Shccatalogue

The Sally Hunt Collection

6:30pm Tuesday 7 November 2017

Conditions of Sale & A Guide to Buyers

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

The auctioneer has the right -

(i) to refuse any bid;

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

(iii) to place a reserve on any lot;

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

(v) to withdraw any lot from sale;

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

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

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

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

Each lot shall be paid for and removed at the buyers expense by no later than 4pm Thursday 9th November 2017 unless otherwise arranged failing which the auctioneer and/or the seller shall have the right to forfeit any deposit paid by the buyer and to resell the lot either by public or private sale and any deficiency on costs of resale shall be borne by the defaulting buyer.

No lot may be collected or paid for whilst auction is in progress.

SUBJECT BIDS

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

ESTIMATES

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

ABSENTEE BIDS

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

Absentee bids can also be left via our website to registered members. International Art Centre website www.fineartauction. co.nz acts as a useful auxiliary to the catalogue but we recommend inspection or a condition report prior to leaving a bid. Our staff will gladly supply you with a condition report on any lot.

TELEPHONE BIDS

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

PAYMENT FACILITIES

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

Bank deposits: Please ask for our bank details to be faxed or sent by email if you wish to pay by direct debit. Quote the Lot number(s) Cheques: Accepted by known clients of International Art Centre or at our discretion. When posting cheques please ensure they are sent to the following address. International Art Centre PO Box 37 344 Parnell, Auckland 1151. Make cheque payable to ‘International Art Centre’. Visa & Mastercard accepted with a 2% surcharge.

FREIGHT & PACKING

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

OTHER ENQUIRIES

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

BUYERS PREMIUM

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

The Sally Hunt Collection

6:30pm Tuesday 7 November 2017

Sally Hunt is a passionate supporter of the arts community in Nelson, and previously in the United States. She is currently Patron of The Suter Art Gallery, Te Aratoi o Whakatu. Sally and her late husband, Robert, initiated the gallery’s successful education program and she actively sponsors their acquisitions program. Sally is also involved in other local art initiatives, including the Arthouse Installation Project which offers an opportunity for emerging artists to design, create and exhibit their work. Sally was a friend and supporter of the late Jane Evans 1946 - 2012. This auction presents the most diverse and interesting offering of her work ever seen at auction. These paintings, along with Sally’s other New Zealand and International artworks, make for an interesting catalogue whilst presenting unique buying opportunities.

Viewing Times

Wednesday 1 November 10:00am - 5:30pm

Thursday 2 November 10:00am - 5:30pm

Friday 3 November 10:00am - 5:00pm

Saturday 4 November 11:00am - 4:00pm

Sunday 5 November 11:00am - 4:00pm Floor talk 1:00 - 2:00pm

Monday 6 November 9:00am - 5:30pm

Tuesday 7 November 9:00am - 1:00pm (Auction 6:30pm)

Absentee Bids

Absentee Bidding Form - page 107 Fax to (09) 307 3421

Email bidding instructions info@fineartauction.co.nz

Bid via website www.fineartauction.co.nz

Conditions of Sale - inside front cover

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

Invitation

Please join us for a discussion of the artist’s work by John Coley, author of Jane Evans, Haszard Press, 1997

Sunday 5 November 1:00pm - 2:00pm - Refreshments

Learn more about the life of artist Jane Evans

RSVP Luke Davies luke@artcntr.co.nz

Important & Rare

With sales of $2.1 million, several records were attained at August’s Important & Rare auction. A Louis John Steele of Sir John Logan Campbell fetched $425,000. C F Goldie’s Time Tells fetched the highest price of the evening when it sold for $440,000. Record prices were again achieved for a work by Felix Kelly which went for $24,000 along with a bronze by Paul Beadle which fetched $31,000. A record $3,400 was bid for H I Babbage Mending the Nets. Frances Hodgkins was well represented in this sale, with four of her works on offer. Mother & Child made $70,000, Corner of the Woods fetched $50,000, Dutch Harbour fetched $45,000 and Farm Piece fetched $42,500.

Charles Frederick Goldie

A Happy Thought, Te Aitu Te Irikau, a Noted Arawa Chieftainess, 1922 Oil on canvas 26.5 x 21.5

Estimate $240,000 - 280,000

27 NOVEMBER 2017

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

Consign Today

Contact: Richard Thomson Ph. +64 9 379 4010 M. 0274 751 071 E. richard@artcntr.co.nz

