garth Tapper fetched $8,470
Adele Younghusband fetched $8,800
Vera Cummings fetched $18,800 - new auction record
Peter Siddell fetched $24,600
John Barr Clarke Hoyte fetched $24,000
LUCI HARRISON PHOTOGRAPHY
www.luci.co.nz
The Only Auctioneers of Pictures Exclusively
1
GEORG AUGUST GOLDFUSS
1782 - 1848
Albatross c 1830
Hand coloured lithograph 49.0 x 60.0
Inscribed
ESTIMATE
$800 - 1,200
2 JAMES COOK
1728 - 1779
Carte De La Nle Zealand Map NZ From French Cook Ist Voyage
Lithograph, published Paris, Saillant et Nyon, 1774 50.0 x 39.0
ESTIMATE
$4,000 - 5,000
An important map of New Zealand showing track of Cooks’ Endeavour with relief shown by hachures and bathymetric soundings. The map is taken from the first French edition of Hawkesworth’s description of Cook’s first voyage titled Relation des voyages entrepris par ordre de sa Majesté Britannique actuellement régnante pour faire des découvertes dans l’hémisphère méridional, et successivement exécutés par le commodore Byron, le capitaine Carteret, le capitaine Wallis et le capitaine Cook dans les vaisseaux “le Dauphin”, “le Swallow” and “l’Endeavour”.
JULES SEBASTIEN CESAR DUMONT
1790 - 1842
Rangui Ngapuhi Chief - from Voyage de la Astrolabe 1826-1829, Plate 71
Lithograph 47.0 x 32.0
Dated 1833
ESTIMATE
$1,500 - 2,000 5
THE SOCIETY FOR THE DIFFUSION OF USEFUL KNOWLEDGE Islands of New Zealand
Astrolabe 1826-1829, Plate 63
Lithograph 40.5 x 32.0 Dated 1838
$500 - 1,000
JULES SEBASTIEN CESAR DUMONT 1790 - 1842
Natai Ngapuhi Chief - from Voyage de la Astrolabe 1826-1829, Plate 63
Lithograph 47.0 x 32.0
Dated 1833
$1,500 - 2,000
6
DON BINNEY
1940 - 2012
Maungaroa
Charcoal on fabriano paper 55.0 x 75.0
Signed & dated Nov - Dec 1979
ESTIMATE
$10,000 - 15,000
PROVENANCE
Private Collection, Auckland since 1979
Purchased from Barry Lett Galleries, 1979
EXHIBITED
Barry Lett Galleries 1979
7
PETER SIDDELL
1935 - 2011
Urban Landscape with Palm
Acrylic on hardboard 55.2 x 33.6
Signed & dated 1978
ESTIMATE
$15,000 - 20,000
PROVENANCE
Private Collection, Auckland since 1978
Purchased from Barry Lett Galleries, 1978
EXHIBITED
Barry Lett Galleries, label affixed verso
8 NIGEL BROWN
b. 1949
All That Might Remain Oil on canvas 46.0 x 35.0
Signed, inscribed & dated 1991
ESTIMATE
$4,000 - 6,000
9 ROBERT JAHNKE
b. 1951
This is Not Art - Triptych
Three bronze cast trowels with rewarewa wooden turned handles 57.4 x 25.5
ESTIMATE
$8,000 - 12,000
10
PHILIP TRUSTTUM
b. 1940
Engi
Oil on hessian on board 120.8 x 91.2
Signed & dated 1976. Inscribed verso
ESTIMATE
$3,000 - 5,000
11
DICK FRIZZELL
b. 1943
Black Still Life
Acrylic on paper 57.2 x 76.0
Signed, inscribed & dated 30/1/90
ESTIMATE
$2,500 - 3,500
PROVENANCE
Purchased by current owner from Gow Langsford Gallery 1990
12
EUAN MCCLEOD
b. 1956
Pink Hills
Oil on canvas 38.0 x 51.0
Signed, inscribed & dated 2008
ESTIMATE
$2,500 - 3,500
PROVENANCE
Purchased by current owner from Niagara Galleries, Melbourne 2008
13 JAN NIGRO
1920 - 2012
Big Jule with Flowers for a Friend
Mixed media on paper 82.3 x 55.5
Signed & dated 1997
ESTIMATE
$3,500 - 4,500
1995
Friends
$4,000 - 6,000
$7,000 - 10,000
TAPPER
PATRICIA FRANCE
ELIZABETH THOMSON
The Carey’s Bay Hotel Collection of Ralph Hotere
This collection of works by New Zealand's most celebrated living artist, Ralph Hotere, was once housed in Dunedin's historic Carey's Bay Hotel. Built in 1874 from locally quarried Otago bluestone the hotel has had a long association with artists. In recent years a change of hotel ownership saw the collection move to Auckland where it is now offered for sale.
Hotere has lived and worked from his Carey's Bay home since 1969. He moved there when his house and studio at Observation Point were demolished to make way for the expansion of Port Otago. Standing at the very centre of New Zealand art, Hotere is a painter and printmaker of exceptional talent and a great artistic collaborator.
Considering the length of his career, comparatively little has been written about Hotere. He appears reluctant to provide explanations about his art, leaving it to speak for itself. There are few things I can say about my work that are better than saying nothing - Hotere, 1996.
RALPH HOTERE
b. 1931
Vive Aramoana
Oil on panel in a villa sash window frame 110.0 x 80.5
Signed & inscribed
Inscribed verso
ESTIMATE
$140,000 - 160,000
PROVENANCE
Brook Gifford Gallery 1982
Carey’s Bay Hotel Collection
This painting fetched an auction record for a living New Zealand artist when it was last offered for sale in June 2002
During the 1970s, the small settlement of Aramoana, near Dunedin, became the proposed site for an aluminium smelter as part of the National government's Think Big scheme. A number of local artists and writers, including Ralph Hotere were involved in the No Smelter campaign. Cilla McQueen expressed the significance of Aramoana, which is just up the coast from Hotere's home in Carey's Bay: Apart from the physical nourishment of the cockles and mussels there, we both took spiritual refreshment and working inspiration from the beauty of that place...
