The Barry Pilcher Collection
CONTEMPORARY NEW ZEALAND PAINTING, SCULPTURE & PHOTOGRAPHY Held 27 May 2015
Barry Pilcher’s eclectic and kaleidoscopic collection of Contemporary New Zealand painting, sculpture and photography sold well at International Art Centre’s single owner, May sale. The collection, acquired over fifteen years, attracted wide-spread interest and spirited bidding resulting in six new auction records including $21,690 for artist Heather Straka together with an 82% clearance rate. Pictured are some auction highlights from that sale.
Prices quoted includes buyer’s premium.
6:30pm Wednesday 11 November 2015
Seraphine Pick fetched $26,114
Mark Rayner fetched $820
Sylvia Siddell fetched $5,860
Judy Millar fetched $4,900
Sara Hughes fetched $5,275
Gavin Hurley fetched $7,325
Heather Straka fetched $21,690 (Auction record)
Ans Westra fetched $6,210
Sara Hughes fetched $5,275
Harry Watson fetched $4,390
Heather Straka fetched $9,380
Sam Mitchell fetched $3,985
Auction
6:30pm Wednesday 11 November
* If attending sale, please register for bidding number at viewing
* Payment may not be made during sale
* Works purchased may be uplifted at close of sale or day after 10.00am - 5.00pm
* Viewing times p. 3
* Absentee Bidding Form p. 109
* Conditions of Sale p. 111
272 PARNELL RD, AUCKLAND, PO BOX 37 344 AUCKLAND 1151 TEL +64 9 379 4010 FAX +64 9 307 3421 www.fineartauction.co.nz
1 HEATHER STRAKA
b. 1972
Flower
Oil on board 23 x 35
Signed & inscribed verso
ESTIMATE
$3,000 - 5,000
2 PATRICIA FRANCE
1911 - 1995
The Bird Lovers
Oil on board 28 x 32
Signed. Inscribed & dated 1992 verso
ESTIMATE
$3,000 - 5,000
& Rare Art 6:30pm Wednesday 11 November 2015
3 E MERVYN TAYLOR
1906 - 1964
Cats
Colour linocut, edition of 20, 29 x 30
Signed & inscribed
ESTIMATE
$1,500 - 2,500
4 MICHAEL SMITHER
b. 1939
Two Boats
Oil and acrylic on board 17 x 24
Signed & dated 2002
ESTIMATE
$2,000 - 3,000
5 MICHAEL SMITHER
b. 1939
Blue Stone Pool
Mixed media on board 45 x 43
Signed & dated 1964
ESTIMATE
$5,000 - 8,000
6
GRETCHEN ALBRECHT
b. 1943
Balance, 1974
Gouache on paper 71 x 101
Signed, inscribed & dated 1974
ESTIMATE
$15,000 - 25,000
PROVENANCE
Private Collection, USA
7 NEIL FRAZER b. 1961 Cove
Acrylic on canvas 102 x 102
Signed, inscribed & dated 2008 verso
ESTIMATE
$11,000 - 13,000
8 MERVYN WILLIAMS b. 1940
‘Red Forge Four’ (First Version)
Acrylic on canvas 120 x 118
Signed, inscribed & dated 1999 verso
ESTIMATE
$8,000 - 12,000
PROVENANCE
Purchased from Warwick Henderson Gallery, Auckland by current owner, 1999
9 MIKE PETRE b. 1964
Field Study 274 Oil on canvas 115.2 x 115.2 Signed & dated 2014
ESTIMATE
$12,000 - 14,000
& dated 1996
ESTIMATE
$8,000 - 12,000
10 STANLEY PALMER b. 1936 Above Putataua – Matauri Oil on canvas board 93.6 x 134.3 Signed
Signed, inscribed & dated 14/9/1995
ESTIMATE
$8,000 - 12,000
1927 - 1999
Signed
ESTIMATE
$8,000 - 12,000
11 DICK FRIZZELL
b. 1943
Christmas Pudding with Custard Oil on canvas 72 x 92
12 GARTH TAPPER
Waiting Oil on board 48 x 56
13 COLIN MCCAHON
1919 - 1987
Canterbury Plains
Conté crayon on paper 19.8 x 25.4
Signed, inscribed & dated 1948
ESTIMATE
$8,000 - 12,000
PROVENANCE
Private Collection, Auckland
Colin McCahon database no. cm000481 www.mccahon.co.nz
EXHIBITED
An Exhibition of Paintings from July 1947 to August 1948 by Colin McCahon, Dunedin, Public Library Hall, September 1948
14 JANE EVANS
1946 - 2012
Still Life
Oil on board 75 x 90
Signed & dated 1978
ESTIMATE
$8,000 - 12,000
PROVENANCE
Private Collection, Auckland
This work fetched an auction record for the artist, International Art Centre 1987
16 VIRGINIA KING
b. 1946
Untitled
Aluminium sculpture with timber base
Signed
ESTIMATE
$3,000 - 5,000
PROVENANCE
A Corporate Collection
15 DAVID KENNEDY
b. 1931
Rooster, circa 1964
Enamel coated steel 56 x 63
ESTIMATE
$1,800 - 2,500
PROVENANCE
Purchased directly from the artist, mid 60s by current owner.
