November 20 2013 catalogue

Important, Early & Rare

6:30pm Wednesday 20 November 2013

6:30pm Wednesday 20 November 2013

Auction Contacts

Richard Thomson

Ph: +64 9 379 4010

richard@artcntr.co.nz

Mobile: 027 4751 071

Frances Davies

Ph: +64 9 379 4010 fran@artcntr.co.nz

Auction assistants and administration

Luke Davies

Ph: +64 9 379 4010 luke@artcntr.co.nz

James Watkins

Ph: +64 9 366 6045 james@artcntr.co.nz

www.fineartauction.co.nz info@internationalartcentre.co.nz

Skype: fineartauction

Auction Venue

Car Parking

Parking

During Viewing Days:

Available on site during weekend viewing, Saturday 16 & Sunday 17 November. Use Scarborough Lane entrance beneath 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.

Location map

International Art Centre, Scarborough Gallery 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 our street level gallery remains open until end of sale.

Wednesday 20 November

Important, Early & Rare

6:30pm Wednesday 20 November 2013

Viewing times Wednesday 13 November 9:00am - 5:30pm Thursday 14 November 9:00am - 5:30pm Friday 15 November 9:00am - 5:00pm Saturday 16 November 11:00am - 4:00pm Sunday 17 November 11:00am - 4:00pm Monday 18 November 9:00am - 5:30pm Tuesday 19 November 9:00am - 5:00pm Wednesday 20 November 9:00am - 1:30pm

Other times by appointment

JULY, AUGUST & SEPTEMBER

Auction Highlights

International Art Centre’s Important, Early & Rare auction held 31 July, attracted a large crowd of spirited and determined bidders. An extraordinary 85% of the offering sold under hammer including seven of the nine Ralph Hotere’s catalogued. Highlights included Raymond Ching’s Anzacs which fetched $53,900. Auction records of $34,000 were achieved for a work by Kees Bruin, and $16,700 for a Pamela Wolfe. A Len Castle bowl sold for $9,380 and Gordon Waters work on paper made $37,500. C F Goldie’s small but delightful oil entitled Memories Rakapa - An Arawa Chieftainess went for $234,500. Over $1.2 million changed hands.

The Contemporary & Collectable Art auction held 29 August saw a large offering achieve one of the best results in this sale category to date. Confirmation that the acquisition of art, at all price levels, is more popular than ever.

On 22 September International Art Centre conducted New Zealand’s first specialist print sale, Collectable Editions. This offering of over 200 lots resulted in bids from the internet and the floor achieving a sale rate of 76%.

GORDON WALTERS

Study for Black on White, Fetched $37,520 July 2013

RALPH HOTERE

Winter Solstice, Lake Mahinerangi Fetched $43,960 July 2013

KARL MAUGHAN Riverena

Fetched $31,650 July 2013

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

10:30am - 11:30am Friday 15 November

Dr Angela Mackie of the Cathedral Lectures will discuss key works in this catalogue

Auction 20 November

Wednesday 6:30pm

Payment may not be made during sale

Works purchased may be uplifted at close of sale or day after 10.00am - 5.00pm

If attending sale, please register for bidding number at viewing

Viewing Times p. 3

Absentee Bidding Form p. 96

Index p. 99

Conditions of Sale p. 100

1 SIR PETER SIDDELL

1935 - 2011

The Northern Club

Acrylic on board 26 x 29

Signed & dated 1969

ESTIMATE

$3,000 - 5,000

PROVENANCE

Acquired by the present owner directly from the artist

2 EDWARD FRISTROM

1864 - 1950

Low Tide, Remuera, Auckland

Oil on board 24.2 x 30

Signed

Inscribed Low Tide, Remuera, Auckland verso

ESTIMATE

$5,000 - 7,000

3 GARTH TAPPER

1927 - 1999

Beach Training 11

Oil on board 30 x 40

Signed & dated 1970

ESTIMATE

$4,000 - 6,000

PROVENANCE

Acquired by present owners from One Man Festival Exhibition, April 1970, John Leech Gallery, Auckland

4 GARTH TAPPER

1927 - 1999

Lunch Hour

Oil on board 34 x 45

Signed & dated 1974

Inscribed verso

ESTIMATE

$4,000 - 6,000

5 OLIVIA SPENCER BOWER

1905 - 1982

Kaikoura Country

Watercolour 40 x 57

Signed. Inscribed Kaikoura Country verso

ESTIMATE

$5,000 - 8,000

Signed & dated 1982

ESTIMATE

$2,500 - 3,500

b. 1933

Signed & dated 2006

ESTIMATE

$1,500 - 2,500

8 JAN NIGRO

1920 - 2012

The Disintegration of the Bather

Mixed media on four papers each 24.2 x 23

Signed, inscribed & dated 1984

ESTIMATE

$4,000 - 6,000

ILLUSTRATED

p. 90 - 91 Apple for the Teacher by Jan Nigro, Bateman

9 JAN NIGRO

1920 - 2012

Acitore - Three Faces of Eve

Prisma on paper 60 x 80.5

Signed, inscribed & dated 1985

ESTIMATE

$2,500 - 3,500

10 REUBEN

b. 1973

When I Fall to Pieces

Glitter on canvas 76 x 76

Signed & dated 2007 verso

ESTIMATE

$8,000 - 11,000

11 JOHN WEEKS

1886 - 1965

Two Girls, Edinburgh

Oil on canvas 24 x 30

Signed

ESTIMATE

$2,500 - 3,500

12 JAN NIGRO

1920 - 2012

Still Life

Oil on board 61 x 43

Signed

ESTIMATE

$2,000 - 3,000

1924 - 2011

Branch Pot, Circa 1970

Earthenware with talc and tenmoku glazes 34 x 29 x 10

Impressed with artist’s seal

ESTIMATE

$4,500 - 6,500

1917 - 1993

Beauty Queen

Bronze sculpture 11 x 4

Signed

ESTIMATE

$800 - 1,200

Illustrated actual size

15 BILLY APPLE

b. 1935

Untitled 1968

Neon light and aluminium box 33 x 45.5

Edition of 10

Signed and numbered on original artist’s label

ESTIMATE

$10,000 - 15,000

REFERENCE

Untitled was commissioned by the late contemporary art dealer Marian Goodman for Multiples, New York. Goodman established Multiples in 1965 to publish prints, multiples and books initially by leading American artists such at Roy Lichenstein and Andy Warhol. Billy Apple was one of the first artists to use neon as a conceptual art form, typically breaking new ground. Billy Apple says The Pasadena Art Museum, renamed and now known as the Norton Simon Museum had acquired an edition of Untitled

Barrie Bates was born in Auckland in 1935. By 1962, based in London he had created a new identity as Billy Apple and, as a member of the Young Contemporaries was at the vanguard of British Pop Art. In 1964, Billy Apple crossed the Atlantic, exhibiting regularly in New York’s museums and galleries such as Leo Castelli Gallery.