In 1975 Hotere produced drawings and a cover illustration for Ian Wedde’s book-length poem Pathway to the Sea. An excerpt from the dedication in this first edition reads:
Aramoana should be left to the birds fish sand-hoppers and denizens who at present possess it...
Aramoana features the stencilled letters that first appeared in Hotere’s paintings in the early 1960s. In this painting, the jostle of letters and parts of words are literally layered, this overlapping prevents a precise reading of meaning. Hotere also uses a recycled sash window frame, which Gregory O'Brien calls a material of the moment, a device that Hotere also employed in his Black Window works.
A painting such as Vive Aramoana operates on one level as a direct political statement about environmentalism, but it doesn't stop there. In 1990 Ian Wedde wrote: Hotere knows about paradise, certainly, but very much from the point of view of what threatens it: war, French nuclear policy, the proposed aluminium smelter at Aramoana... The wider symbolism embodied in the threat to Aramoana, both as a physical location and a place of spiritual refreshment is an enduring theme in Hotere’s work.
From notes affixed verso
18 RALPH HOTERE
b. 1931
Winter Solstice
Mixed media on paper 74.5 x 53.5
Signed, inscribed & dated Carey’s Bay 7/91
ESTIMATE
$12,000 - 18,000
19
RALPH HOTERE
b. 1931
Set Design for Whitings ‘The Devils’, Globe Theatre, Dunedin
Watercolour 35.0 x 43.0
Signed, inscribed & dated Nov 1973
ESTIMATE
$4,500 - 7,500
20
RALPH HOTERE
b. 1931
Aramoana - Observation Point
Ink on paper 29.5 x 40.0
Signed, inscribed & dated 1989
ESTIMATE
$4,000 - 6,000
The Carey’s Bay Hotel Collection of Ralph Hotere
21 RALPH HOTERE
b. 1931
Madam Fouquet The Landlady at Luze
Mixed media on paper 33.2 x 24.3
Signed, inscribed & dated Luze France June 1978
ESTIMATE
$4,000 - 6,000
22
RALPH HOTERE
b. 1931
Winter Solstice, Carey’s Bay
Mixed media on paper 30.2 x 21.1
Signed, inscribed & dated 1992
ESTIMATE
$8,000 - 12,000
Lithograph, edition of 40, 50.0 x 68.0
Signed, inscribed & dated 1990
ESTIMATE
$3,000 - 4,000
b. 1931
Aramoana
Lithograph, edition of 30, 60.0 x 70.0
Signed, inscribed & dated Port Chalmers 1990
$3,000 - 4,000
The Carey’s Bay Hotel Collection of Ralph Hotere
23
RALPH HOTERE
b. 1931
Aramoana
24
RALPH HOTERE
Black Phoenix, ‘Poitrel’
Photographic reproduction 68.0 x 50.0 Signed & dated 1984 in red paint. Inscribed & dated 17/10/89 on arches paper
$3,000 - 5,000
b. 1931 Woman RM VIII
Litho drawing 37.5 x 27 Signed, inscribed & dated 1990
$4,000 - 6,000
b. 1931 Middle East Graffiti Lithograph, edition of 20, 680 x 52.5
inscribed & dated 1991
- 3,500
RALPH HOTERE b. 1931
RALPH HOTERE
RALPH HOTERE
28 MARTIN BALL
b. 1952
Conversation II
Oil on canvas 60.5 x 50.5
Signed & dated 2004
ESTIMATE
$5,000 - 8,000
PROVENANCE
Ex Carey’s Bay Hotel Collection
Purchased John Leech Gallery 2004
29
RALPH HOTERE
b. 1931
Dawn, Water Poem
Mixed media on paper 106.5 x 77.3
Signed, inscribed & dated 1974
ESTIMATE
$35,000 - 45,000
PROVENANCE
Private Collection, Manawatu
Purchased by current owner from McMurray Galleries, Palmerston North 1974
EXHIBITED
Ralph Hotere, McMurray Galleries, Palmerston North 1974
Original McMurray Galleries label affixed verso
30
SYLVIA SIDDELL
1941 - 2011
Dark Sofa
Oil on canvas 80 x 120
Signed & dated 2004
ESTIMATE
$2,500 - 3,500
PROVENANCE
Artis Gallery, 2005
Private Collection, Auckland
EXHIBITED
Couches, Artis Gallery, February 2005
Couches, sofas, settees, chairs have many guises. Not only do these objects of repose provide security and comfort in an uncertain world, they can also illustrate a sense of style or cultural heritage and advertise status in the community.
Sylvia Siddell, 2005
31
RALPH HOTERE
b. 1931
12-XII-87 Matauri Bay
Ink and dye on silk 94.5 x 94.5
Signed, inscribed & dated 12-XII-87
ESTIMATE
$35,000 - 45,000
PROVENANCE
Milford House Ltd
Private Collection, Christchurch
32
JENNY DOLEZEL
b. 1964
Ship of Fools
Oil on paper 50.0 x 79.0
Signed, inscribed & dated 1991
ESTIMATE
$7,000 - 10,000
33
ROBERT ELLIS
b. 1929
Motorways
Oil on board 120.0 x 105.0
Signed & dated 1969
ESTIMATE
$15,000 - 25,000
PROVENANCE
Private Collection, Hawkes Bay
Purchased at Barry Lett Galleries 1970
1869 - 1945
Signed
ESTIMATE
$2,500 - 3,500
PROVENANCE:
Owned by the same family since circa 1920 34
Signed
ESTIMATE
$4,500 - 6,500
PROVENANCE
EDWARD FRISTROM 1864 - 1950
Sunlight through the Trees Oil on canvas 16.0 x 24.0
JAMES FITZGERALD
A Sunny Beach, Akaroa Oil on board 41.0 x 55.0
Ferner Galleries, label affixed verso
36
FELIX KELLY
1914 - 1994
Temple on the Island Oil on board 43 x 56
Signed ESTIMATE
$10,000 - 15,000
PROVENANCE:
Private Collection, Victoria
EXHIBITED
Felix Kelly: Recent Paintings of Thailand, 1-19 October 1974
Arthur Tooth & Sons Ltd, 31 Bruton Street, London, label affixed verso
ILLUSTRATED
Front cover: Felix Kelly: Recent Paintings of Thailand, 1-19 October 1974 with essay Traveller in an Antique Land by Robert Harling
REFERENCE
p. 279 Fix - The Art and Life of Felix Kelly, Donald Bassett
Darrow Press 2006
The life of expatriate artist Felix Kelly is as intriguing as his work. Born in Epsom, Auckland he attended Kings College but left New Zealand aged twenty one years for the bright lights of London. Befriended and patronised by many leading society figures of the day, Kelly exhibited alongside Lucien Freud, Julian Trevelyan and on one occasion Frances Hodgkins. A life of glamour and creativity ensued.