17 ROSS RITCHIE
b. 1941
Paradise
Oil on board 120 x 181
Signed, inscribed & dated 1964
ESTIMATE
$8,000 - 12,000
PROVENANCE
Ex Rodney Kirk Smith Collection, Auckland
EXHIBITED
Artides Gallery of Contemporary Art and Design, Wellington 1964
Original label affxedverso
18 PAUL DIBBLE
b. 1943
Marquette for the Horace Moore Jones Memorial, Hamilton
Unique bronze 47 x 25
Signed
ESTIMATE
$7,000 - 10,000
19 TONY FOMISON
1939 - 1990
“On You Own - You”
Oil on board 62 x 20
Signed & dated 1988 Lincoln St and 1989 Williamson Ave & inscribed verso
ESTIMATE
$14,000 - 18,000
20 BILL HAMMOND
b. 1947
Ancestral Paper 2
Acrylic paint, pencil and ink on paper 78 x 56
Signed & dated 2005
ESTIMATE
$30,000 - 40,000
PROVENANCE
Private Collection, Christchurch
Purchased from Brooke Gifford Gallery, 2005
EXHIBITED
Bill Hammond Paintings
19 July - 13 August 2005
Brooke Gifford Gallery, Christchurch
Original label affxedverso
21 ANDREW MCLEOD
b. 1976
Duck
Oil on linen 116 x 116
Signed
ESTIMATE
$8,000 - 12,000
PROVENANCE
Private Collection, Christchurch
Purchased from Brooke Gifford Gallery, 2006
EXHIBITED
Andrew McLeod
28 February - 25 March 2006
Brooke Gifford Gallery, Christchurch
Original label affxedverso
22 GLENDA RANDERSON
b. 1949
Bill Manhire, Wellington
Oil on linen, ground liquitex gesso 104 x 74
Signed & dated 1999
Inscribed verso
ESTIMATE
$5,000 - 8,000
23 RALPH HOTERE
1927 - 1999
A Wind Goes Out - A Poem by Bill Manhire
Acrylic on canvas 74 x 84
Signed, inscribed & dated 1975
ESTIMATE
$30,000 - 40,000
PROVENANCE
Private Collection
Purchased from Gow Langsford Gallery, 1995
24 PHILIP TRUSTTUM
b. 1940
Cityscape
Oil on board 35 x 75.5
Signed & dated 1973
ESTIMATE
$4,500 - 6,500
PROVENANCE
Private Collection, Auckland since 1986
25 PHILIP TRUSTTUM
b. 1940
Untitled Garden Painting
Oil on board 91 x 120
Signed
ESTIMATE
$10,000 - 14,000
PROVENANCE
Private Collection, Auckland
Purchased in Christchurch by the current owner, circa 1976
26 GARTH TAPPER
1927 - 1999
Nightclub
Oil on canvas 42 x 54
Signed & dated 1994. Inscribed verso
ESTIMATE
4,500 - 6,500
27 GARTH TAPPER
1927 - 1999
Jetty Scene
Oil on board 34 x 45
Signed & dated 1975
ESTIMATE
$3,000 -5,000
28 ROBERT ELLIS
b. 1929
City by the River Edge
Oil on board 71 x 91
Signed & dated 1964
ESTIMATE
$24,000 - 28,000
Acrylic & polyester compound on board 117 x 187 Signed, inscribed & dated 1986
ESTIMATE
$8,000 - 12,000
29 NIGEL BROWN b. 1949 Whatever Love Whatever
JOHN REYNOLDS
b. 1956
Nebuchadnezzar’s Head in a Wave, 1994
Mixed media on five panels 240 x 600 overall
Signed, inscribed & dated 1994 verso
ESTIMATE
$25,000 - 35,000
PROVENANCE
A Corporate Collection
31 PATRICIA FRANCE
1911 - 1995
Mysterious Grace from T S Eliot Oil on board 48 x 38
Signed
ESTIMATE
$4,500 - 6,500
PROVENANCE
Ex Collection of Ralph Hotere
32 KARL MAUGHAN
b. 1964
Dunrock Oil on canvas 76.4 x 76.4
Signed, inscribed & dated 2014 verso
ESTIMATE
$8,000 - 10,000
33 GRETCHEN ALBRECHT
b. 1943
Floe
Acrylic on canvas 200 x 360
Signed, inscribed & dated 1999 verso
ESTIMATE
$40,000 - 60,000
PROVENANCE
A Corporate Collection
Gretchen Albrecht has an international reputation as one of New Zealand’s most highly regarded painters. Her work is known for its geometry, an emotional use of colour and a constant evolution of influences, media and technique. Graduating with Honours from Elam School of Fine Arts in 1964, Albrecht taught for some years. In the late 1970s she took a 13 month trip to Europe and the United States, back in New Zealand she was awarded the Frances Hodgkins Fellowship at the University of Otago in 1981. During that year in Dunedin, Albrecht began working on the lunette shaped canvases which she calls Hemispheres. Her recent travels proved to be a catalyst, with European paintings and art history referenced in the titles of works such as Giotto’s Blue and Lunette (for Fra Angelico). Of this time the artist says: I knew I wanted the hemisphere in 1981. I went to Dunedin with quadrants, the hemisphere happened in the studio, I put the quadrants together. I wanted to break out of the rectangle and the square and to introduce a curve
In 1989 Albrecht moulded the Hemispheres into the Oval of a map, allowing her to encompass a whole world containing East-West and North-South correlations and oppositions. Albrecht says: Ovals are a gentle shape, what happens in the top part could be reflected in the bottom half so I could have a continuous movement of paint, repetition and rhythm, spiralling, all en-circling, constantly in-flux which I like very much.
The 2002 retrospective exhibition of Albrecht’s work held at the Auckland Art Gallery meet with great acclaim. Dunedin Public Art Gallery and the City Gallery, Wellington held a 2005 retrospective of Oval and Hemisphere paintings that same year, Mark Hutchins Gallery, Wellington exhibited paintings from the 1980s through to 2000 alongside Albrecht’s recent stainless steel sculptures.
In 2009 Albrecht began working on a new series of rectangular paintings featuring oval shaped vortices of colour combined with slender horizontal geometric figures. The first of these paintings were exhibited in Between Paint and Nature, Nadene Milne Gallery, Arrowtown and Rosea, Mark Hutchins Gallery, Wellington. 2010 saw Albrecht’s solo exhibition, Roses in the Snow, Sue Crockford Gallery, Auckland. A further solo exhibition was held in 2014 at Two Rooms, Auckland. The paintings exhibited featured the three stretcher shapes of hemispheres, ovals and rectangles. With a career spanning five decades Gretchen Albrecht’s work is held in the collections of Auckland Art Gallery,The Museum of New Zealand, Te Papa, Tongarewa, the Gallery of New South Wales and the Newcastle Art Gallery, Australia.
34 RUSSELL CLARK
1905 - 1966
South Westland, 1959
Oil on board 46 x 61
Signed
ESTIMATE
$40,000 - 50,000
PROVENANCE
Estate of R G Glubb, Christchurch
EXHIBITED
Russell Clark 1905 - 1966 A Retrospective Exhibition
Robert McDougall Art Gallery, Christchurch 1975
Catalogue no. 47. Original exhibition label affxedverso
The eloquence of painting is that it wordlessly pays homage, serenades a lover or stands in awe. Wordlessly, yet expressively: with a thousand brushstrokes; the gestures of a loaded brush; the demeanour of composition; and with chromatic intensity. This painting says ‘I have no words.’ What words could be substituted? This painting is the expression of a moment where others of us might stand on the hilltop and simply say “Wow!!” – Yeah, nah…. Not adequate.
Christchurch born Clark began taking art classes as a sixteen year old at the Canterbury College of Art and by the age of twenty was teaching there part time. Though he began exhibiting and receiving mural commissions almost immediately, he also needed regular income and turned to commercial art through the 1930s in a restless succession of jobs in Christchurch, Dunedin and Wellington. The Second World War seemed to offer even wider horizons for the confident young artist and so he offered his services as war artist to then Prime Minister, Peter Fraser in 1942 and subsequently served with the 3rd New Zealand Division in the Pacific.
After his war service, he returned to Wellington and his career in advertising; but found this return to a former life unsatisfactory and quit Wellington and advertising for a job at the Canterbury School of Art and a life in Christchurch where he spent the remainder of his career.
South Westland by Russell Clark is painted a good dozen years into this South Island life and reveals the depth of his confidence and the vibrancy of his joy in painting. During the late 1940s he abandoned atmospheric effects in his paintings for broad planes and bolder colour and the 1950s became his most experimental and productive phase as an artist. This painting, completed in 1959, comes at the pinnacle of his easel painting; and just at the moment before painting became secondary to sculpture for him; and it was in sculpture, that Clark became one of the most important pioneers of Modern public art in New Zealand. We see the move and the later achievements prefigured in South Westland. The treatment of the foreground clearly indicates his sculptural concerns and the lessons he was absorbing, even at this mature stage in his career, from the likes of Barbara Hepworth and Henry Moore with its bold, almost impasto facets, angular planes and strong chiaroscuro. It is an unusual case in which we can describe this work as coming from the peak of the artist’s painting career while also being transitional in relation to his sculptural career.