From 1969 until 1973 he established and ran Apple, one of the first alternative exhibition spaces, showing his own work, and that of other avant-garde artists. In 1974 London’s Serpentine Gallery hosted a survey of his work and in 2007 Billy Apple became a registered trademark.

Billy Apple is widely represented Internationally in public collections such as the Guggenheim Museum, New York, Detroit Institute of Arts, Detroit, The Chrysler Museum of Art, Norfolk, Virginia and the Mayor Gallery, London. He is represented in major New Zealand art institutions, such as Te Papa Tongarewa, Museum of New Zealand, Wellington; Auckland Art Gallery, Toi o Tamaki, Auckland and the Govett-Brewster Art Gallery, New Plymouth.

$10,000 - 13,000

18 SIR PETER SIDDELL

1935 - 2011

Headlands

Oil on board 49 x 33.5

Signed & dated 1987

ESTIMATE

$15,000 - 20,000

PROVENANCE

Private Collection, Auckland

Purchased by current owner, 1987

19 SIR PETER SIDDELL

1935 - 2011

Open Doorway

Oil on board 63 x 42

Signed & dated 1982

ESTIMATE

$24,000 - 28,000

PROVENANCE

Private Collection, Auckland

Purchased by current owner, 1982

20 RATA LOVELL SMITH

1864 - 1960

Canterbury Fields Oil on board 30 x 40

Signed

ESTIMATE

$2,500 - 3,500

21 JOHN WEEKS 1886 - 1965

Parisian Facades

Ink and acrylic on paper 28 x 35

Weeks O’Connor studio stamp verso

ESTIMATE

$1,500 - 2,500

22 ROBIN WHITE b. 1946

Sam’s Place, Bottle Creek Screenprint, edition of 25, 53 x 35

Signed, inscribed & dated 1971

ESTIMATE

$3,000 - 5,000

ILLUSTRATED

p. 94, Robin White New Zealand Painter, Alister Taylor, Martinborough 1981

23 JOHN WEEKS 1886 - 1965

Maori Girls, Rotorua Oil on board 77 x 61

Weeks, O’Connor stamp verso

ESTIMATE

$5,000 - 8,000

24 RALPH HOTERE

1931 - 2013

Untitled Diptych

Oil on two glass panes 90 x 102

Signed & dated 1973 on underside of sash frame

ESTIMATE

$75,000 - 100,000

PROVENANCE

Private Collection, Auckland

Purchased by current owners from Temple Gallery, Dunedin

REFERENCE

Many believe Untitled Diptych is Ralph Hotere’s Ode to Colin McCahon.

Ralph Hotere moved to Dunedin in 1969 to take up the Frances Hodgkins Fellowship at the University of Otago.

In 1973 he was a tenant at 121 Forth Street, a small 1870s cottage on the corner of Forth and St. David Streets, at the time on the fringe of the university campus. The site is very steep and there is another floor below street level at the back of the building. It housed a laundry and Hotere built an extension and a studio there too, divided from the laundry by an internal partition. The present work was set in the partition, mounted in its own stripped wood frame by the artist. Nearby was another 1973 work, a Memoriam to Hotere’s mother, Ana Maria Hotere, who died in 1972. In a partition at the top of the stairs leading to the studio below, Hotere had set a multi-paned stained glass window apparently salvaged from a church, with the letters IHS as a central motif, in a gold ground with red glass in the spandrels.

Gregory O’Brien has pointed to an affinity Hotere feels with continental European culture, people and places arising from his family’s Catholic background and reinforced by the time the artist spent in Europe from the early 1960s. O’Brien specifically mentioned Hotere’s living near, and frequently visiting, Henri Matisse’s Chapelle du Rosaire in Vence in the south of France, drawing parallels between some of the works there and Hotere’s own productions. Matisse’s round-topped stained glass windows in the chapel seem echoed in Hotere’s diptych, although the geometry and the palette have changed. The closeness in time of his mother’s death to the making of the diptych, and its spatial and temporal proximity to the Memoriam to his mother also seem relevant. Round topped forms appear too in Hotere’s 1973 set designs for John Whiting’s play The Devils where they represent niches, as in a church wall, for statues of religious figures. The same form also appears in Hotere’s design for the cover of Landfall 100, December 1971.

The diptych's panes have been reframed in separate sashes, although they still constitute a single work. They are best exhibited with a back light so as to be seen as illuminated windows.

Excerpt from full provenance supplied to vendor by Temple Gallery, Dunedin - available on request.

25 TREVOR MOFFITT

1936 - 2006

Language Fellowship in Japan

Oil on board 59 x 43

Signed & dated 1995

ESTIMATE

$8,000 - 10,000

26 LOUISE HENDERSON

1902 - 1994

Cubist Woman Composition

Oil on masonite 82.5 x 100

Signed & dated 1954

ESTIMATE

$20,000 - 30,000

PROVENANCE

Private Collection, Australia

EXHIBITED

Object & Image, Auckland Art Gallery 1954

27 PETER MCINTYRE

1910 - 1995

Whangarei Harbour

Oil on board 62 x 60

Signed

ESTIMATE

$15,000 - 20,000

ILLUSTRATED

plate 6 Peter McIntyre’s New Zealand

W H & W J Reed 1964

REFERENCE

That siren profile of hills still tempted me. In fact it halted me again as I left Whangarei and had me painting in a glare of changing light. My only regret was that the kauri forests that once grew here are gone. The hills, the skyline of those harbour hills seen through such trees, must have been a spectacular sight to the first white settlers who came here in 1839. In Whangarei I had called on some cousins and found them building a cabin cruiser, and I had felt a touch of envy at the thought of that harbour and that coast. Everyone in New Zealand, I believe, has a cousin or an aunt in every town; or at least a second cousin.

Peter McIntyre, Peter McIntyre’s New Zealand, W H & W J Reed 1964

28 SIR PETER SIDDELL

1935 - 2011

Two Palms

Oil on canvas 66 x 91.5

Signed & dated 1988

ESTIMATE

$100,000 - 135,000

ILLUSTRATED

p. 152 - 153 The Art of Peter Siddell

Godwit Publishing 2010

REFERENCE

Sir Peter Siddell has long been recognized as one of New Zealand’s leading realist artists. Auckland born Siddell was educated at Mount Albert Grammar School and the Auckland College of Education. He began painting professionally in 1972. In 1990 Siddell was made a Companion of the Queen’s Service Order and was knighted in 2008, becoming the second only New Zealand artist to receive this honour.

Siddell’s realist paintings are identified mainly with depictions of the environs of Auckland. While his works appear to be records of actual places, his paintings have a subjective component, and might be better described as imagined realism rather than truly realistic. The cityscapes and townscapes in Siddell’s paintings are rendered empty, sometimes with the suggestion of events occurring outside the picture area. In this sense, his work may be compared to the metaphysical works of Giorgio de Chirico. In 1978 Siddell won the Air New Zealand Travel Award and the Benson & Hedges Supplementary Art Award

I like to achieve a stillness in my paintings. It's something to do with wanting to freeze a moment in time and regain a bit of the past.