Kelly painted the famous Garden Room Murals at Castle Howard, where the ITV series Brideshead Revisited was filmed, designed theatre sets for Sir John Gielgud and Dame Sybil Thorndike and illustrated magazines such as Harper's Bazaar. Kelly's distinctive work, rarely seen at auction, is held in British and American collections, Te Papa and Hawke's Bay Museum and Art Gallery.
A major retrospective was held in 2010 at Hawke's Bay Museum and Art Gallery, curated by Douglas Lloyd Jenkins. The exhibition was later shown in Auckland’s Gus Fisher Gallery.
Temple on the Island was chosen as the front cover piece for the 1974 Arthur Tooth & Sons exhibition, Felix Kelly: Recent Paintings of Thailand
1886 - 1965
ESTIMATE
$2,000 - 3,000 37
1877 - 1973
Signed & dated 1964
ESTIMATE
$15,000 - 20,000
38
SYDNEY LOUGH THOMPSON
Saint Jeannet Village Oil on canvas 50.0 x 60.0
37 JOHN WEEKS
Cote d’Azur
Pastel on paper 48.7 x 58.4
39
JOHN WEEKS
1886 - 1965
The Bull
Tempera on paper 41.5 x 53.2
Signed
ESTIMATE
$4,000 - 6,000
40
JOHN WEEKS
1886 - 1965
On the Seine, Paris Oil on paper 24.7 x 34.6
ESTIMATE
$2,000 - 3,000
41
SYDNEY LOUGH THOMPSON 1877 - 1973
Market Scene, Brittany Oil on board 41.2 x 47.3
Signed
ESTIMATE
$14,000 - 18,000
42 A LOIS WHITE
1903 - 1984
Self Portrait c. 1953
Oil on board 50.0 x 28.0
Signed
ESTIMATE
$12,000 - 16,000
ILLUSTRATED
p. 101 By the Waters of Babylon, The Art of A. Lois White, Nicola Green, David Bateman 1993
EXHIBITED
By the Waters of Babylon, The Art of A. Lois White
Auckland City Art Gallery March - May 1994
Waikato Museum of Art & History July - August 1994
Dunedin Public Art Gallery October - November 1994
Te Papa Tongarewa December 1984 - January 1995
Hawke’s Bay Museum February - March 1995
Robert McDougall Art Gallery April - May 1995
At the time she made this painting Lois White felt under siege. The Elam School of Art where she had taught for many years and the Auckland Society of Arts where she regularly exhibited were both receiving adverse public criticism from the reforming director of the Auckland Art Gallery, Eric Westbrook. At Elam, Lois White continued to teach although her students were becoming increasingly impatient with both her traditional methods and aggressive manner. Few of them knew, let alone respected her earlier work, based, like her teaching, on a strong sense of design. Sometimes she would come to class only to find the room empty of students. In this self portrait she stands at her easel holding a palette and brush, wearing a traditional artist’s smock over her dress and looking not at the work in hand, but directly outwards. Her expression is defiant. The portrait is a strong statement of identity.
$7,000 - 10,000 PROVENANCE
Arthur Jeffries, London
Sothebys, London 5/2/1982, label affixed verso EX Captain Kenderdine Collection, UK Private Collection, United Kingdom 44 FELIX KELLY
Rock
Tempera
Signed & dated 1948 ESTIMATE
$8,000 - 11,000
45 DON BINNEY
1940 - 2012
Mana Island XV
Oil on board 56.5 x 75
Signed, inscribed & dated 1971
ESTIMATE
$65,000 - 85,000
PROVENANCE
Michael Easther Collection 1971 - 2006
Private Collection Hawkes Bay
Auckland born Binney grew up in Parnell where he took art classes with John Weeks. From 1958 - 1961 he was a student at Elam School of Fine Arts. He later became Head of Painting at Elam, teaching there for twenty four years until retirement in 1998. Binney is one of New Zealand’s leading contemporary artists. He was awarded an OBE for services to the arts in 1995.
Binney described himself as a figurative painter concerned with the psychic metaphor of the environment. Works frequently featured the west coasts of Northland and Auckland. Native birds, sea, sky and landforms reflect the artist’s connection, respect and innate understanding of environment. In birdwatching, Binney said he discovered a passage into the landscape and the opportunity to develop a personal relationship with it.
Binney passed away in September 2012
BINNEY
48
CHARLES FREDERICK GOLDIE 1870 - 1947
Relics of a Bygone Age, Mere Werohia, A Chieftainess of the Ngati Te Rorote Rangi Hapu of the Ngatiwhakaue Tribe, Rotorua
Oil on canvas 30.0 x 25.0
Signed & dated 1933
ESTIMATE
$220,000 - 280,000
PROVENANCE
John Leech Gallery, Auckland 1947
George Walker Auctions, December 1973
Sothebys, Australia 1991
Private Collection, Auckland since 1991
EXHIBITED
Royal Academy, London 1935
Paris Salon, Paris 1936
John Leech Gallery, Auckland 1947
ILLUSTRATED
p. 269 C. F Goldie His Life and Painting Alister Taylor & Jan Glen, First published 1979 Alister Taylor, Wairua, Martinborough, New Zealand
New Zealand Herald, 1 February 1935
Auckland Star, 1 May 1935
New Zealand Herald, 1 May 1935
New Zealand Herald, 14 December 1935
Evening Post, 17 December 1935
Mere Werohia was a Chieftainess of the Ngati te Rori te Rangi Hapu of the Ngati Whakane Tribe, Rotorua and is thought to be a survivor of the Tarawera Eruption, 1886.