Rob Garrett
35 DON BINNEY
b. 1940 - 2012
Kairarara Kaka Variant, 1982 - 83
Acrylic on paper on canvas 66 x 46
Signed & dated 1982 - 1983
ESTIMATE
$110,000 - 140,000
PROVENANCE
Private Collection, Taranaki
Purchased from Fisher Gallery circa 2006
Private Collection, Christchurch
EXHIBITED
BINNEY 1959 - 1989 A Survey. A Retrospective Exhibition of Don Binney’s works, 19 August - 17 September 1989
The Fisher Gallery, Pakuranga, Auckland
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 stimuli - the landscape, the wild-life...you must approach the landscape or the bush with reverence.
Binney’s earliest paintings were predominately landscapes, influences which can be traced to styles found popular in America in the 1930’s. This style removes small detail and concentrates on landform and rhythmic curves, Rita Angus, Doris Lusk and William Sutton also took influence from this period. Binney’s early works had an abstract feel to them, representing landscape in an almost cubist-style of brushwork. As his work matured, he began to depict birds as the central concern in this paintings, the landscape became more of a backdrop to the main focus.
Eventually though, landscape and birds shared his attentions equally, and he produced many works which talk of New Zealand’s environmental concerns and birdlife.
Kairarara Kaka Variant 1982 - 83 is a particularly striking work, painted with thick brushstrokes in a painterly style, in this sense it harks back to earlier pieces by Binney. The paint application is fairly patterned in areas, paint appearing quite viscous and thick, making the work just as captivating close-up as from afar. The structure of the composition allows for several focal points in the work, the eye is first drawn to the bird and then through the landscape to the fence in the fore. This same fence is depicted in a later work by the artist entitled Kaka, 1984, Binney often included architectural structures or monuments which symbolised a human presence in his painting. It is clear here that this is not an ideal land before human intervention, it is New Zealand in the time the artist painted it. This work is an excellent example of Binney’s work from this era, portraying the bird, landscape and human elements in the one painting.
From text affxedverso-TheFisherGallery,Pakuranga
36 BILL HAMMOND
b. 1947
Untitled (II) 2000
Acrylic paint, pencil and ink on paper 139 x 156
Signed & dated 2000
ESTIMATE
$80,000 - 120,000
PROVENANCE
A Corporate Collection
In Poland, as in other parts of Europe, dark-plumaged crows can occasionally be seen gathered around their deceased own as if mourning for the dead bird. The sight is well-known. The phenomena of these funereal birds standing around carefully studying the victim as a group, has become known as the Crows Funeral for obvious anthropomorphic reasons.
What is actually happening, according to recent research, is the crows are trying to identify the cause of death and by association the ‘bringer of harm’ in order to know how to avoid a similar fate. It is now known that where the death has been caused by a creature of prey or human that is identifiable, the participating crows are able to pass this knowledge on to other crows that were not present at the ‘funeral’ and the recognition of the perpetrator persists, and in fact grows for months afterwards.
Hammond’s birds, also relatively still, clustered in groups, have also taken on mythic proportions in writing and conversation since the artist’s careerchanging visit to New Zealand’s sub-Antarctic islands in 1989. Immediately on his return his works were populated with attenuated bird figures, sometimes half-human half-bird. The artist’s southern epiphany also awakened an interest in the 19th century ornithologist Sir Walter Buller, who was responsible, almost in equal measure for the lavish documentation of many species that became extinct before the 20th century and for contributing to their extinction through his practice of killing, stuffnganddistributingvastnumbers of birds for ornithological collections.
It is clear therefore that the symbolic power of Hammond’s paintings, drawings and lithographs address the threat to New Zealand wildlife by humans, past, present and future. Hammond’s birds stand both as witness and accuser in Buller’s world, for the artist conjures a primordial avian world, not of delicate vulnerability, but of tooth and claw power. His birds lay in wait, watch, stalk and loom over the human forms that occasionally appear in their midst or in the distance.
In Untitled (II) from 2000 we are taken behind the scenes. The work seems like a page from the ‘Avian Defence Ministry’s Home Guard Manual’. The bird with its head above the clouds is part of the collective early-warning system. The large bird on the right demonstrates the armoury of the land: strong-arm hills for protection and massive, uprooted trees as weapons. Finally, methods of capture are indicated with the steel hoop surrounding the kneeling figure in the middle foreground.
Just as Crows’ funerals are forensic gatherings in order to divine safe passage in the future: to name, know and warn of the enemy; Hammond’s birds gather, in preparation for the inevitable return of devastation. Their premonition of future harm musters them to plan carefully and then to stand with singularly menacing threat, ready to repel their enemies rather than flee.
Rob Garrett
37 JASMINE MIDDLEBROOK
b. 1987
Dust in the Air, Dirt in the Ground
Oil on canvas 120 x 160
Signed
ESTIMATE
$10,000 - 15,000
38 GRETCHEN ALBRECHT b. 1943
Untitled Acrylic on canvas 170 x 170
ESTIMATE
$15,000 - 20,000
39 RICHARD KILLEEN b. 1946
Cross Hatch Acrylic and gesso on powder coated aluminium - 57 pieces
ESTIMATE
$20,000 - 30,000
PROVENANCE A Corporate Collection
48 Important & Rare Art 6:30pm Wednesday 11 November 2015
1911 - 1995
Flower Girl
Oil on board 55 x 35
Signed
ESTIMATE
$3,500 - 5,000
1927 - 1999
Untitled
Mixed media on paper 72 x 52.5
Signed & dated 1992
ESTIMATE
$18,000 - 26,000
41 PATRICIA FRANCE
42 RALPH HOTERE
43 EVELYN PAGE
1899 - 1988
Seated Nude, 1962
Oil on canvas board 60 x 75
Signed
ESTIMATE
$60,000 - 80,000
PROVENANCE
Acquired directly from the artist, 1962
Estate of Sylvia Constance Ashton-Warner MBE
Evelyn Page is renowned as one of New Zealand’s foremost colourists and for the independent conviction she maintained throughout her career. Through her early lessons and experiences in Christchurch Page became steeped in the lessons of the British School. Her own use of high-keyed colour dates from the late 1920s, possibly influenced by the return to Christchurch in 1925 of the artist’s friend Margaret Anderson after two years of travel full of enthusiasm for contemporary French and British painting. Then, by the 1960s she had also studied many of the key colourists of European Modernism, absorbing the colour lessons of Vuillard, Bonnard and Matisse, the compositional structures of Cézanne’s figure paintings and the luscious painterly structure of form achieved by Matthew Smith.