Peter Siddell The Art of Peter Siddell, Godwit Publishing 2010

29 FELIX KELLY

1914 - 1994

First Act of Duel of Angels (Old Vic.1962)

Oil on board 29 x 39

Signed

ESTIMATE

$8,000 - 12,000

PROVENANCE

Private Collection, Australia

EXHIBITED

London in the Country and other Paintings by Felix Kelly, Arthur Jeffress Gallery November 1962, Cat no. 23

Original Arthur Jeffress label affixed verso

REFERENCE

Fix The Art and Life of Felix Kelly

Donald Bassett, Darrow Press 2008

Felix Kelly is one of New Zealand’s most interesting expatriate artists. Born in Epsom in 1914 he claimed to be two years younger most of his adult life. Kelly studied briefly, and even seems to have taught drafting at Elam School of Fine Art. He was only 21 when he left New Zealand in 1935. He never returned. In London Kelly continued his New Zealand occupation of graphic design, working for Lintas, the advertising wing of Unilevers. He also freelanced as an illustrator and cartoonist, especially for Lilliput. His cartoons are not unlike those of the slightly younger Ronald Searle. After the war and the RAF, the focus of his graphic art shifted to book illustration, dust-jacket design and contributions on interior decoration to such fashion magazines as Ideal Home and Harper’s Bazaar. In the 1950s and 60s he was acknowledged as one of England’s top designers for the theatre, working with the likes of Sir John Gielgud and Dame Sybil Thorndike.

Kelly’s ambition had always been to succeed as a painter. Emerging in the context of Surrealism and British Neo-Romanticism, he exhibited alongside important British artists such as Lucian Freud, John Piper and Frances Hodgkins. He attracted the attention of the prominent critic and writer, Herbert Read. Kelly’s paintings are characterised by his interest in a world forgotten by progress, great houses falling into dilapidation, wind-blasted trees, abandoned locomotives often invested with an eerie watchfulness. Rapidly, Kelly assembled a client list resembling a page from Who’s Who or De Brett’s. In late career, his knowledge of architecture led to involvement in house design, most notably his collaboration on the redesign of Highgrove for the Prince of Wales. His most celebrated project was, however, the mural cycle at Castle Howard associated with the filming of Brideshead Revisited in the 1980s.

Kelly travelled a great deal. Paintings of Spain and Italy in the 1940s were followed by West African scenes in the 50s and ante-bellum houses in America’s Deep South in the 60s. Trips to Russia, Thailand, India and Egypt in the 70s and 80s each led to an exhibition of exotic paintings. In late career, Kelly would execute a small sketch characterised by loose brushwork, which would then be converted into a carefully executed big-scale painting. Both types of work appear for sale from time to time. Perhaps most interesting for a New Zealand audience are the paintings of Auckland subjects done decades after he had left home. Auckland’s West Coast beaches or Takapuna with Rangitoto beyond, or paddle-steamers on the Waitemata, were evoked with an increasing degree of fantasy well into the 1960s. A quirky humour pervades his work.

Felix Kelly has to be one of New Zealand’s most individual artistic exports. A comprehensive exhibition of his earlier work, curated by Donald Bassett and mounted by the Hawke’s Bay Museum and Art Gallery, toured several New Zealand centres in 2008-9. A second edition of Donald Bassett’s book Fix; The Art and Life of Felix Kelly, will be published later this year.

30

1914 - 1994

Walk by the Blue Shuttered Mansion Oil on panel 17 x 21

Original Partridge Fine Arts Ltd label affixed verso

ESTIMATE

$3,000 - 5,000

EXHIBITED

Partridge Fine Arts Ltd, London, Cat no. 23

31 PATRICK

1915 - 1988

Still Life with Flowers - double sided Oil on board 37 x 27 Signed, inscribed & dated 1946

ESTIMATE $800 - 1,200

32 MICHAEL SMITHER

b. 1934

8 am

Oil on board 83 x 62

Signed & inscribed New Plymouth verso

ESTIMATE

$20,000 - 30,000

33

34

b. 1985

Willows Oil on board 119 x 58

Signed

ESTIMATE

$8,000 - 12,000

REFERENCE

Rozi Demont’s work features in the international publication Dark Stories by Dark Artists 2013

1910 - 1998

Golden Bay, c 1948 Oil on board 45 x 58

Signed

ESTIMATE

$24,000 - 28,000

35 SIR PETER SIDDELL

1935 - 2011

Western Garden

Oil on canvas 66 x 102

Signed & dated 1989

ESTIMATE

$60,000 - 80,000

ILLUSTRATED

p.154 - 155 The Art of Peter Siddell Godwit Publishing 2010

REFERENCE

Western Garden was painted whilst Peter Siddell was living in Mount Eden. In this work the viewer is led along a lavender lined pathway to the front steps and porch of a villa. The sense of familiarity is further encouraged as we explore the intricately painted cottage garden of lilies, daisies and climbing roses. This well tended garden and neatly trimmed lawn convey a pride of ownership. From this homely front garden, bounded by a rockery, the viewer looks upon a distinctly Siddell landscape of suburban surrealism with Mt Roskill illuminated on the horizon line.

I suppose that what I’m trying to do in my work is to create a world from my imagination which will be immediately accepted by others as real.

Peter Siddell The Art of Peter Siddell, Godwit Publishing 2010

CHARLES FREDERICK GOLDIE’S FIRST MAORI PORTRAIT

Kawhena 1892

Johnny Coffin Oil on canvas 77.3 x 67cm

Hone Kawhena aka Johnny Coffin b. 1825, of the Ngati Mahuta tribe was best known in the early days as a police constable of Auckland town. At the time, it was customary practice for a Maori and Pakeha constable to carry out their duties, patrolling the streets of Auckland in teams of two.

In 1851 Hone Kawhea and his Pakeha colleague arrested a chief of the Ngati Paoa tribe. This event led to the historical Ngati Paoa invasion of Auckland.