Photograph of Mere Werohia - Not for sale
49
JOHN BARR CLARKE HOYTE
1835 - 1913
Ohinemutu Village Lake Rotorua
Watercolour 30.5 x 58.0
Signed
ESTIMATE
$20,000 - 30,000
PROVENANCE
Private Collection, Wellington
50
PETER SIDDELL
1935 - 2011 Harbour
Oil on canvas 71.0 x 104.0
Signed & dated 1992
ESTIMATE
$15,000 - 20,000
51
MICHAEL SMITHER
b. 1939
Ted Harrington
Oil on board 91.5 x 63.5
Signed, inscribed Father in Law & dated 1977 - 1978 verso
PROVEANCE
Private Collection
ILLUSTRATED
Michael Smither Painter, Trish Gribben
Ron Sang Publications 2004 - image in book mirrored
REFERENCE
Elizabeths father was a wharfie. A strong belligerent man who always had his clock set half an hour early, who frighted his grandchildren with his affection and always bought Elizabeth a pair of men’s pyjamas for her birthday, Michael Smither
Text: Michael Smither Painter, Trish Gribben
Ron Sang Publications 2004
ESTIMATE
$38,000 - 48,000
52
GRAHAME SYDNEY
b. 1948
Huntaway Hut
Egg tempera on gesso 39.5 x 49.5
Signed & dated 1980
ESTIMATE
$40,000 - 50,000
ILLUSTRATED
Timeless Land, Grahame Sydney Longacre Press 1995
Grahame Sydney is best known for his landscapes of Central Otago. His work spans over four decades and encompasses oils, egg tempera, watercolours, lithographs, etching, photography and, more recently, film.
Rarely exhibiting, Sydney’s works are held in the collections of the major galleries and museums of New Zealand and in private collections through-out the world.
The artist has written several books, and his work is the subject of the award-winning publications The Art of Grahame Sydney and Timeless Land. He was awarded an ONZM for his services to painting in 2003.
1835 - 1913
Watercolour 16.0 x 32.5 Signed ESTIMATE
$4,500 - 7,500 53
$ 12,000 - 16,000
54
MARGARET OLROG STODDART 1865 - 1934
Violets and Apple Blossom Watercolour 37.8 x 52.3
53
JOHN BARR CLARKE HOYTE
Ohinemutu
55
MAJOR GENERAL HORATIO GORDON ROBLEY
1840 - 1930
Tomika Te Mutu
Chief of Ngaiterangi Tribe, Bay of Plenty
Watercolour 42.0 x 28.0
Signed, inscribed & dated 1864
ESTIMATE
$10,000 - 14,000
56
JOHN BARR CLARKE HOYTE
1835 - 1913
Two Maori and Stockade
Watercolour 40.0 x 68.5
Signed & dated 1873
ESTIMATE
$15,000 - 20,000
57
CHARLES BLOMFIELD
1848 - 1926
White Terraces
Oil on canvas 50.0 x 90.0
Signed
ESTIMATE
$15,000 - 20,000
58
CHARLES BLOMFIELD
1848 - 1926
Coromandel Bush Track
Oil on canvas 75 x 30
Signed & dated 1912
ESTIMATE
$15,000 - 25,000
58
59
CHARLES BLOMFIELD 1848 - 1926
Auckland from Mt Eden
Oil on board 20.5 x 32.2
Signed & dated 1924
ESTIMATE
$12,000 - 14,000
60
JOHN BARR CLARKE HOYTE 1835 - 1913
Otago Harbour
Watercolour 30.5 x 59.5
Signed
ESTIMATE
$8,000 - 12,000
60
61 ALFRED SHARPE
1830 - 1912
Mt Moehau, Coromandel
Watercolour 24.5 x 39.5
Signed
ESTIMATE
$3,000 - 5,000
62
WALTER WRIGHT
1833 - 1898
Rangitoto
Watercolour 22.5 x 37.0
Signed
ESTIMATE
$2,500 - 3,500
Lot 63: David Teniers the Younger was a Flemish artist born in Antwerp. He was the more celebrated son of David Teniers the Elder, almost ranking in celebrity with Rubens and Van Dyke. His son David Teniers III, and his grandson David Teniers IV, were also painters. His wife Anna was the daughter of Jan Brueghel the Elder.
Admitted as a Master in the Guild of St Luke,1632, Teniers had even before this made the public acquainted with his works. The Berlin Museum possesses a group of ladies and gentlemen dated 1630. No special signature positively distinguishes these first productions from those of his father. His villagers drink, play bowls, dance and sing; they seldom quarrel or fight, and, if they do, seem to be shamming. This much may be said of Teniers, that no painter shows a more enviable ability to render a conception to his own and other peoples satisfaction. His works have a technical freshness, a straightforwardness as means and intent, which make the study of them most delightful; as Sir Joshua Reynolds says, they are worthy of the closest attention of any painter who desires to excel in the mechanical knowledge if his art.