However her responses to the mentors and possible influences of Modernism were wilfully independent. On the one hand she seemed impervious to the tendency of her peers to follow the innovative front lines of midcentury European Modernism; and on the other hand, even when she was embracing the discoveries of the Post-Impressionists, it was on her own terms, only responding to those aspects of their work that reinforced her own preoccupations with colour.
The decade of Seated Nude, 1962 was particularly rich for Evelyn Page, who was now in her sixties. Her children were grown; and she had created two environments that stimulated her creativity: the lime-edged orchard garden at Waikanae and the light-filled home in Hobson Street, Wellington. After more than four decades of working and painting she was finally receiving national recognition, for instance being included in the third Eight New Zealand Painters exhibition, toured by the Auckland City Art Gallery from October 1959. There was international regard too, when in 1962 the English art critic Sir Herbert Read and his wife came to dinner with Evelyn and
Frederick Page at their Hobson Street home and he was impressed by one of the two nude paintings she made that year.
By the early 1960s her joy at being able to use a setting such as her garden at Waikanae for many outdoor studies, nudes and figure groups was palpable in the paintings themselves. Seated Nude, 1962 is one such painting. Serene; showing the artist’s ability to absorb the structural lessons of Paul Cézanne and Matthew Smith without being a slave to either; and finding her way with a verdant and fleshy colour palette that is delicately haunted by French PostImpressionism and redolent of the New Zealand outdoors at the same time. More than an art history lesson, Seated Nude 1962 communicates Page’s joyful celebration of life. The painting was purchased by the artist’s friend Sylvia Ashton-Warner.
Sylvia Ashton-Warner was born in Stratford, Taranaki in 1908. She was a novelist, autobiographer and educational pioneer. Two of her novels were listed in Time magazine’s top ten books of the year. She won the New Zealand Book Award for Non-Fiction in 1980. In 1982 she was appointed a Member of the Order of the British Empire for services to education and literature. Her life story was adapted for the 1985 biographical film Sylvia, based on her work and writings. The Faculty of Education library at The University of Auckland where Ashton-Warner trained in the late 1920s, was named the Sylvia Ashton-Warner Library in 1987. The Ashton School in the Dominican Republic was founded in 1998 and was named in honour of Ashton-Warner, whose teaching methods inspired the school. Ashton-Warner died in Tauranga 1984.
44 ARCHIBALD FRANK NICOLL
1886 - 1953
Peterborough Street, Christchurch Oil on canvas board 34 x 49
Signed
ESTIMATE
$2,000 - 3,000
45 SAMUEL JOHN LAMORNA BIRCH
1869 - 1955
Coastal Scene of Bay and Fishing Boat Oil on canvas 33 x 44
Signed & inscribed ‘With my love, Lamorna Birch’
ESTIMATE
$3,000 - 5,000
46 SYDNEY LOUGH THOMPSON 1877 - 1973
Figures on a Quay at Concarneau Oil on canvas 49 x 60
Signed
ESTIMATE
$25,000 - 35,000
47 PETER MCINTYRE
1910 - 1995
King Country Musterer
Oil on board 59 x 74
Signed
ESTIMATE
$30,000 - 40,000
PROVENANCE
Purchased from International Art Centre, 2000
Private Collection, Bay of Plenty
Peter McIntyre was born in Dunedin. His father, a lithographic artist, founded Dunedin’s Caxton Printing Company. Young McIntyre attended Otago Boys’ High School and the University of Otago. He studied painting under Dunedin artist Alfred O’Keeffe. McIntrye left New Zealand to study at London’s Slade School of Art from 1931 until 1934. He worked in Britain as a free-lance artist until enlisting in 1939 with the 34th Anti-Tank Battery, a New Zealand unit formed in London. In 1941 whilst serving in Egypt, he was appointed as New
Zealand’s offcialwarartistbyMajorGeneralFreyberg.From1941to1945 McIntyre
recorded action in Crete, North Africa and Italy. His work was exhibited in New Zealand and Europe and reproduced in magazines such as the Illustrated London News and the New Zealand Listener. His work from this period belongs to the collection of war art at the National Archives in Wellington.
Returning to New Zealand in 1946 McIntyre began a long and illustrious post war career. He lived and exhibited in Wellington, frequently undertaking painting trips abroad. In 1962 A H & A W Reed published The Painted Years, the first of eight books he would illustrate and write between then and 1981. Travels to Antarctica, Hong Kong, the Pacific Islands and the American West provided material for these popular publications.
A Private Collection of works by Peter McIntyre
McIntyre owned a holiday cottage in Kakahi which became both his studio and retreat. The King Country inspired some of the artist’s finest work and he painted the landscape, inhabitants, native bush, rivers and farming scenes of the central North Island. The first two lots, King Country Musterer and King Country Farmer convey the artist’s proficiency with both landscape and personalities of the region.
In 1970 McIntyre was awarded an OBE. A retrospective exhibition of McIntyre’s war paintings was held at the City Gallery in Wellington in 1995. Opening on 22 July, the show had been visited by more than 22,000 people when the artist died in Wellington on 11 September. Today he is recognised as one of New Zealand’s most important landscape artists.
King Country Musterer features Kakahi local Ray Bennett with horse and dogs c.1970. A preliminary study of this work appears p. 28 Kakaki, New Zealand, Peter McIntyre, A H & A W Reed, 1972.
48 PETER MCINTYRE
1910 - 1995
King Country Farmer
Oil on board 60 x 89.5
Signed ESTIMATE
$25,000 - 35,000
PROVENANCE
Purchased from International Art Centre, 1997
Private Collection, Bay of Plenty
King Country Farmer features the artist’s friend and colourful local Sonny Te Ahuru. He was from a well known Kakahi whanau.
It is the store that one meets the personalities and the characters of the village. There is Rosie and her husband Mac, the hardest working farmer I know, forever bringing another field into production out of the wilderness of scrub and blackberries. There is Mrs Long, the retired postmistress, who makes jam and marmalade she doesn’t want, for the sheer joy of making it. She presents many jars of it to my wife, together with jars of pickle onions. There is Mr Ham, my farmer neighbour with his kindly ways and beautiful Maori voice. There is my old friend Dick Barnett. Although sorely crippled I have seen him putting
in fencing posts and moving from one post-hole to the next on his hands. His is the most outstanding example of sheer courage that I know. There is Jimmy Spiers, a Scot who has lived all over the world, speaks Russian and German and prefers the quiet of Kakahi to any place on earth. There are the Allen Twins, as alike as two peas, and their wives who are sisters. There are Bennetts from across the river, Dempseys and Johnstons who farm on the outskirts of the village, our good friends Polly Te Ahuru and her husband ( Sonny ) and a swarm of Maori children.
Text: Kakaki, New Zealand, Peter McIntyre, A H & A W Reed, 1972.