The Wendy Pharazyn & the late Bruce DahL Collection

WELLINGTON

COLLECTORS

1 Jeff Thomson

New Zealand

Laser cut corrugated copper 130 x 40

Signed & dated 2003

$3,000 - 4,000

2 Jeff Thomson

Kete

Woven copper sculpture 37 x 45 x 8

$1,500 - 2,500

5 John Shotton Parker Plain Song, Estuary Evening Oil on linen 122 x 91 Signed & dated 1999

$4,000 - 6,000

Bronze light fixture 12 x 12

$1,500 - 2,000

Bronze sculpture 20.3 x 25.4

Inscribed verso

$2,500 - 3,500

8 William James Reed

In the Cradle Oil on board 38 x 47

Signed

$4,000 - 6,000

Born in Christchurch Reed attended the Canterbury College of Art in the 1930’s with fellow artists Archibald Nicoll, Richard Wallwork, Olivia Spencer Bower and Russell Clark. Reed had a highly original vision of the New Zealand landscape and his work differed vastly from that of his contemporaries. He saw the landscape as lush, productive and fertile and he portrayed it with strong colours and forms. Reed was strongly influenced by the works of his tutor, John Weeks, his friend and colleague Rita Angus and the British painter Paul Nash. His recognition of the ideological and spiritual crisis facing humanity in the 1930’s resulted in works such as Armageddon and Visitation now in the collection of the Reed Estate. These works have a prophetic quality, pre-dating the bombing of Guernica by some months.

At the conclusion of his studies Reed worked for a firm producing pictorial advertising for the movies. Weekends were spent roaming the Port Hills and cycling the Canterbury Plains in search of subject matter. Apart from serving with the Field Ambulance Corp in the Pacific Zone from 1942-45, his life was spent entirely in Otago. Reed’s first solo exhibition was held at the Dunedin Public Art Gallery, his intense passion for the land and its coastline was spiritually as well as emotionally charged. From today’s perspective he is seen as one of the most adventurous members of the School of South Island Painters. Reed taught at the Dunedin School of Art for more than thirty years, a respected and popular tutor, he retired in 1973 continuing to paint till the end of his life. His work is held in major galleries throughout New Zealand.

- 5,000

11 John Weeks

Old Curiosity Shop, Edinburgh Oil on board 39.5 x 49.5

Signed

Certificate of Authenticity signed by Allan Swinton & Hilda E O’Connor affxedverso

$5,000 - 8,000

Signed & dated 1994 verso

$800 - 1,200

Provenance: Claybrook Gallery label affxedverso

14 Max Gimblett

Bowl, Gary’s Blue Gesso, epoxy, pigment, silver leaf, shellac / wood panel quatrefoil 105 x 105

Signed, inscribed & dated 2008

$30,000 - 40,000

Provenance:

Gow Langsford Gallery, label affxedverso

Bowl reveals the rich essence of Max Gimblett’s practice. Unlike many of the artist’s other quatrefoil works, its painted surface does not reflect a series of smooth linear curvatures or precisely-cast splatters of paint, but rather, a poetic chaos where varying depths of blue intermingle.

The quatrefoil is steeped in art history and religious iconography, and contains layers of culturally complex meaning. Gimblett’s engagement with it as a form both implies and negates the notion of “wholeness”, and Bowl serves this end by transforming the act of viewing into one of spiritual and conscious awareness.

Within the confines of this sacred exchange, the viewer is invited to enter into a meditative state.

In one sense, this work is concerned with the fundamental nature of painting itself: its gesturality brilliantly explores the distinction between physical and painted form. At the same time, however, it compels awareness of our own gaze, and there is a palpable sense of expectancy to this act of looking. As we find ourselves appreciating the perfection and completeness of that which is already present, we are also anticipating the continuation of form from beyond the edges of where brushstrokes have been interrupted.

Sir Toss Woollaston

Tasman Bay

Over the course of his career, Toss Woollaston completed several works depicting Tasman Bay. The final of these is a sublime oil on canvas from the early 1990s, which stands out as an absolute gem of the artist’s late period of production. Woollaston was 80 years old when he painted this as a gift for his partner Anne.

The work’s treatment of colour and perspective is captivating. Herein, we encounter an upwards vision of surging cerulean lyricism, one which hints towards the ethereal and seems to whisper something of the past 60 years of painting. Rejecting the panoramic quality and sprawling aerial perspective he so frequently drew on, the artist has instead opted to poise the viewer in front of, almost on the edge of, this painting. For Woollaston, this approach is one of relative restraint: it brings into focus a tightly-constructed composition and leads the eye towards the painting’s outer limit: the furthest point of the bay where sky and sea converge.

When considered alongside previous depictions of this subject matter, such as the 1975 work Tasman Bay 1928, this painting may be read as something of a nostalgic stepping-back for Woollaston; a conscious retreat from the flawed, raw masses of land and topography in which he had immersed himself for decades. It is also interesting to note the decision to deploy oil on canvas for this work, rather than his preferred medium of board.