- 20,000
SCHOOL OF DAVID TENIERS THE YOUNGER
Flemish 1610 - 1690
The Merrymakers
Oil on canvas
70.0 x 110.0 ESTIMATE
$15,000
64
MAJOR GENERAL HORATIO GORDON ROBLEY
1840 - 1930
Tomika Te Mutu, Chief of Ngaiterangi Tribe
Watercolour 23.5 x 17.0
Inscribed & dated 1864
ESTIMATE
$3,800 - 4,800
65
JOHN BARR CLARKE HOYTE
1835 - 1913
Two Maori and Stockade
Watercolour 40.0 x 68.5
Signed & dated 1873
ESTIMATE
$15,000 - 20,000
Thirty Eight Carte de Visite featuring Maori & European Portraits of Dunedin Identities
Carte de Visite each 10.5 x 6.3
Most stamped by photographer verso In leather bound case
ESTIMATE
$1,000 - 3,000
BURTON BROTHERS & OTHER DUNEDIN PHOTOGRAPHERS
68
ARTIST UNKNOWN
19th Century New Zealand
Church at Port Nelson
Watercolour 24.4 x 30.2
Inscribed & dated 1851
ESTIMATE
$3,000 - 5,000
69
JENNY WIMPERIS
1844 - 1929
Untitled - Bush Scene
Watercolour 31.7 x 23.8
Signed & dated 1882
ESTIMATE
$800 - 1,200
70
JENNY WIMPERIS
1844 - 1929
Punga’s and Mountain
Watercolour 30.2 x 20.2 ESTIMATE
$800 - 1,200
71 FMJ
19th Century New Zealand
Two Maori overlooking South Island Landscape
Watercolour 15 x 19.3 Signed
$1,500 - 2,000
SAM STUART
1855 - 1920
Judges Bay
Pencil on paper 16.0 x 29.5
Signed, inscribed & dated May 8th 1876
ESTIMATE
$2,000 - 3,000
73
SAM STUART
1855 - 1920
Orakei Bridge
Pencil on paper 20.8 x 28.4
Signed & dated March 1877
ESTIMATE
$2,000 - 3,000
74
SAM STUART
1855 - 1920
Waimate, Bay of Islands
Watercolour 23.0 x 32.5
Signed & inscribed
ESTIMATE
$2,000 - 3,000
75
PHOTOGRAPHER UNKNOWN
20th Century
Ratana Visit to Japan, 1924
Sliver gelatin print 29.0 x 24.0
ESTIMATE
$1,000 - 2,000
76
FRANK BARNES
1859 - 1941
SS Rimutika Passing the Eddystone (Moonlight)
Oil on board 48.0 x 74.0
Signed & inscribed
ESTIMATE
$2,000 - 3,000
77
FRANK BARNES
1859 - 1941
The William Brown Ablaze of the Western Isles Oil on board 36.0 x 55.0
ESTIMATE
$2,500 - 3,500
78
JOHN DOUGLAS PERRETT
1859 - 1937
Otago River Scene with Haymakers Oil on canvas 34.0 x 65.0
Signed & dated 1891
ESTIMATE
$1,500 - 2,500
79
ARTIST UNKNOWN
20th Century New Zealand
Maori Artifacts
Oil on canvas 26.5 x 36.5
ESTIMATE
$3,000 - 5,000
80
MARGARET OLROG STODDART 1865 - 1934
In Papeete
Watercolour 25.0 x 35.0
Signed
ESTIMATE
$3,800 - 4,800
81
JOHN BARR CLARKE HOYTE 1835 - 1913
River with Fisherman, Village and Waka Foreground
Watercolour 41.5 x 60.5
Signed
ESTIMATE
$15,000 - 20,000
PROVENANCE
Private Collection, Wellington
82
COLIN MCCAHON
1919 - 1987
15 Drawings Dec ‘51 to May ‘52
A 24 page book of lithographic prints published by the Hocken Library 1976
26.0 x 20.0
Signed, inscribed for Charles Brasch from Colin McCahon & dated 1959
ESTIMATE
$2,000 - 3,000
83
PETER MCINTYRE
1910 - 1995
Floating Market, Bangkok
Oil on canvas 71.0 x 60.0
Signed
ESTIMATE
$8,000 - 12,000
PROVENANCE
Private Collection, United States of America
ILLUSTRATED
Plate 38 Peter McIntyre’s Pacific, A H & A W Reed 1966
REFERENCE
Floating Market. All through the waterways this procession, as in the painting, passes endlessly, graceful and swiflty-changing, with colours that charm, merge and clash, constantly exciting the senses. The Kodak shutters go click, clickety, click.
A priest in a yellow robe, shaven head, with an alms-bowl and an aloof, withdrawn face; add a woman peddling fruit, and that is any street in Bangkok. In the early morning you will see the priests collecting their food for the day from devout housewives; then the heat comes down and Bangkok becomes a steam bath. Peter McIntyre
Text: Peter McIntyre’s Pacific, A H & A W Reed 1966
84
PETER MCINTYRE
1910 - 1995
Wellington
Oil on canvas
60.0 x 75.0
Signed
ESTIMATE
$10,000 - 14,000
85 RAYMOND CHING
b. 1939
Grey Teal Ducklings, 1980
Watercolour 72.0 x 52.5
Signed
ESTIMATE
$12,000 - 16,000
ILLUSTRATED
p. 76 Ray Harris-Ching Masters of the Wild, Jorney of an Artist, Carol Sinclair Smith, Gulf Publishing 1990
REFERENCE
Three teal ducklings add their patterns to the jumble of rocks and flow of water. They may be a little too obscure - I’m to pick out - but the water splashes down the stones looking wet enough and contrasts with the more quietly-flowing pools caught on each side
Ray Harris-Ching Masters of the Wild, Jorney of an Artist, Carol Sinclair Smith, Gulf Publishing 1990
Signed
ESTIMATE
$7,000 - 10,000
87
RAYMOND CHING
b. 1939
Elder Duck
Oil on board 65 x 75 Signed ESTIMATE
$14,000 - 18,000 86
PETER MCINTYRE
1910 - 1995
Sampans, Hong Kong
Watercolour 52.0 x 74.0
PETER MCINTYRE
1910 - 1995
Royal Courts of Justice, London Oil on canvas 50.0 x 60.0
Signed
ESTIMATE
$6,000 - 8,000
The Royal Courts of Justice, commonly called the Law Courts, is the building in the Strand, London which houses the Court of Appeal of England and Wales and the High Court of Justice of England and Wales. This building is a large grey stone edifice in the Victorian Gothic style and was designed in the 1870s by George Edmund Street, a solicitor turned architect.