49 PETER MCINTYRE
1910 - 1995
Rangitikei River
Oil on board 50 x 70
Signed
ESTIMATE
$20,000 - 30,000
PROVENANCE
Acquired directly form the artist, c. 1975
Private Collection, Bay of Plenty
Years ago I went far up the Rangitikei beyond Taihape to visit my friend David Russell, whose farm at that time was as far as you could drive up the river into the bush. The river is so deep between high paapa cliffs that down at the bottom where the river flows there is only a sort of twilight, even on a sunny day. Once I crossed the gorge at a wider place in the bush in a tray slung on a logger’s wire rope, and we sat in mid-air watching a large trout feed in the
river below where a patch of sun broke through the over-hanging bush. From that time on I have painted the river up and down its length, and always there has been delight in painting those lovely cliffs that are that most paintable of all colours - white.
Text: Peter McIntyre’s New Zealand, A H & A W Reed 1964
50 PETER MCINTYRE
1910 - 1995
Kakahi, King Country Oil on board 59 x 95
Signed ESTIMATE
$20,000 - 30,000
PROVENANCE
Purchased from International Art Centre, c. 1994
Private Collection, Bay of Plenty
In Kakahi much of what makes life worth living has been preserved: it’s countryside has retained some of the beauty that made New Zealand unique.
I know every pool on it’s miles of river, every track in it’s surrounding bush. It has been my escape and hideout from an ever more strident and ugly world, my refuge from the inane persecution of the telephone. It has restored my faith in this world as a place to live in and has bought to me like heaped-up riches, the beauty of the bush and rivers of my country, New Zealand, for Kakahi is New Zealand.
Text: Kakaki, New Zealand, Peter McIntyre, A H & A W Reed, 1972.
The King Country is a region of the western North Island of New Zealand. It extends approximately from the Kawhia Harbour and the town of Otorohanga in the north to the upper reaches of the Whanganui River in the south, and from the Hauhungaroa and Rangitoto Ranges in the east to near the Tasman Sea in the west. It comprises hill country, large parts of which are forested.
The term King Country dates from the New Zealand Wars of the 1860s, when colonial forces invaded the Waikato and forces of the Maori King Movement withdrew south of what was called the aukati, or boundary, a line of pa alongside the Puniu River near Kihikihi. Land behind the aukati remained native territory, with Europeans warned they crossed it under threat of death.
51 PETER MCINTYRE
1910 - 1995
Rangitikei River
Oil on board 60 x 75
Signed
ESTIMATE
$20,000 - 30,000
PROVENANCE
Purchased from Webb’s, c. 1995
Private Collection, Bay of Plenty
The Rangitikei River, it’s headwaters located to the southeast of Lake Taupo in the Kaimanawa Ranges stretches 185 kilometres, making it one of the New Zealand’s longest rivers.
It flows from the Central Plateau south past Taihape, Mangaweka, Hunterville, Marton, Bulls and to the South Taranaki Bight at Tangimoana, 40 kilometres southeast of Wanganui. The river gives its name to the surrounding Rangitikei District. In 1897 the river flooded and all six bridges over it were damaged or destroyed. The port at the mouth of the river was also washed away and never rebuilt.
The river is a popular leisure and recreation area for jetboating, white water rafting, kayaking, fishing and includes public camping grounds along its banks. Its sheer vertical paapa (clay) cliffs, unique to this part of New Zealand, and deep canyons provide the perfect setting for adventure activities.
The lush green bush is the crowning glory of my country and in its depths the tui and bellbird sing the purest song of them all.
The river in the painting flows out of the bush, cutting deep into the white paapa clay to make cliffs that catch the sun and the moon all along its course.
Text: Peter McIntyre’s Pacific, A H & A W Reed 1966
52 PETER MCINTYRE
1910 - 1995
Kawarau Gorge, Central Otago
Oil on board 70 x 90
Signed
ESTIMATE
$15,000 - 20,000
PROVENANCE
Purchased from Webb’s, September, 2000
Private Collection, Bay of Plenty
53 PETER MCINTYRE
1910 - 1995
Ready for the Drive
Oil on canvas 75 x 59
Signed
ESTIMATE
$10,000 - 15,000
PROVENANCE
Purchased from Webb’s, September, 2000
Private Collection, Bay of Plenty
54 PETER MCINTYRE
1910 - 1995
End of the Southern Crossing, Tararua Ranges at Kaitoki Oil on board 57 x 109
Signed
ESTIMATE
$18,000 - 25,000
55 PETER MCINTYRE
1910 - 1995
A Trout River, King Country Oil on board 40 x 56
Signed
ESTIMATE
$8,000 - 12,000
1910 - 1995
Signed
ESTIMATE
$14,000 - 18,000
56 PETER MCINTYRE
Ahuriri River
Watercolour 52 x 70
1865 - 1957
Brittany
Watercolour 33 x 39
Signed & dated 1925
ESTIMATE
$3,000 - 5,000
Lady
Signed
ESTIMATE
$2,500 - 3,500
57 MAUD BURGE
1865 - 1957
with Wildflowers
Watercolour 38 x 31
58 MAUD BURGE
59 MAUD SHERWOOD
1880 - 1956
Afternoon Light
Watercolour 32 x 43.5
ESTIMATE
$2,500 - 3,500
60 MAUD SHERWOOD
1880 - 1956
Market Scene
Watercolour 38 x 26
ESTIMATE
$2,500 - 3,500
PROVENANCE LOTS 59 & 60
From a member of the Sherwood Family
61 MARY ELIZABETH TRIPE
1870 - 1939
The Brass Cleaner Oil on canvas 67 x 57.5
Signed & dated 1918
ESTIMATE
$10,000 - 12,000
62 GARTH TAPPER
1927 - 1999
Public Bar
Oil on board 38 x 55
Signed
ESTIMATE
$14,000 - 18,000
63 GEORGE O’BRIEN
1821 - 1888
Mosgiel Woollen Mill
Watercolour 40 x 30
Signed & dated 1878
ESTIMATE
$25,000 - 35,000
PROVENANCE
The Collections of Doctor Neville Hogg, Webb’s, Auckland, August, 1993 International Art Centre, Important, Early & Rare, October 2009
Private Collection, Auckland
Born at Dromoland Castle County Clare, Ireland in 1821 George O’Brien was the fifth son of Admiral Robert O’Brien, a direct descendant of Murrough O’Brien, 57th King of Thomond, and of Brian Boroimhe, Monarch of Ireland. George O’Brien was a cousin of William Smith O’Brien (1803-1864) deported to Tasmania for his part in the 1848 Young Ireland uprising, and was also a cousin of James Fitzgerald, who was at one time Superintendent of the Canterbury Province in New Zealand.
Despite these distinguished connections, the family was not well-heeled. Young George O’Brien may have been trained by a brother as a civil engineer. His parents died when he was young and at an early age he was in Melbourne Australia, where views of the town dated 1839 and 1840 survive in the collection of the state library. He left soon afterwards but had returned to Melbourne by 1850 arriving from London on the Midlothian. O’Brien worked as a draughtsman in the surveyor’s offceandin1853marriedJane Mashford at St James Church, Melbourne. He was active in the Victoria Fine Arts Society and by 1854 was advertising his services as an architect and surveyor. He exhibited paintings in 1856 and 1858 and nine signed and dated watercolours of St Kilda and nearby places in Melbourne are recorded.