In 1892 Goldie painted Kawhena from life. With a stylistic maturity well beyond his years, the artist captures the strength, vitality and dignity of his sixty seven year old subject. Kawhena is adorned with status-defining huia feathers, intricately woven cloak and pounamu earring. Interestingly, the tattooing above his left brow is incomplete. Kawhena’s explanation for this, was that it was simply too painful to endure. Kawhena died in 1900 and is buried at Mangere Cemetery, Auckland

36 CHARLES FREDERICK GOLDIE

1870 - 1947

Kawhena, native of the Ngati Mahuta Tribe known also as ‘Johnny Coffin’ 1892 Oil on canvas 77.3 x 67

ESTIMATE

$600,000 - 800,000

PROVENANCE

Private Collection, Wellington

Formally in the collection of C F Goldie’s mother, Maria Partington Kawhena has hung on loan in the Wellington Club since 1999

EXHIBITED

Auckland Academy of Fine Art - December 1892 - Silver medal winning entry

Bishop Suter Art Gallery Loan Collection, Nelson 1976 - c. 1984

GOLDIE - The Exhibition, 1997 - 1999 Auckland Art Gallery Toi O Tamaki, Te Papa Tongarewa, Christchurch Art Gallery, Dunedin Art Gallery, Art Gallery of NSW

ILLUSTRATED

p. 161 C F Goldie His Life & Painting, Alister Taylor & Jan Glen, Alister Taylor publishing 1977

p. 63 GOLDIE Roger Blackley, Auckland Art Gallery Toi o Tamaki, Bateman 1997

Goldie understandably stood aloof from the following year's exhibition of the Society of Arts. He was busy preparing for his overseas education, for which he had settled on Paris. Steele had trained at the Ecole des Beaux-Arts and subsequently worked as an artist in Paris, delighting Goldie with his tales of Bohemian life in the great city. Goldie also painted two outstanding works which appeared at the Academy's third and final exhibition of December 1892. One was an exquisite landscape depicting fern trees in Cemetery Gully, the area beneath the present Grafton Bridge, which received rave reviews for its exceptional detail. And for the first time he entered a work in the category of 'Maori Head', a depiction of Kawhena from Mangere (known also as Johnny Coffin). This is Goldie's first recorded Maori portrait and drew the following comment from the Star's jaded reviewer. Not knowing the original, one cannot say whether it is a good portrait of the individual or the reverse, but as a picture of a type it is fair. The painter has managed to fix in the eyes something of that expression of conscious mental inferiority which lurks in the eyes of the most intelligent of the lower animals and in semi-civilised man.

He, however, has had some trouble to know what to do with his light. The figuring on the mat is a careful piece of work, and the effect is very successful.

The writer evidently did not anticipate Kawhena numbering among the readers of his column. In the Academy's list of prizes, the result of a democratic ballot among the members, Goldie received a silver medal for both New Zealand Trees and Kawhena.

Goldie missed the exhibition, receiving his medals in absentia, for he had already left Auckland. His first port of call was Sydney, where in late November he attempted to sell his still life painting through Callan and Sons, prominent art dealers in George Street.

Text: p. 6 & 7, GOLDIE Roger Blackley, Auckland Art Gallery Toi o Tamaki, Bateman 1997

37 JOHN GIBB

1831 - 1909

Port Chalmers

Oil on canvas 29 x 45

Signed & dated 1891

ESTIMATE

$15,000 - 20,000

REFERENCE

Port Chalmers was originally named Koputai by Kai Tahu, the local Iwi. In the early 19th century it was an important trading port for sealers and whalers. By the 1860s, with the advent of the Otago gold rush, Port Chalmers became the third largest port in Australasia.

Gibb captures the industrial development of New Zealand’s leading port at the time. Overlooking the shipbuilding and storage facilities is the Iona Presbyterian Church re-built in 1883. In 1873 railway revolutionised the transportation of goods between Dunedin and Port Chalmers. April 1878 saw the opening of the Dunedin to Christchurch line. This steam train can be seen in the hills top right en route north to Christchurch. In the foreground right is the old green cabin which features in early post card views of the area. This is a rare and detailed depiction of early Port Chalmers.

Scottish born John Gibb began exhibiting at the Royal Scottish Academy in 1861and by 1868 at the more progressive Royal Glasgow Institute of Fine Arts. In 1876 he emigrated to New Zealand with his family, arriving in Canterbury in September, 1876. Within three months of his arrival he purchased land on the corner of Barbadoes and Worcester Streets, Christchurch where he established a studio. He gave lessons, exhibited at the Otago Society of Art and was a founding member of the Canterbury Society of Arts formed in 1880. Gibb exhibited in Auckland and Wellington as well as many inter-colonial exhibitions beyond New Zealand. By the 1880s Gibb was acknowledged as New Zealand’s foremost marine artist.

38

CHARLES FREDERICK GOLDIE

1870 - 1947

Te Aitu Te Irikau, An Arawa Chieftainess Oil on board 25.5 x 20.5

Signed & dated 1911

ESTIMATE

$180,000 - 230,000

PROVENANCE

Private Collection, Hawke’s Bay since 1930s

EXHIBITED

Canterbury Society of Arts 1912

ILLUSTRATED

p. 161 C F Goldie His Life & Painting, Alister Taylor & Jan Glen, Alister Taylor publishing 1977

REFERENCE

Arawa Chieftainess Te Aitu Te Irikau, was a favoured subject of Charles Frederick Goldie. The artist painted her on at least eight occasions between 1911 and 1922. In this, her first portrait dated 1911, Te Aitu Te Irikau bears the symbols of her rank. The distinctive moko kauae, female chin tattoo, was received by women on the basis of their mana which was established through their lineage or whakapapa. The flax and feather cloak, hei tiki and pendant earrings or kuru, of pounamu/greenstone are important elements and traditional symbols of status worn by Te Aitu Te Irikau with dignity.

This pristine work, never before offered for sale, is presented in its original Goldie frame.

In Polynesian portraiture Mr C F Goldie stands pre-eminent in the world today. New Zealand has every reason to be proud of him.

Governor General Lord Bledisloe Quote from C F Goldie: His Life & Painting, Alister Taylor & Jan Glen, 1979

39 FRANCES HODGKINS

1869 - 1947

Country Colour, Purbeck

Gouache on paper 49.5 x 65

Signed & dated 1944

Inscribed verso

ESTIMATE

$45,000 - 65,000

PROVENANCE

Ex collection of Sir Lennox Berkley, composer 1903 - 1989 Estate of New Zealand born pianist Colin Horsley OBE, 1920 - 2012, Isle of Man

EXHIBITED

The Leferve Gallery, London, original label affixed verso

British Council Fine Arts Department Exhibition Paris 1945, cat no. 8, original label affixed verso

REFERENCE

p. 100 Four Vital Years, by Arthur R Howell, forward by John Piper, Rockliff 1951

Hodgkins spent the last years of her life in the Isle of Purbeck, Dorset, working mainly on still lifes, landscapes and domestic scenes.

40 GRAHAME SYDNEY

b. 1948

St. Bathans Pond Working Drawing 1

Conte, crayon on paper 68 x 96.5

Signed, inscribed & dated 1995

ESTIMATE

$10,000 - 20,000

41 EVELYN PAGE

1899 - 1988

Grey Street, Wellington, 1949

Oil on canvas board 40.5 x 25

Signed

Inscribed & dated 1949 verso

ESTIMATE

$30,000 - 40,000

PROVENANCE

Private Collection, Wellington

EXHIBITED

Autumn Exhibition, New Zealand Academy of Fine Arts, cat no. 144

Evelyn Page Seven Decades Touring Exhibition 1986, cat no. 33

Robert McDougall Art Gallery, Christchurch

An original label from that exhibition affixed verso

REFERENCE

p. 85 & 86 Evelyn Page Seven Decades, Janet Paul & Neil Roberts, Allen & Unwin New Zealand Limited 1986 published on the occasion of the exhibition Evelyn Page Seven Decades, Robert McDougall Art Gallery, Christchurch

NOTES

This painting was done from The Terrace, Wellington, looking through a narrow gorge between buildings to the harbour.