DOUGLAS BADCOCK 1922 - 2009
The Remarkables, Queentown Oil on board 47.0 x 59.0
Signed
ESTIMATE
$3,000 - 5,000
PROVENANCE
Private Collection, Australia
90
VERA CUMMINGS
1891 - 1949
Patara Te Tuhi
Oil on canvas 29.5 x 24.2
Signed
ESTIMATE
$8,000 - 12,000
PROVENANCE
Private Collection, Wellington
This work is offered in an original kauri frame produced exclusively for the artist Charles Frederick Goldie by his framer John Leech. This distinctive moulding is known as the ‘Goldie’ frame. It is unusual to see the work of another artist presented in this manner, but then again, Vera Cummings was Goldie’s leading pupil.
At the age of eleven she (Vera Cummings) was awarded a scholarship to attend Elam School of Fine Arts. She was one of the youngest pupils to attend the school. From here she became a pupil of Goldie, and was considered the only one to produce the same natural colour of Maori skin as Goldie painted. Her studies of Maoris were in great demand for sending overseas and as well as choosing the same subjects as Goldie, for example Sophia Grey (Guide Sophia), she painted many other well known Maori’s from the Auckland area.
Page 157 C.F. Goldie Prints, Drawings & Criticism Alistair Taylor & Jan Glen. First Published 1979 by Alistair Taylor, Wairua, Martinborough, New Zealand.
91
Oil on board 65.5 x 75.5
Signed & dated 1996
ESTIMATE
$14,000 - 18,000
1880 - 1952
Watercolour 51.5 x 89.0
Signed ESTIMATE
$4,000 - 6,000
RAYMOND CHING
b. 1939
Blue Bills
92
ALICE F WHYTE
Floral Profusion
93
1835 - 1913
River Settlement
Watercolour 35.5 x 52.5
Signed
ESTIMATE
$10,000 - 15,000
JOHN BARR CLARKE HOYTE
Wanganui
1835 - 1913
Watercolour 30.5 x 56.5
Signed
ESTIMATE
$15,000 - 20,000
JOHN BARR CLARKE HOYTE
Lake Waikaremoana
Signed & dated 1887
ESTIMATE
$12,000 - 16,000
95
JOHN GULLY 1819 - 1888
Maori Settlement, Wanganui River
Watercolour 35.0 x 61.5
96
MARGARET OLROG STODDART
1865 - 1934
Sumner Beach, Christchurch
Watercolour 25 x 35
Signed
ESTIMATE
$4,000 - 6,000
PROVENANCE
Private Collection, Wellington
97
MARGARET OLROG STODDART
1865 - 1934
Sumner Beach, Christchurch
Watercolour 25 x 35
Signed
ESTIMATE
$3,000 - 4,000
PROVENANCE
Private Collection, Christchurch
98
ALBIN MARTIN
1812 - 1888
Paihia - Bay of Islands
Watercolour
20.0 x 28.0
ESTIMATE
$12,000 - 16,000
PROVENANCE
Colenso Family Descent
Acquired by William Colenso 1811 - 1899, a friend of Albin Martin in the 1860s. The work has been held by the family ever since. William Colenso is the great-great-grandfather of the present owner. Colenso was elected to the New Zealand General Assembly of 1861 in Auckland.
99
JOHN HOLMWOOD
1910 - 1987
Marine Composition
Oil on board
60.0 x 78.0
Signed & dated 1966
ESTIMATE
$3,000 - 5,000
100
JOHN HOLMWOOD
1910 - 1987
Taranaki Farmhouse
Oil on board
53.0 x 76.0
Signed & dated 1952
ESTIMATE
$4,000 - 6,000
PROVENANCE
Collection of the Artist’s Estate
Born in Balclutha 1922 Douglas Badcock had a highly successful professional art career. Preferring to paint en plein-air, mostly in oil, Douglas earned a reputation as one of New Zealand’s leading landscape painters. His paintings are included in the Queen of England’s collection and King of Thailand’s collection. Douglas was a Kelliher Art Award winner and several books have been published on his work. He came second in the 1959 Kelliher Art Award and third in the 1962 award.
Badcock held his first exhibition in Wellington in 1960, selling out within two days. A review at the time described him as ‘a realistic painter and absolutely sincere with a natural talent and a high technical standard ... A master of the New Zealand landscape, he paints New Zealand as he sees it’. He produced at least three publications: My Kind Of Country then later My Kind of Painting and A Painter in Fiji.
101
DOUGLAS BADCOCK
1922 - 2009
By the Creek, Speardale
Oil on board 29.0 x 39.0
Signed, Inscribed verso
ESTIMATE
$2,000 - 3,500
102
DOUGLAS BADCOCK
Lombardies, End of Autumn, Speargrass Flat, Queenstown Oil on board 29.0 x 39.0
Signed. Inscribed & dated 1996 verso
ESTIMATE
$2,500 - 3,500
103
DOUGLAS BADCOCK
Yellow to Green Birches, Speardale, Speargrass Flat Oil on canvas board 34.5 x 47.0
Signed. Inscribed & dated 1995 verso
ESTIMATE
$3,000 - 4,000
104
DOUGLAS BADCOCK
West Coast Landscape Oil on board 29.0 x 39.0
Signed. Inscribed & dated 1985 verso
ESTIMATE
$2,500 - 3,500
Douglas Badcock at his easel, 2004 (Photo supplied by Badcock family)
105
DOUGLAS BADCOCK
1922 - 2009
Summer, Black Poplars
Oil on board 29.0 x 39.0
Signed. Inscribed & dated 1985 verso
ESTIMATE
$2,500 - 3,500
106
DOUGLAS BADCOCK
Old Farm Building, Waikerikeri
Oil on canvas board 24 x 34
Signed. Inscribed & dated 1993 verso
ESTIMATE
$1,500 - 2,500
107
DOUGLAS BADCOCK
1922 - 2009
Autumn, Thurlby Domain, Wakatipu
Oil on board 34.0 x 46.5
Signed. Inscribed & dated 1970 verso
ESTIMATE
$3,500 - 4,500
In a Listener article in 2004, Mr Badcock said: I paint seas, skies, mountains. I paint the world I know, as it appears to me. I have an image that is there and I have to record it. When I’m painting I let the subject reveal itself. Picasso said I don’t seek, I find. And finding is a revelation – intellectually, emotionally, spiritually. The primary motivation is selfexpression, but if there’s no vision, if we don’t see beauty in nature any more, then we’re nowhere.