More than anything, this painting is an ode to the artist’s enduring relationship with the land. On the subject of Tasman Bay 1928, Woollaston wrote of how, I tried to paint my feelings about the Nelson landscape in that year, when I first came here. Certainly, this centrality of emotion which resonates in this work also.

Quoted p. 388 Toss Woollaston: A Life in Letters, J Trevelyan, Te Papa Press, Wellington 2004

A painter loses their subject, only to meet up with it again under another set of rules

Sir

Toss Woollaston

Tasman

Watercolour

Signed & dated 1971

$3,000 - 5,000

Signed

$100,000 - 150,000

Provenance: Mahana Gallery, Woollaston Estate

17 Jan Nigro

The Child Oil on board 89 x 56

Signed & dated 1949

$8,000 - 12,000

Illustrated: p. 57 Apple for the Teacher, Jan Nigro, Bateman, 1996

p. 51 Recipient of Paintings of the Year, Friends of the National Gallery of Victoria 1996

Provenance:

Jane Evans Artist Trust Collection label affxedverso Dunbar Sloane, 28 April 1998

18 Jeff Thomson

Doodle No. 1

Corrugated Copper - 330 x 60

$8,000 - 12,000

19 Jeff Thomson

Doodle No. 2

Corrugated Copper - 330 x 60

$8,000 - 12,000

Please note:

These two works by Jeff Thomson may be viewed in the front garden of Sally Hunt’s residence at Wakefield Quay Nelson. Please contact International Art Centre info@internationalartcentre.co.nz for viewing information and appointments.

21 Mervyn Williams Untitled

Acrylic on paper 62.5 x 50

Signed & dated 1983

$1,500 - 2,500

22 Neil Dawson

Plate 1 From Old/New/Borrowed/Blue

Painted steel sculpture 99 x 118 x 10

Signed & dated 2008

$12,000 - 16,000

Provenance: Exhibited at Milford Galleries 2008

20 Tony Lane

Leg with Representations of Infinity

Shagmetal and oil on gesso panel 183.5 x 29.5

Signed, inscribed & dated 1989 verso

$5,000 - 8,000

International Artworks

Lots 23 - 42

23 Hans Hoffman American 1880 - 1966 Pink and Green Oil on cardboard 23 x 23 Signed $35,000 - 45,000

Original Andre’ Emmerich, New York and Hokin Gallery Florida labels affxedverso

24 George Rickey

American 1907 - 2002

Three Lines Up III

Stainless steel sculpture,

edition 1/3, 99.06 x 8.9

Signed & dated 1989

$30,000 - 50,000

Indiana born George Rickey added time and motion to his sculpture. His kinetic sculptures are in motion around the world, activated by indoor air currents or powered, outdoors, by the whim of the wind. In their silent, graceful movements his hypnotic sculptures reveal the play of natural forces – such as gravity and wind – upon works of art that have carefully considered physics to control the time and limits of their movements. They are, indeed, poetry in motion: once elegiac totems to the passage of time; now also markers of time their maker passed in our midst.

His work can be found in many American and international public institutions including the Indiana University Art Museum. In New Zealand there are two major works in the Gibbs Farm Collection Two Rectangles, Vertical Gyratory Up (V) and Column of Four Squares Eccentric Gyratory (III).

Sally acquired this work in Los Angeles c. 1990.

25 Elsworth Kelly

American 1923 - 2015 Orange and Black Screenprint on Arjomari paper, edition 64/250, 58 x 69

Signed

$3,000 - 5,000

26 Elsworth Kelly

American 1923 - 2015

Untitled, 1983

Lithograph, edition 143/250 73.6 x 104

Signed

$3,000 - 5,000

27 Andy Warhol

American 1928 - 1987

Sidewalk, 1983

Screenprint, edition 143/250, 76.2 x 113

Signed

$10,000 - 15,000

Exhibited: Eight by Eight to Celebrate

The Temporary Contemporary 25 October – 26 November 1983

Margo Leavin Gallery, Los Angeles

28

Jose Maria Sicilia

Spanish b. 1954

Grey Flower

Acrylic on canvas 100 x 100

Signed & inscribed dated 1987 verso

$10,000 - 15,000

Jose Maria Sicilia was born in Madrid and grew up under the Franco dictatorship. He spent his holidays in the monastery town of Escorial near the Sierra de Guadarrama. In 1975 he joined the School of Fine Arts of San Fernando in Madrid. In 1980 the artist moved to Paris, where he first exhibited, and in 1985 relocated to New York, where he became a close friend of composer John Cage. At this time, his early work displayed an expressionist tendency. During the 1980s he was hailed as one of the most prestigious young Spanish artists. He is known for his paintings of nature with subjects including landscapes, insects and flowers. Sicilia has spent considerable time travelling in Tangiers, Syria, Egypt, Morocco and India and his work is inspired by these sojourns. He is renowned for his unusual techniques such as the use of wax with lithography.