By December 1863 O’Brien was living at Duncan Street, Dunedin, no doubt attracted by the prosperity induced during the Otago goldrushes. He worked as a civil engineer and was employed by the Town Board supplying them with architectural perspectives of buildings designed by several Dunedin firms.
A number of O’Brien’s watercolours were exhibited in the 1865 Dunedin Industrial Exhibition. He associated with W M Hodgkins, a lawyer and aspiring watercolour painter who became very influential in Dunedin’s art world. O’Brien may have given Hodgkins some instruction. O’Brien’s manner showed his background in measured draughtsmanship but also represented something of neo-classical painting. In the colonial context he was unusual in his use of buildings and townscape as his subject matter. In 1876 he attended a meeting of the Otago Art Society and was well-represented in that body’s inaugural annual exhibition held later that year. O’Brien’s paintings were ill-received by one critic, possibly Thomas Bracken, reflecting the colonial adoption of the European taste for Turneresque Romantic landscape. Nevertheless, when O’Brien’s wife died in 1879, leaving him with five daughters to raise, he embarked on a career as a professional artist.
O’Brien was of a versatile and energetic disposition, travelling around southern New Zealand, but also a heavy drinker and immensely overweight. His habits were bohemian and eventually his oldest daughter, now married, removed her younger siblings while O’Brien continued lodging with a sailor and his wife in a poorer part of the city. He spent a year in Auckland in 1887, but returned to Dunedin where he died in August 1888. His landlady inherited his residual collection and he was interred in a then unmarked grave in the northern cemetery.
This significant watercolour is possibly the best example to appear on the market. It was held for many years in the collection of the late Dr Neville Hogg until sold by auction in 1993.
RARE WATERCOLOURS BY SIR WILLIAM FOX FROM THE WILKIE FAMILY COLLECTION
The Wilkie Collection of watercolours by Sir William Fox was deposited on loan to the Alexander Turnbull Library in 1964 by Mr & Mrs J C Wilkie. The collection consisted of some three hundred and fifty paintings of which one hundred featured historic New Zealand subject matter.
The Wilkie’s lived and farmed at Ohingaiti, not far from Westoe, Sir William and Sarah Fox’s station in the Rangitikei.
64 SIR WILLIAM FOX
1812 - 1893
Arthurs Point Shotover River Otago Showing the River Bed System
Watercolour 35 x 24.5
Inscribed verso
ESTIMATE
$4,000 - 6,000
65 SIR WILLIAM FOX
1812 - 1893
Fox Glacier
Watercolour 24 x 33
ESTIMATE
$8,000 - 12,000
This watercolour of the lower end of the Fox Glacier was painted when Fox was Premier at the time of his visit in 1872. Originally called the Albert Glacier, it was renamed after Fox to honour him.
66 SIR WILLIAM FOX
1812 - 1893
Near Westoe, Rangitikei
Watercolour 35 x 24.5
Inscribed verso
ESTIMATE
$8,000 - 12,000
67 SIR WILLIAM FOX 1812 - 1893
At Maungatapere, Mr Waltons Place, Wangarei (sic) Whangarei
Watercolour 25 x 35
Inscribed verso
ESTIMATE
$8,000 - 12,000
William Fox arrived in Wellington in 1842 and become editor of New Zealand Gazette and Britannia Spectator, before being appointed Resident Agent at Nelson for the New Zealand Company in 1843. He subsequently played a leading part in politics and held the offceof Premier on four occasions. He was knighted in 1879. In his early years in New Zealand Fox carried out much exploration in the Wairarapa and in the South Island.
Fox’s greatest contribution to New Zealand history after the struggle for self-government in the 1850s, was his work in Taranaki in the early 1880s as a member of the West Coast Commission, which consisted of Francis Dillon Bell and himself. A third commissioner, Hone Mohi Tawhai, declined to serve when he heard that his colleagues were to be Fox and Bell. No doubt he questioned the propriety of their appointments. The Commission was charged with the duty of inquiring into the numerous promises and engagements allegedly made by successive government offcialstotheTaranakiMaori,andintoallthedisputedlandclaimsin that province.
Fox Glacier was named to commemorate Fox’s visit to the region as Prime Minister of New Zealand in 1872. The Wairarapa town of Foxton, founded in 1885, was also named after him. In his later years Fox continued to undertake considerable physical exercise, climbing Mount Taranaki in 1892, aged 80. He died in Auckland in 1893.
68 SIR WILLIAM FOX
1812 - 1893
Niagara Falls, the Horseshoe with Terrapin Tower
Watercolour 36 x 51
ESTIMATE
$4,000 - 6,000
69 SIR WILLIAM FOX
1812 - 1893
Montmorency Falls Quebec
Watercolour 24 x 33
Inscribed & dated 1852 verso
ESTIMATE
$4,000 - 6,000
William and Sarah Fox left New Zealand for England in 1852 and spent several months travelling through Canada, the United States and Cuba. On their return, Fox documented this trip in an impressive series of watercolours which included Niagara Falls, the Horseshoe with Terrapin Tower and Montmorency Falls Quebec
70 SIR WILLIAM FOX
1812 - 1893
Westoe, Rangitikei from Mountain 70 Miles 0ff, 9000 ft high (Ruapehu)
Watercolour 25 x 33
Inscribed verso
ESTIMATE
$3,000 - 5,000
71 SIR WILLIAM FOX
1812 - 1893
Unidentified Waterfall
Watercolour 39 x 26
ESTIMATE
$2,000 - 3,000
72 SIR WILLIAM FOX 1812 - 1893
Mirror Lake, Yosemite
Watercolour 35 x 25
Inscribed on original label affxedverso
ESTIMATE
$2,000 - 3,000
73 SIR WILLIAM FOX 1812 - 1893
Rice Lake Canada