Text from p. 86 Evelyn Page Seven Decades, Janet Paul & Neil Roberts, Allen & Unwin New Zealand Limited 1986

42 JOHANNES GERARDUS KEULEMANS

1842 - 1912

Red Billed Gull & Black Billed Gull

Watercolour 48 x 36

Signed

ESTIMATE

$15,000 - 25,000

PROVENANCE

Commissioned by the late Sir Walter Buller, author of Manual of Birds of New Zealand, and came by descent to his niece the late Gwendolin Buller, who bequeathed it to a close friend, Captain Charles Hamish Pelham Burn. See label affixed verso

John Gerrard Keulemans was born in Rotterdam in 1842. The son of a fashionable military tailor, he chose, at an early age, to reject what would have been an assured place in the family trade to pursue the less secure life of an artist and naturalist.

Keulemans initial interest lay in ornithology, and he began his career at the Leyden Museum as a freelance taxidermist. It was whilst at the Leyden that he came under the guidance of Professor Hermann Schlegal, who had in the past been a strong influence on the career of the eminent illustrator Joseph Wolf. It was Schlegel who instructed Keulemans in lithography, a skill which was to be a valuable asset in his later career, and it was he also, who gave him his first professional commission illustrating. “Notes from the Leyden”

As Keulemans skill as an artist grew, so naturally did his discontentment with the inanimate subject matter available to him at the Leyden, he wanted to travel and indulge his passion for bird painting using live subjects in their natural habitat. It was for this reason that he joined a collecting expedition to West Africa, but this journey was to be ill fated as he contracted yellow fever and was forced to return to Europe and the less lively, if safer, atmosphere of the Leyden Museum, where he was to remain until 1869.

At this time London was the centre for ornithological and zoological journals and it was a natural progression for Keulemans to move to England to pursue his career.

As he had collaborated with the English artist Richard Bowdler Sharpe in the past, whilst still working at the Leyden, his reputation was to some extent already established and in 1869 he moved to England where he was to spend the rest of his life.

Keulemans skill as a Lithographer and his detailed and meticulous work were to create for him a reputation which made his name a by-word in ornithological illustration in the late 19th century. He succeeded Joseph Wolf as illustrator with the prestigious journal, Ibis, continuing to be in demand as a freelance illustrator working alone and in collaboration with other artists on several volumes. His most notable works, however, are; Sir Walter Buller’s, A History of the Birds of New Zealand, considered by many to contain some of his most beautiful and versatile illustrations, and the earlier volumes of Lord Lilford’s Coloured Figures of the Birds of the British Islands, a gargantuan task which, due to ill health he was finally to hand over to Archibald Thorburn who completed its illustration. In the early work, however, Keulemans skill is evident and he displayed not only the accurate eye of a naturalist but also the truly aesthetic sense of an artist.

Keulemans continued to contribute to various journals, claiming that by the time he was fifty he had drawn over 20,000 species of birds. Although he wrote only one volume himself, A Natural History of Cage Birds, his illustrations for the works of others created for him an acknowledged reputation as one of the finest Victorian ornithological illustrators.

43 BEATRIX DOBIE 1887 - 1944

Grey Hunter and Rangitoto Oil on canvas 40 x 60

Signed

ESTIMATE

$4,000 - 6,000

PROVENANCE

Purchased by current owner from Sir Simon Lockhart, son of Sir Robert Lockhart Sinclair

44 MARY MORTON MASTERS 1884 - 1917

Sir Robert Lockhart’s Grey Hunter ‘Waiuku’ - 9 Years Oil on canvas 50 x 65

Signed & dated 1908

ESTIMATE

$1,500 - 2,500

PROVENANCE

Purchased by current owner from Sir Simon Lockhart, son of Sir Robert Lockhart Sinclair

45 MARY MORTON MASTERS 1884 - 1917

Sir Robert Lockhart’s Polo Pony Chimmie Oil on canvas 39 x 49

Signed & dated 1905

ESTIMATE

$1,500 - 2,500

PROVENANCE

Purchased by current owner from Sir Simon Lockhart, son of Sir Robert Lockhart Sinclair

46

1835 - 1913

The Pink and White Terraces, Lake Rotomahana

Watercolour 32 x 57

Signed

ESTIMATE

$15,000 - 20,000

PROVENANCE

Private Collection, South Australia On the market for the first time

1835 - 1913

Two Maori and Stockade

Watercolour 40 x 68.5

Signed & dated 1873

ESTIMATE

$12,000 - 16,000

1869 - 1947

Woman with Children c. 1921

Charcoal, conte & pencil 26.5 x 40

Signed

ESTIMATE

$20,000 - 25,000

49 ARCHIBALD FRANK NICOLL

1886 - 1952

Peninsula, Winter, c. 1932

Oil on board 29 x 39

Signed

ESTIMATE

$2,000 - 3,000

REFERENCE

This painting is a half scale version of Archibald Frank Nicoll’s Peninsula Winter, National Art Gallery Collection. Reference, p. 76, New Zealand Painting, An Introduction, Gordon H Brown & Hamish Keith, Collins 1969.

The person who probably, more than any other painter, represents the link between the period immediately following the first World War and the developments that were to take place in the 30s, especially in Christchurch, is Archibald Frank Nicoll, a man with decided views, whose style approached the best in the academic tradition. His influence as a teacher was considerable, and he did much towards establishing the crisp, clean-cut manner of portraying the landscape that was to be a hall-mark of the Canterbury school in the 1930s and 1940s.

50 ARCHIBALD FRANK NICOLL

1886 - 1952

Balcairn Downs, North Canterbury

Oil on board 30 x 40

Signed

ESTIMATE

$2,000 - 3,000

Most of Nicholl’s landscapes were painted around Banks Peninsula and the Canterbury Plains near Christchurch. He had a particular interest in the behaviour of sunlight and the colours associated with the local landscape, plus a bold sure technique which, with his concern for local light conditions, saved his work from becoming too dryly academic. The Canterbury landscapes, such as Peninsula, Winter, demonstrate qualities most sought after by other local painters.

1835 - 1913

Milford Sound

Watercolour 40 x 72

Signed

ESTIMATE

$20,000 - 25,000

PROVENANCE

Purchased by private treaty from International Art Centre, 1990. Held in a private collection, Auckland since then.