109
WILLIAM GEORGE BAKER
1864 - 1929
Hutt River
Watercolour 25.0 x 39.8
Signed & inscribed
ESTIMATE
$1,400 - 1,800
1922 - 2009
Wild Sea, Foveaux Straight
Oil on board 29.5 x 39.0
Signed. Inscribed verso
ESTIMATE
$1,800 - 2,500
110
CHARLES NATHANIEL WORSLEY 1850 - 1923
A Spanish Gateway
Watercolour 58.3 x 89.2
Signed. Inscribed verso
ESTIMATE
$8,000 - 12,000
108
DOUGLAS BADCOCK
108
109
1919 - 2012
Grainstore, Oamaru
Oil on board
x 54.0
Signed & dated 1992
ESTIMATE
$3,000 - 5,000
1919 - 2012
Oil on board 72.2 x 59.2
Signed & dated 1991
ESTIMATE
$3,000 - 5,000
1910 - 1995
Venice
Watercolour 52.0 x 72.0
Signed ESTIMATE
$9,000 - 13,000
112
COLIN WHEELER
Singer
112
113
PETER MCINTYRE
111
COLIN WHEELER
114
1860 - 1934
Ratima Te Rongo, Chief Wairarapa & Miroa the Captive Maiden - A Pair
Oil on canvas 65.0 x 50.0
One signed & dated 1904. Both inscribed verso
ESTIMATE
$7,000 - 10,000
115
1877 - 1932
Coast of Greece
Oil on canvas 100.5 x 124.0
Signed
ESTIMATE
$4,000 - 6,000
JOSEPH GAUT
JAMES FRASER SCOTT
116
116
TOM ESPLIN 1915 - 2005
Bilbury Village, Cotswalds
Oil on board 26.0 x 32.5
Signed
ESTIMATE
$3,000 - 4,000
117
THOMAS REGINALD ATTWOOD 1865 - 1926
Low Tide, The Port, Nelson 1892
Oil on board 26.0 x 53.0
Signed
ESTIMATE
$800 - 1,200 117
118
JAMES FRASER SCOTT 1877 - 1932
Cattle Watering in a Stream Oil on canvas 100.5 x 124.0
Signed
ESTIMATE
$5,000 - 8,000
119
ERIC LEE JOHNSON
1908 - 1984
Remains of Hudson House, Streamlands
Ink on paper 27.0 x 36.0
Signed, inscribed & dated 1967
ESTIMATE
$2,000 - 3,000
ILLUSTRATED
plate 7, As I See It, Drawings from North New Zealand
Eric Lee Johnson, Collins Bros & Co Ltd 1969
REFERENCE
The garden we work so hard to establish over the years, with disciplined shrubs and the choicest flowers, is soon discarded by nature for a grander plan when left to her own resources.
Eric Lee Johnson, Collins Bros & Co Ltd 1969
120
JOHN GULLY
1819 - 1888
View of Nelson from the Hills Watercolour 33.0 x 50.0
Signed
ESTIMATE
$4,000 - 6,000
121
PEGGY SPICER
1908 - 1984
Among The Mountains - Near Homer Tunnel Oil on board 57.0 x 78.0
Signed
ESTIMATE
$2,500 - 4,000
122
WILLIAM MATTHEW HODGKINS
1833 - 1898
A Breezy Day in Preservation Inlet
Watercolour 30.0 x 42.0
Signed, inscribed & dated 9 November 1896
ESTIMATE
$2,000 - 4,000
123
CHARLES DECIMUS BARRAUD
1822 - 1897
Huka Falls
Watercolour 17.5 x 24.0
Signed
ESTIMATE
$1,500 - 2,500
121
122
123
124
WILLIAM GEORGE BAKER
1864 - 1929
NZ Bush Scene
Oil on canvas 60.0 x 90.0
Signed & inscribed NZ Bush Scene
ESTIMATE
$4,000 - 6,000
125
VERA WHITEMAN
1873 - 1952
Mother with Puppies
Oil on canvas 34.0 x 49.5
Signed
ESTIMATE
$1,500 - 2,500
126
GARRICK TREMAIN
b. 1940
Musterer, Mt Cook
Oil on board 45.0 x 60.0
Signed
$1,500 - 2,500
127
HENRY WILLIAM KIRKWOOD
1854 - 1925
Queen Charlotte Sound
Oil on board 18.5 x 29.0
Signed
ESTIMATE
$800 - 1,200
128
WILLIAM GEORGE BAKER 1864 - 1929
Mt Ruapehu
Oil on canvas 44.0 x 68.0
Signed & inscribed Mt Ruapehu
ESTIMATE
$1,500 - 2,500
129
NUGENT WELCH
1881 - 1970
Pine Trees
Watercolour 26.0 x 36.0
Signed ESTIMATE
$1,400 - 1,600
130
HARRY VYE MILLER 1932 - 1981
Dunedin
Watercolour 21.0 x 28.0
Signed & dated 1964
ESTIMATE
$600 - 800
131
FRANK WRIGHT
1833 - 1898
East Coast Beach Near Auckland
Watercolour 19.5 x 39
Signed & dated 1920
ESTIMATE
$800 - 1,200
1858 - 1941
Portrait of a Young Mediterranean Man
Oil on canvas 50.0 x 40.0
Signed & dated 1889
ESTIMATE
$3,000 - 5,000
132
ALFRED HENRY O’KEEFFE
133
HENRY WILLIAM KIRKWOOD
1854 - 1925
Dusky Sound Oil on board 22.5 x 14.5
Signed
ESTIMATE
$1,000 - 2,000
134
JOHN DOUGLAS PERRETT
1854 - 1925
South Island Landscape with Figure Oil on board 24.0 x 33.0
Signed
ESTIMATE
$600 - 900
135
HENRY WILLIAM KIRKWOOD
1854 - 1925
Nancy Sound Oil on board 60.0 x 44.0
Signed
ESTIMATE
$1,000 - 2,000
Ex Melba van der Velden collection 133
136
PETRUS VAN DER VELDEN
1837 - 1913
Fireplace Surround
Pencil on paper 9.0 x 12.0
Signed & dated 1909
ESTIMATE
$800 - 1,200
PROVENANCE
137
JOHN ELDER MOULTRAY
1865 - 1922
Otago Coast with Rain Shower Oil on board 19.5 x 27.0
ESTIMATE
$500 - 1,000
138
HENRY WILLIAM KIRKWOOD 1854 - 1925
Nelson River Oil on board 29.5 x 22.0
Signed
ESTIMATE
$2,000 - 3,000
139
JOHN BARR CLARKE HOYTE
1835 - 1913
Shag Rock
Watercolour 23.0 x 16.0
Signed
ESTIMATE
$1,000 - 1,500
140
JACK CRIPPEN 1916 - 1985
Libya, World War II
Watercolour 35.0 x 40.0
Signed & dated 1942
ESTIMATE
$1,000 - 1,500
End of sale - thank you
Est. $8,000 - 12,000
Est. $2,000 - 3,000
Est. $35,000 - 45,000
FRANCES HODGKINS Arrangement of Jugs, 1938
RICHARD KILLEEN The Monkey’s Revenge, 1986
RAYMOND MCINTYRE Figures with Umbrella, London
Catalogue
Turi Park . .