Watercolour 23 x 34
Inscribed on original label affxedverso
ESTIMATE
$2,000 - 3,000
74 SIR WILLIAM FOX 1812 - 1893
Mont Cervin, Switzerland
Watercolour 35 x 25
Inscribed verso
ESTIMATE
$2,000 - 3,000
82 Important & Rare Art 6:30pm Wednesday 11 November 2015
75 SIR WILLIAM FOX 1812 - 1893
Lake Pontchartrain, Louisiana
Watercolour 25 x 36
Inscribed verso
ESTIMATE
$2,000 - 3,000
76 SIR WILLIAM FOX 1812 - 1893
Landscape with Bridge, possibly Yosemite National Park, USA
Watercolour 34 x 24
ESTIMATE
$2,000 - 3,000
77 SIR WILLIAM FOX 1812 - 1893
Brothers’ Water, Cumberland
Watercolour 26 x 40
Inscribed & dated 1851
ESTIMATE
$2,000 - 3,000
78
JOHN BARR CLARKE HOYTE
1835 - 1913
The White Terrace, Rotomahana
Watercolour 34 x 60
Signed & dated 1873
ESTIMATE
$15,000 - 20,000
79
JOHN BARR CLARKE HOYTE
1835 - 1913
Preservation Inlet, West Coast
Watercolour 38 x 62
Signed & inscribed
ESTIMATE
$5,000 - 10,000
80
MAUD SHERWOOD
1880 - 1956
Ma’mselle
Oil on canvas 72 x 57
Signed
ESTIMATE
$3,000 - 5,000
81
MARGARET OLROG STODDART
1865 - 1934
Flax Toi Toi Port Hills
Watercolour 35 x 50
Signed
ESTIMATE
$4,000 - 6,000
1865 - 1934
Signed & dated 1896
ESTIMATE
$7,000 - 10,000
82 MARGARET OLROG STODDART
Sweet Violets
Watercolour 37 x 54
83 A AUSTEN DEANS
1915 - 2011
McKenzie Spur, Mount Peel, South Canterbury Oil on board 38 x 75
Signed & dated 1975
ESTIMATE
$4,000 - 6,000
84 DOUGLAS BADCOCK
1922 - 2009
Early Gold Mining Site, Moke Creek, Wakatipu District Oil on board 50 x 70
Signed dated 1975
ESTIMATE
$4,000 - 6,000
85 EVELYN PAGE nee POLSEN
1899 - 1988
Governors Bay Oil on board 35 x 45
Signed
ESTIMATE
$10,000 - 15,000
EXHIBITED
Evelyn Page Seven Decades, Touring Exhibition
Catalogue no. 13, 1988
1859 - 1916
Estuary
Watercolour 26 x 35
Signed & dated 1900
ESTIMATE
$1,800 - 2,600
ALFRED WILSON WALSH
87 THOMAS DARBY RYAN
1864 - 1927
Otira Valley
Watercolour 38 x 62
Signed & dated 1878
ESTIMATE
$2,000 - 3,000
88 CHARLES NATHANIEL WORSLEY
1850 - 1923
Lake Ada, Milford Sound
Watercolour 36 x 71
Signed
ESTIMATE
$4,000 - 6,000
89 CHARLES DECIMUS BARRAUD
1822 - 1897
Rangitikei River
Watercolour 24 x 38
Signed & dated 1873
ESTIMATE
$6,000 - 9,000
90 MARGARET OLROG STODDART
1865 - 1934
Pink and White Chrysanthemums
Watercolour 67 x 50
Signed & dated 1894
ESTIMATE
$7,000 - 10,000
91 LAURENCE WILLIAM WILSON
1852 - 1904
Head of the Waimakariri River, West Coast Road
Watercolour 34 x 52
Signed inscribed & dated 1899
ESTIMATE
$2,500 - 3,500
92 LAURENCE WILLIAM WILSON
1852 - 1904
Near Purakanui
Watercolour 25 x 35
Signed inscribed & dated 1888
ESTIMATE
$1,800 - 2,600
93 JAMES CROWE RICHMOND
1877 - 1973
Bushmans Cottage, Taranaki
Watercolour 34 x 50
Signed inscribed & dated 1873
ESTIMATE
$5,000 - 8,000
1919 - 2012
Cow Byre at Weston, North Otago Oil on board 41.5 x 59
Signed
ESTIMATE
$2,500 - 3,500
1922 - 2009
Central Otago Farm Oil on board 43 x 59
Signed & dated 1968
ESTIMATE
$4,000 - 6,000
94 COLIN WHEELER
95 DOUGLAS BADCOCK
Signed
ESTIMATE
$4,000 - 6,000
Signed
ESTIMATE
$4,000 - 6,000
97 ERNEST BUCKMASTER
1897 - 1968
Lake Manapouri
Oil on canvas 85 x 114
96 ERNEST BUCKMASTER
1897 - 1968
Lake Wakatipu and the Remarkables
Oil on canvas 78 x 105
98 UDAIPUR SCHOOL
Indian 19th Century
Depiction of Maharana Sangram Singh on Horseback Watercolour on wasli 25 x 17
ESTIMATE
$7,000 - 10,000
99 JOHN BARR CLARKE HOYTE 1835 - 1913
In the Sounds Watercolour 20 x 34
Signed
ESTIMATE
$3,000 - 5,000
100 JOHN BARR CLARKE HOYTE 1835 - 1913
Otira Valley Watercolour 38 x 62
Signed & dated 1878
ESTIMATE
$5,000 - 10,000
101 FRANK HUDDLESTON 1844 - 1922
Glacier Creek, Kinloch, Wakatipu Watercolour 59 x 44
Signed & dated 12.7.1883
ESTIMATE
$3,000 - 5,000
102 WILLIAM MATTHEW HODGKINS 1833 - 1898
The Entrance to the Mataura Gorge
Watercolour 17 x 30
Signed & inscribed
ESTIMATE
$1,000 - 1,500
103
WILLIAM MATTHEW HODGKINS 1833 - 1898
Ashore Brighton
Watercolour 34 x 65
Signed & inscribed verso
ESTIMATE
$2,000 - 3,000
104 LAURENCE WILLIAM WILSON 1852 - 1904
Exit of the Waiau River from Lake Manapouri Oil on canvas 50 x 75
Signed
ESTIMATE
$2,500 - 3,500
105 CHARLES HENRY HOWORTH 1956 - 1945
Goss Hedge, Belmont Links, Wanganui
Oil on board 35 x 50
Signed
ESTIMATE
$1,500 - 2,500
106 ALBERT EDWARD ALDIS 1869 - 1921
Lake Taupo with Ruapehu and Ngaruahoe Beyond Oil on canvas 39 x 60
Signed & dated 1889
ESTIMATE
$4,000- 6,000
107 JOHN GIBB 1831 - 1909
Outward Bound off Lyttelton Heads Oil on board 12 x 16
Signed & dated 1891
ESTIMATE
$800 - 1,500
108
108 ALBERT NAMATJIRA
1830 - 1902
On the Western Edge of the MacDonald Ranges
Watercolour 26 x 37
Signed
ESTIMATE
$8,000 - 12,000
PROVENANCE
Private Collection, Bay of Plenty
Purchased December 1955 by current owner
from E M Jenkins, artist’s agent, Alice Springs, Australia
Original receipt affxedverso
109 JOHN KINDER 1819 - 1903
Paihia, Bay of Islands
Watercolour 24.5 x 34.5
Inscribed
ESTIMATE
$4,000 - 6,000
110 JOHN KINDER 1819 - 1903
Dr. Dalliston’s. Mahurangi
Watercolour 24.5 x 34.5
Inscribed & dated 1856
ESTIMATE
$4,000 - 6,000
111 JOHN KINDER 1819 - 1903
Hokianga from Websters
Watercolour 25 x 33.5
Inscribed
ESTIMATE
$4,000 - 6,000
112 CHRISTOPHER AUBREY
1830 - 1902
Lake Hawea
Watercolour 35 x 59
Signed & dated 1887
ESTIMATE
$10,000 - 14,000
Eight photographs by Laurence Aberhart
Nelson born Laurence Aberhart is acknowledged as one of the forefathers of New Zealand’s contemporary photographic history. Based in Russell, Northland since the early 1970s Aberhart has worked and exhibited internationally. His first solo exhibition was held at Peter McLeavey Gallery, Wellington in 1978.