53 JOHN WEEKS 1886 - 1965

Sunlit Sails, St Tropez

Pastel on paper 38 x 44

ESTIMATE

$3,000 - 5,000

52 LOUIS JOHN STEELE

1843 - 1918

Orakei Creek, Auckland

Watercolour 6 x 6

Signed, inscribed ‘Auckland’ & dated 1905 verso

ESTIMATE

$800 - 1,200

54 PETER MCINTYRE 1910 - 1995

Goat Island Beach, Near Leigh

Oil on board 50 x 60 Signed

ESTIMATE

$10,000 - 15,000

55 SYDNEY LOUGH THOMPSON

1877 - 1973

Saint Jeannet Village Oil on canvas 50 x 60

Signed & dated 1964

ESTIMATE

$16,000 - 22,000

PROVENANCE

Private Collection, South Island

56 LOUIS JOHN STEELE

1843 - 1918

Duke of Marlborough

Signed

ESTIMATE

$8,000 - 12,000

PROVENANCE

Private Collection, Waikato

69

Purchased from the Nathan Estate circa 1930s

57 RAYMOND CHING

b. 1939

Weka - (gallirallus australis)

Stewart Island

Acrylic on paper 71.1 x 55.2

Signed & dated 1980

ESTIMATE

$14,000 - 18,000

PROVENANCE:

Private Collection, London

Purchased from International Art Centre, 2000

ILLUSTRATED

p. 58 Ray Harris-Ching Journey of An Artist

Text by Carol Sinclair Smith, Gulf Publishing 1990

p. 118 New Zealand Birds, An Artist’s Field Studies

Raymond Ching and Grahame Turbott QSO, Reed Methuen Publishers Ltd 1986

Anyone who has camped out in the New Zealand forests will know these handsome rails to be inveterate camp raiders. I’ve tried to imply the bold personality of these birds, so long isolated from danger that they have lost the power of flight and have confidence enough to rummage through tents and take food direct from your plate.

I wanted the painting to acknowledge the conventions of a 19th century ornithological stone lithograph by its general composition, texture and colour.

Raymond Ching

p. 59 Text Ray Harris-Ching Journey of An Artist

1881 - 1949

Signed

$4,500 - 6,500

Collection, UK since 1930s

1881 - 1949

Signed ESTIMATE

$4,500 - 6,500

60 PETRUS VAN DER VELDEN

1837 - 1913

Study of a Miner also known as Portrait of a Man in Profile Oil on canvas 109.5 x 89

ESTIMATE

$8,000 - 12,000

PROVENANCE

Private Collection, Auckland - on the market for the first time

EXHIBITED

Auckland City Art Gallery, November 1959 - 1960

ILLUSTRATED

Catalogue number 3.2.2.5 Petrus van der Velden A Catalogue Raisonné, Chancery Chambers Publishers 1979

REFERENCE

p. 23 P van der Velden, Paintings 1870- 1912, P A Tomoroy, Auckland City Art Gallery, 1959

Van der Velden is as an artist of purpose and considerable merit. Legend has made him so - it is a reassurance for serious art in New Zealand that facts prove the legend true. P A Tomory

ESTIMATE

$8,000 - 12,000

61 WALTER ARMINGER BOWRING

1874 - 1925

Hioani Ngapuhi

Watercolour 20.5 x 15

Signed, inscribed & dated 1912

ESTIMATE

$1,500 - 2,500

1874 - 1925

Signed & dated 1902

ESTIMATE

$2,000 - 3,000

Research suggests this is probably Field Marshal Edmund Henry Hynman Allenby 1861 - 1936. He was an English soldier and British Imperial Governor who fought and survived the Second Boer War and also fought in World War I.

63 JOSEPH GAUT

1860 - 1934

Nature’s Adornment, Umbrella Buttress, Pink Terrace, Rotorua Oil on canvas 41 x 55

Signed

Signed, inscribed & dated 1884 on canvas verso

Together with a 14 x 19cm framed Burton Brothers photo inscribed Umbrella Buttress, Pink Terrace

and a framed Black & White photo of the same subject ESTIMATE

$2,500 - 3,500

A Private Collection of Paintings, Photographs and Geological Samples of the Pink and White Terraces, Rotomahana, New Zealand

This unusual collection, reflecting a fascination with the lost Pink and White Terraces was amassed over a ten year period. It comes to the sale room from a property on the shores of Lake Tarawera.

Paintings by the German artist, William Binzer, a rare1884 work by Joseph Gaut of a Maori maiden bathing in the shadow of the Pink Terrace Umbrella Buttress are offered. Works by J D Perrett, J C Hoyte and the master of terrace portrayal, Charles Blomfield also feature. These artworks and others are complemented by a selection of original photographs by Charles Spencer, Josiah Martin and Burton Brothers Studio.

As well as artworks, a large authentic collection of geological samples from the terraces themselves is offered. They include fossilized flora and small branches embedded with silica and silica sinter formations from the collection of civil engineer and surveyor, James Stewart (1832-1914). In 1880 Stewart explored a road link from Rotorua to Cambridge, and later was involved in the planning of an early rail link from Rotorua to Morrinsville. Stewart collected the specimens prior to the eruption that destroyed the terraces in the early morning of 10 June,1886. The collection was stored at the Stewart family bach on Rangitoto Island until 1970 when it was sold to a private collector.

The Pink Terraces, or Otukapuarangi and the White Terraces, Te Tarata were natural wonders. They were destroyed by the 1886 eruption of Mount Tarawera. The Terraces were formed by geothermally heated water containing large amounts of silicic acid and sodium chloride from two large geysers. These geysers were part of a group of forty geysers in the nearby area.

The Pink and the White Terraces were nearly a kilometre apart. The White Terraces were at the north end of Lake Rotomahana and faced away from the lake at the entrance to the Kaiwaka stream. They descended to the lake edge forty metres below. The additional sunlight received from facing north created their bleached, white appearance. The Pink Terraces were about two thirds of the way down the lake, sheltered from the harsh sun on the western shores, facing south-east. Their pink appearance was largely due to less sunlight reaching them and therefore less bleaching. In February 2011 a team including researchers from New Zealand’s Institute of GNS Science were mapping the lake floor when they discovered part of the Pink Terraces. The lowest two tiers of the terraces were found in their original place at a depth of sixty metres. A part of the White Terraces was rediscovered in June 2011.

GEOLOGICAL SAMPLES OF THE PINK AND WHITE TERRACES

An extremely rare cross section of fossilised flora and silica sinter samples from the Pink and White Terraces. 35 individual samples.

The largest offering ever to be sold as one lot.