This scene is morning light shining into a woodland clearing, beside a creek just beyond the right hand side. A tributary that flows into a larger body of water. This is cattle grazed native forest, half cleared by Scandinavian farming settlers. In the left of the clearing, a male peacock, sits on a supplejack vine in the shadows. An exotic foreign specimen, brought over here. In the burst of light is a vision of an European woman. I met her last year in St Mark's Square in Venice. But is she really here? Or, just a dream? A trick of my eyes, used to the dark shadows of the forest, blinking and squinting into the sun? Why is she in such a different place... and a world away? Or, is the dream hers? She wears a bird mask after all.
. OIL ON CANVAS 123 x 264cm 272 Parnell Road Auckland / Ph +64 9 3666 045 www.internationalartcentre.co.nz EXTRAORDINARY ART FOR EXTRAORDINARY PEOPLE
Kapa Haka
Portrait of Delphine
Currently available for purchase
Enquiries Frances Davies fran@artcntr.co.nz
272 Parnell Road Auckland / Ph +64 9 3666 045
EXTRAORDINARY ART FOR EXTRAORDINARY PEOPLE
www.internationalartcentre.co.nz
Index
ATTWOOD,T R ............................................. 117
BADCOCK, D ........................ 89, 101, 102,103, ...................................... 104, 105, 106, 107, 108
BAKER, W G .................................. 109, 124, 128
BALL, M 28
BARNES, F 76, 77
BARRAUD, C D 123
BURTON, B..................................................... 66
BINNEY, D ............................................ 6, 45, 47
BLOMFIELD, C .................................... 57, 58, 59
BROWN, N ....................................................... 8
CHING, R............................................ 85, 87, 91
COOK, J ............................................................ 2
CRIPPEN, J 140
CUMMINGS, V 90
DIFFUSION, O K 4
DOLEZEL, J ..................................................... 32
DUMONT, J S C ............................................ 3, 5
ELLIS, R ........................................................... 33
ESPLIN, T ....................................................... 116
FITZGERALD, J ................................................ 34
FRANCE, P 14
FRISTROM, E 35
FRIZZELL, D 11
F M J................................................................ 71
GAUT, J ......................................................... 114
GOLDFUSS, G A ............................................... 1
GOLDIE, C F ................................................... 48
GULLY, J .................................................. 95, 120
HANLY, P ........................................................ 46
HODGKINS, W M ......................................... 122
HOLMWOOD, J 99, 100
HOTERE, R 17, 18, 19, 20, 21, 22, 23, 24, 25, 26, 27, 31
HOYTE, J B C ............................... 49, 53, 56, 60,
.............................................. 65, 93, 94, 81, 139
JAHNKE, R ........................................................ 9
KELLY, F ............................................... 36, 43, 44
KIRKWOOD, H W................. 127, 133, 135, 138
LEE, J E .......................................................... 119
MARTIN, A 98
MCAHON, C 82
MCCLEOD, E................................................... 12
MCINTYRE, P ........................ 83, 86, 84, 88, 113 MILLER, H V .................................................. 130
MOULTRAY, J E ............................................. 137
NIGRO, J ......................................................... 13
O’KEEFFE, A H .............................................. 132
PERRETT, J D 78, 134
ROBLEY, M G H G 55, 64
SCOTT, J F 115, 118
SEUFFERT, A .................................................... 67
Early & Rare Thursday 22nd November 2012
SHARPE, A ..................................................... 61
SIDDELL, P ............................................ 7, 30, 50
SMITHER, M.................................................... 51
SPICER, P ...................................................... 121
STODDART, M O .......................... 54, 96, 97, 80
STUART, S ........................................... 72, 73, 74
SYDNEY, G 52
TAPPER, G 16
SCHOOL OF TENIERS, D 63
THOMPSON, S L ...................................... 38, 41
THOMSON, E ................................................. 15 TREMAIN, G ................................................. 126
P ................................................. 10 UNKNOWN, P ................................................ 75
UNKNOWN, A 68, 79
VAN DER VELDEN, P 136
WEEKS, J 37, 39, 40
WELCH, N .................................................... 129
WHEELER, C ......................................... 111, 112 WHITE, A L ..................................................... 42
WHITEMAN, V .............................................. 125
WHYTE A F, .................................................... 92
WIMPERIS, J .............................................. 69, 70
WORSLEY, C N 110
WRIGHT, W 62
WRIGHT, F 131
LATE ENTRY
LOT 52A GRAHAME SYDNEY
b. 1948 Water Tank
Pencil drawing 44.0 x 57.0
Signed & dated 31/3/1982
ESTIMATE
$4,500 - 6,500
52A