Over the last forty years Aberhart has produced an unrivalled body of work. Meticulously completing a number of photographic projects with subject matter ranging from topography to architectureexteriors and interiors, found objects, Maori carvings and portraits. Aberhart often works with an old-fashioned view camera using available light. Of his work, he says; I’m trying to make, in as gentle a way as possible, people in our society look at stuff in the social landscape.
His photographs are held in the collections of all public New Zealand galleries. International institutions include three Australian State galleries, Macau’s Museum of Art, Readers Digest Collection and Hallmark Card Collection, USA, Bibliotheque Nationale, Paris, and Stedelijk Museum, Amsterdam. Laurence was the recipient of an Arts Foundation Laureate Award in 2013. In 2015 Dunedin Public Art Gallery arranged a touring exhibition of Aberhart photographs of Australasian World War I memorials compiled over thirty years.
113 LAURENCE ABERHART
b. 1949
Te Waiherehere, Koroniti, Whanganui River, 29 May 1986, Gelatin silver print 19.6 x 24.6
ESTIMATE
$2,000 - 3,000
114 LAURENCE ABERHART
b. 1949
Interior no 1. “Whitikaupeka” Moawhango, April 1982
Gelatin silver print 19.5 x 24.7
ESTIMATE
$2,000 - 3,000
115 LAURENCE ABERHART
b. 1949
View of the interior of “Tau Henare,” Pipiwai, Norhtland
Gelatin silver print 19.5 x 24.7
ESTIMATE
$2,000 - 3,000
116 LAURENCE ABERHART b. 1949
Interior, from the Upstairs Gallery, Catholic church, Motukaraka, Hokianga Harbour, Northland, 4 May 1982
Gelatin silver print 19.6 x 24.6
Signed & inscribed
ESTIMATE
$2,000 - 3,000
117 LAURENCE ABERHART
b. 1949
Midway Beach, (Gisborne, 13th June),1986
Gelatin silver print 19.6 x 24.6
ESTIMATE
$2,000 - 3,000
118 LAURENCE ABERHART
b. 1949
Lodge Concord #39, Papanui, Christchurch, December 1981, 1981,
Gelatin silver print 19 x 24.5
ESTIMATE
$2,000 - 3,000
119 LAURENCE ABERHART
b. 1949
Woods’ Interior, Russell, 1985
Gelatin silver print 19 x 24.5
ESTIMATE
$2,000 - 3,000
120 LAURENCE ABERHART
b. 1949
Te Waihirere
Gelatin silver print 19 x 24.5
ESTIMATE
$2,000 - 3,000
Aberhart held the position of Artist In Residence at Tylee Cottage Wanganui in 1986 and the Dunedin Public Art Gallery in the late 1990s.
These works are from a Corporate Collection and are on the market for the first time since exhibited.
121 122
121 PETER PERYER
b. 1941
Untitled
Gelatin silver print 34 x 50
ESTIMATE
$1,500 - 2,500
122 PETER PERYER
b. 1941
Punakaiki
Gelatin silver print 34 x 50
ESTIMATE
$1,500 - 2,500
123 PETER PERYER
b. 1941
Tatau
Gelatin silver print, edition of 30, 11 x 17
Signed & dated 1998
inscribed: Was taken at Auckland Museum verso
ESTIMATE
$1,000 - 1,500
124 PETER PERYER
b. 1941
The Wind at Whenuapai, 1998
Gelatin silver print 10 x 15
ESTIMATE
$800 - 1,200
125 PETER PERYER
b. 1941
Hercules over Herald Island
Gelatin silver print 35 x 53
ESTIMATE
$1,500 - 2,500
126 PETER PERYER
b. 1941
Viaduct
Gelatin silver print 30 x 45
ESTIMATE
$1,000 - 1,500
127 PETER PERYER
b. 1941
Lake Ferry
Gelatin silver print 30 x 45
ESTIMATE
$1,000 - 1,500
128 PETER PERYER
b. 1941
Trig, Rangitoto Island
Gelatin silver print 35.5 x 52.5
ESTIMATE
$1,500 - 2,500
129 PETER PERYER
b. 1941
Untitled - Snow Capped Peaks
Gelatin silver print 27 x 40
ESTIMATE
$1,000 - 1,500
130 TOM ESPLIN 1915 - 2005
A European Market Square Oil on board 30 x 52
Signed
ESTIMATE
$2,500 - 3,500
131 GARTH TAPPER 1915 - 2005
Kotanui Before the Storm Oil on board 45 x 55
Signed. Inscribed on original label affxedverso
ESTIMATE
$3,500 - 4,500
132 DOUGLAS MACDIARMID b. 1922
Paris on a Hot Day Oil on board 37 x 45
Signed & dated 1979
ESTIMATE
$4,000 - 6,000
133 IDA EISE 1891 - 1978
Rangitikei River Oil on board 34 x 42
Signed & dated 1928
ESTIMATE
$1,500 - 2,500
Signed & dated 1879
ESTIMATE
$4,000 - 6,000
133
132
134 NICHOLAS CHEVALIER
1828 - 1902
Forest Landscape
Watercolour 32 x 46
134
135 VINCENZO CORONELLI
1650 - 1718
Nuova Zelanda 1642
Copperplate engraving, handcoloured published Venice 1696 39.5 x 29.5
Inscriptions
ESTIMATE
$2,500 - 3,500
136 JAMES COOK
1728 - 1779
Riviere Tamises et Baye Mercure, Nle Zéland from the French/German edition of Cook’s first voyage
Lithograph 30 x 44
Inscriptions
ESTIMATE
$800 - 1,200
137 RIGOBERT BONNE
1727 - 1795
Esquisse de la Baye Dusky, dans la Nouvelle Zeelande. I.Pitcairn.
I.de Pasques. I.D’Hervey. I.Sauvage. I.Des Cocos. I.Turtle. Isles de Wallis, 1782
Original copper engraving 25 x 36
Inscriptions
ESTIMATE
$800 - 1,200
138 RIGOBERT BONNE
1727 - 1795
1778 Map of New Zealand. French copy of Cook’s chart
Hand coloured lithographic map 37.5 x 28
Inscriptions
ESTIMATE
$800 - 1,200
139 PETRUS VAN DER VELDEN
1837 - 1913
Rynsburg (near Leiden)
Charcoal on paper 56 x 38
Signed
ESTIMATE
$1,000 - 2,000
140 WILLIAM HENRY RAWORTH 1821 - 1904
Southern Landscape
Watercolour 32 x 52
Signed & dated 1870
ESTIMATE
$1,000 - 2,000
141 ARTIST UNKNOWN
Australian 19th Century
Tasmanian Landscape circa 1860s
Watercolour 30 x 40.5
ESTIMATE
$1,000 - 2,000
142 CHARLES DUNCAN HAY-CAMPBELL 1867 - 1936
Wanganui River
Watercolour 18 x 12
Signed
ESTIMATE
$800 - 1,200
End of Sale - Thank you
Next auction 2 December
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