Presented in custom made display cabinet 35 x 120 x 11 deep

Additional research and provenance details included

ESTIMATE

$15,000 - 20,000

PROVENANCE

Ex Collection of James Stewart Civil Engineer and Surveyor 1832 - 1914

CHARLES

1848 - 1926

View of White Terrace with Tarawera Beyond Oil on canvas 41 x 57

$10,000 - 15,000

German, work 1870 - 1900

Pink Terrace and White Terrace - A Pair

Oil on board 44 x 60

Signed

ESTIMATE

$1,000 - 2,000

67 JOHN BARR CLARKE HOYTE 1835 - 1913

Pink Terrace - Otukapuarangi

Watercolour 25 x 46

Signed

ESTIMATE

$4,000 - 6,000

68 ARTIST UNKNOWN

New Zealand 19th Century

Pink Terrace and White Terrace,

New Zealand - A Pair

Oil on shell 20 x 22

One signed MS and both inscribed

ESTIMATE

$800 - 1,200

PROVENANCE

Ex Wagner Museum Collection

69 CHARLES SPENCER

1854 - 1933

Pink Terrace and The White Terrace, Rotomahana - A Pair

Hand coloured photographs 16 x 42

Signed & inscribed

ESTIMATE

$600 - 1,000

PROVENANCE

Ex Wagner Museum Collection

70 JOHN DOUGLAS PERRETT

1859 - 1937

Pink Terrace and White Terrace - A Pair

Pastel on paper 28 x 49.5

Signed

ESTIMATE

$800 - 1,200

71 ARTIST UNKNOWN

New Zealand 19th Century

The White Terrace Destroyed by Eruption, June 1886

Oil on canvas 70 x 110

Inscribed

ESTIMATE

$1,000 - 3,000

72 BURTON BROTHERS

1866 - 1914

Hot Baths, Rotomahana and Sulphur Crater, Rotomahana

Two albumen silver prints 13.5 x 19.5

One signed with studio stamp and both inscribed

ESTIMATE

$400 - 800

73 PHOTOGRAPHER UNKNOWN

New Zealand 19th Century

Four original photographs featuring views of Rotomahana Thermal region

Four albumen silver prints 13.5 x 19.5

Mounted together

ESTIMATE

$800 - 1,200

74 JOSIAH MARTIN

1843 - 1916

White Terrace, Rotomahana

Albumen silver print 15 x 20

Signed and inscribed

ESTIMATE

$300 - 600

75 GEORGE EDMUND PRUDEN

Exhibited CSA 1905-12

White Terraces with Bathers

Oil on canvas 68 x 107

Signed & dated 1913

ESTIMATE

$6,000 - 8,000

Post eruption the landscape surrounding Tarawera was stripped of vegetation. Thick mud and ash blanketed hundreds of square miles of land, and large cracks crossed the region. The Pink and White Terraces had vanished, reduced to dust and fragments of sinter.

The site of the terraces became a crater over 100 metres deep. Steam eruptions continued in the crater for several months, but within 15 years it filled with water, forming the new Lake Rotomahana, much larger than its predecessor. The chain of craters at the Waimangu end of the rift became the site of many new geothermal features, including Waimangu Geyser, the largest in the world, and New Zealand’s largest hot spring.

76 GEOFF WILLIAMS

b. 1966

The Dinghy Acrylic on board 90 x 75

Signed

ESTIMATE

$8,000 - 12,000

PROVENANCE

Private Collection, Auckland

H Fisher & Son Ltd, label affixed verso

77 WILLIAM GEORGE BAKER

1864 - 1929

Maori Village, Waikato River - Nocturn Oil on board 75 x 110

Signed

ESTIMATE

$8,000 - 12,000

78 JOHN WEEKS

1886 - 1965

Marrakesh Watercolour 48 x 63

Weeks, O’Connor studio stamp verso

ESTIMATE

$3,000 - 5,000

79 JOHN WEEKS

1886 - 1965

Gypsy Caravans

Watercolour 27 x 38

Signed

ESTIMATE

$1,500 - 2,500

80 SAM STUART

1855 - 1920

Judges Bay

Pencil on paper 16 x 29.5

Signed, inscribed & dated May 8th 1876

ESTIMATE

$2,000 - 2,800

1835 - 1913

North Island River Settlement

Watercolour 41.5 x 60.5

Signed

ESTIMATE

$12,000 - 16,000

82 JOHN

1819 - 1888

Mitre Peak

Watercolour 38 x 30

Signed

ESTIMATE

$10,000 - 15,000

1822 - 1897

Abbotts Creek Crossing

Watercolour 36 x 51

Signed

ESTIMATE

$8,000 - 12,000

1855 - 1920

Watercolour 25.5 x 20

Signed & dated 1901

ESTIMATE

$2,000 - 4,000

1864 - 1950

Bush Camp Oil on board 33 x 17 Signed ESTIMATE

$2,500 - 3,500

$2,500 - 3,500 87 JOHN WEEKS 1886 - 1965

Untitled - Jetty with Mountain Beyond Watercolour 52 x 63 Weeks, O’Connor studio stamp verso ESTIMATE

$2,000 - 4,000

88 PHOTOGRAPHER UNKNOWN

Nine original photographs of Focke-Wulf Factory and an Embassy dinner. Gunner Keith Gordon Richardson pay book, prayer book & discharge notice; Various medals and POW tag: newspaper clippings; Three service photos of Keith Gordon Richardson; Red Cross map of POW camps and a typed copy of the Unknown Soldier’s Prayer.

ESTIMATE

$1,000 - 2,000

Gunner Keith Gordon Richardson of the 4th Field Reg., New Zealand Artillery, Second New Zealand Expeditionary Force was captured in the Battle of Crete. Included in this lot is a map of Prisoner of War Camps issued by the Red Cross. Pencil markings indicate the long march from Greece to Germany completed by Gunner Richardson despite having sustained a shrapnel wound. Gunner Richardson was imprisoned at Stalag VIII B camp for approximately four years. During his time there, Gunner Richardson was handed these photographs and asked to hide them by a German guard. The guard was fearful of being shot should the photographs be found in his possession. As neither Richardson or his fellow POW’s saw the guard again the photographs returned to New Zealand with Richardson at the end of the war. They have never before been seen by the public.

Three of the photographs are stamp dated 1941verso. They provide a historical record of a visit by Japanese representatives meeting with members of the German Military hierarchy. This meeting included a tour by the Japanese of their German allies aircraft facilities.

89 AUSTIN A DEANS

1915 - 2011

Rangatata Valley Looking Towards the Two Thumbs Oil on board 33 x 54

Signed & dated 1971

ESTIMATE

$2,500 - 3,500

90 COLIN VERNON WHEELER

1919 - 2012

Near Wanaka - double sided Lake Wanaka verso Oil on board 32.5 x 42.5

Signed

ESTIMATE

$1,000 - 2,000

91 DOUGLAS BADCOCK

1922 - 2009

Shotover River, Skippers Canyon, Near Deep Creek, Summer Morning Oil on board 60.5 x 80.5

Signed & dated 1968

ESTIMATE

$4,000 - 6000

92 AUSTIN A DEANS

1915 - 2011

Walter Peak Wakatipu

Watercolour 26 x 36

Signed & dated 1957

ESTIMATE

$1,000 - 1,500

93 RAYMOND CHING

b. 1939

Brown Quail, 1979

Pencil on paper 54 x 36.5

Signed

ESTIMATE

$2,500 - 3,500

EXHIBITED

Halcyon Gallery for Wildlife & Conservation ‘97, at the Gas Hall

Birmingham Museum & Art Gallery

ILLUSTRATED

p. 117 New Zealand Birds, An Artist’s Field Studies, Raymond Ching, Reed Methuen Publishing 1986

94

RAYMOND CHING

b. 1939

Dusky Moorhen

Pencil on paper 48.6 x 35

Signed, inscribed & dated August 1980

ESTIMATE

$2,500 - 3,500

EXHIBITED

Halcyon Gallery for Wildlife & Conservation ‘97, at the Gas Hall

Birmingham Museum & Art Gallery Art Gallery

ILLUSTRATED

p. 129 New Zealand Birds, An Artist’s Field Studies, Raymond Ching, Reed Methuen Publishing 1986

95 RAYMOND CHING

b. 1939

Kaka

Pencil on paper 55 x 38

Signed & inscribed

ESTIMATE

$2,500 - 3,500

EXHIBITED

Halcyon Gallery for Wildlife & Conservation ‘97, at the Gas Hall

Birmingham Museum & Art Gallery

ILLUSTRATED

p. 168 New Zealand Birds, An Artist’s Field Studies, Raymond Ching, Reed Methuen Publishing 1986

96 RAYMOND CHING

b. 1939

Black Shag ,1984

Pencil on paper 47.5 x 38

Signed & inscribed

ESTIMATE

$2,500 - 3,500

ILLUSTRATED

p. 67 New Zealand Birds, An Artist’s Field Studies, Raymond Ching, Reed Methuen Publishing 1986

British born Andrew Coates was just three when his family emigrated to Christchurch, New Zealand. The land of blue skies and amazing vistas was a major influence on the young artist, although, early on he was more interested in cubism than the refined landscapes he is now known for. Coates entered a number of art competitions where he was awarded first prize at the Dunedin Public Art Gallery. He studied fine arts at Ilam.During this time, Andrew became the youngest Merit Member of the Canterbury Society of Arts (CSA) in New Zealand. He went on to hold three one man exhibitions at the CSA.

97 ANDREW COATES

b. 1955

Sunlight over Ploughed Fields

Oil on board 75 x 60

Signed

ESTIMATE

$1,500 - 2,500

b. 1955 Road

The inclusion of his work for the first time in the annual Summer Exhibition at the CSA brought the following review: Among the many oils and water colours are accomplished works by the young A.S. Coates which show his technical brilliance. In 1975 he held his last one-man exhibition at the CSA and then made preparations to send a large selection of his paintings to the UK. He left New Zealand in 1976 and travelled overland through Asia and Europe for the next four months. In 1989, Coates was awarded the Goldline prize for best landscape painting in the Mall Galleries Annual Exhibition in London. Coates now lives in Devon.

New Zealand, the people, the open way of life, freedom and the remarkable landscape, gave me the most wonderful childhood. It was full of adventure and opportunities but ultimately my painting had to take precedent - A Coates

99 VERA EMILY WHITEMAN

1873 - 1952 A Hunt

on board 28 x 39 Signed ESTIMATE $3,000 - 5,000

100 ARCHIBALD NICOLL 1886 - 1952 Mount Taylor, Canterbury

on board 29.5 x 39.5 Signed ESTIMATE

$2,000 - 3,000

101 FRANK BARNES

1859 - 1941

SS Kennedy in Heavy Seas off Terawhiti Oil on board 37 x 60

Signed, inscribed & dated 1905

ESTIMATE

$2,000 - 3,000

$8,000 - 12,000

103 CECIL FLETCHER KELLY

1878 - 1954

New Brighton Watercolour 32 x 45

Signed

ESTIMATE

$1,500 - 2,500

105 CECIL FLETCHER KELLY

1878 - 1954

Dunes, New Brighton Oil on board 27 x 33 Signed ESTIMATE

$1,000 - 1,500

104 CECIL FLETCHER KELLY

1878 - 1954

Mirror Lakes, Fiordland Oil on board 24 x 34

Signed

ESTIMATE

$1,000 - 1,500

106 DOUGLAS BADCOCK

1922 - 2009

Autumn, Larches on the Frankton Arm, Lake Wakatipu Oil on board 40 x 51

Signed

ESTIMATE

$2,000 - 3,000

107 DOUGLAS BADCOCK

1922 - 2009

Autumn, Bush Creek Oil on board 45 x 60

Signed & dated 1989

ESTIMATE

$2,500 - 3,500

108 ALEXANDER ROSELL

1859 - 1922

Afternoon Stroll

Oil on canvas 46 x 61

Signed & dated 1904

ESTIMATE

$800 - 1,200

CHARLES

1862 - 1923

Hohenthal, Switzerland , 1892

Oil on board 29 x 45

Signed

ESTIMATE

$800 - 1,200

110 TOM ESPLIN

1915 - 2005

St Malo, France

Oil on board 29 x 42

Signed

ESTIMATE

$4,000 - 6,000

111 TOM ESPLIN

1915 - 2005

Basel

Oil on board 30 x 47

Signed

ESTIMATE

$4,000 - 6,000

112 MARGARET OLROG STODDART

1865 - 1934

Gum Trees

Watercolour 46.5 x 32

Signed & dated 1894

ESTIMATE

$4,500 - 6,500

113 ALEXANDER HOGG

1841 - 1920

$500 - 1,000 113

A Fortified Town, or Village, called Ahippah, built on a perforated rock, at Tolaga

Hand coloured engraving 24 x 34

Inscribed

ESTIMATE

19th Century New Zealand Lake Wakatipu Watercolour 26 x 45

Signed & dated 1877

ESTIMATE

$800 - 1,200

115 CEDRIC SAVAGE

1901 - 1969 In the Sounds Watercolour 17 x 22

Signed & dated 1932

ESTIMATE

$800 - 1,200

116 DOUGLAS BADCOCK

1922 - 2009

Old Stone and Brick Cottages Miner’s Relics at Gibbston, Central Otago Oil on board 50 x 71

Signed & dated 1972. Inscribed & dated December 1972 verso

ESTIMATE

$2,500 - 3,500

Thank You - End of Sale

117 TONY FOMISON

1939 - 1990

Tarawera Eruption

Lithograph, edition of 13, 65 x 38

Signed & dated 1986

ESTIMATE

$1,000 - 1,500

118 M A MAJORIE FORAN

New Zealand 20th Century

Waterfall I

Oil and acrylic on board 82.5 x 110

Signed verso

ESTIMATE

$2,000 - 3,000

119 JAN NIGRO

1920 - 2012

Sunbather

Pastel on paper 82 x 82

Signed

ESTIMATE

$1,800 - 2,500

120 PIERA MCARTHUR

b. 1929

Vase Of Flowers

Acrylic on canvas 46 x 36

Signed

ESTIMATE

$800 - 1,200

Absentee Bid Form

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

Prices Realised

Conditions of Sale and A Guide to Buyers

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ESTIMATES

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

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