When reviewing an exhibition at the Queens Museum of Art, NYC, the New York Times referred to Jose Maria Sicilia’s paintings as ... refined and very seductive. His waxen surfaces create delicate plays of light and shadow. Objects appear like auras or after-images through translucent veneers.

Sicilia’s work has been exhibited at Musee d’Art Contemporain, Bordeaux, 2000 Musee des Beaux-Arts, Caen 2000, Venice Biennale (1986), Centro Atlantico de Arte Moderno, Gran Canaria and Mohamed Mahmoud Khalil Museum, Cairo, Egypt. He has held multiple exhibitions in Japan, first in 1988 at galleries in Nagasaki, Kyoto, Tokyo and most recently in Fukushima, in the wake of the 2011 tsunami and earthquake in the area. In 1989 Sicilia received the Premio Nacional de Artes Plásticas of the Spanish Ministry of Culture.

29 Jose Maria Sicilia

Spanish b. 1954

Red Flower

Acrylic on canvas 81.3 x 81.3

Signed & inscribed dated 1987 verso

$8,000 - 12,000

30 John Okulick

American b. 1947

Crosspoint

Bronze 56 x 45 x 45

Signed & dated 1991

$4,000 - 6,000

Reference:

Transformation in Perspective: The Sculpture of John Okulick Delaware Art Museum, February 15 - March 31, 1991 : Palm Springs Desert Museum, March 16 - May 26, 1991

John Okulick was born in New York City and is an arts graduate from the Universities of California, Santa Barbara and California at Irvine. He resides in southern California. Whilst Okulick has worked on numerous public commissions, most of them in metal for outdoor installation, there is a demand for his smaller scale works which complement domestic and commercial spaces.

New forms and shapes continue to enliven the artist’s pieces. The sculptures have movement, energy, dynamism and a sense of play. The artist writes: My sculpture is a platform from which the viewer can take a ride .... a flight of fancy or a journey through a vast open space, toward a feeling of freedom.

Kenneth Snelson

American 1927 - 2016

Able Charlie, 1975

Aluminium steel & wire sculpture 101 x 99 x 89

$10,000 - 15,000

Provenance:

Purchased in New York City circa 1986

32 Alexander Liberman

American 1927 - 2016

Untitled

Painted steel sculpture 66 x 61 x 61

Signed & dated 1985 on base

$10,000 - 15,000

Provenance:

Purchased in New York City Circa 1986

33 Barbarah Hepworth

British 1903 - 1975

Itea, 1971

Lithograph, edition 38/60, 58 x 81

Signed

$4,000 - 6,000

Printed by Curwen Studio, London 1970

Published by Marlborough Fine Art, London

Inspired by her 1954 trip to Greece with friend and patron, Margaret Gardiner. Hepworth created The Aegean Suite in 1971 and infused the works with references to Greek culture and the Greek landscape.

34 Bedri Rahmi Eyüboğlu

Turkish 1911 - 1975

Vieille Istanbull

Mixed media on canvas 68 x 69

Signed & dated 1961

$3,000 - 5,000

35 Richard X Zawitz

American b. 1946

Tangle, 1981

Vintage plastic chrome sculpture 30 x 50

MOCA edition

$300 - 500

Provenance:

Purchased from MOMA, NYC, between 1985 - 1989

36

Charles Arnoldi

American b. 1946

Wine Bucket and Stand

Bronze sculpture 91.4 x 50 x 30.5

Signed & dated 1992 on base

$6,000 - 8,000

37 Charles Arnoldi

American b. 1946

Untitled 1990

Oil paint on rag paper 52 x 44

Signed & dated 1990

$1,500 - 2,500

British b. 1937

My Pool and Terrace

Lithograph, edtion 143/250, 73.6 x 106.6

Signed & dated 1983

$8,000 - 12,000

39 Charles Arnoldi

American b. 1946

Untitled Oil on five Taitu Emilio Bergamin

dinner plates 31 x 31 (each)

All signed & dated 1992

$2,000 - 3,000

40 Edward Ruscha

American b. 1937

City Spot Edition 95

Lithograph, edition 49/95, 38 x 52

Signed & dated 1992

$2,000 - 3,000

41 Vasa Mihich

American b. 1933

Coloured Cubes

Ten acrylic cubes 5 x 5 x 5 (each)

One signed & dated 1991

$1,000 - 1,500

42

Robert Graham

American 1938 - 2008

MOCA Torso

Bronze sculpture 27.9 x 11.5 x 11.5

Signed on underside of base

$2,000 - 3,000

From Robert Graham’s series of bronze nudes created for the Museum of Contemporary Art, Los Angeles. This outstanding work is an excellent example of the sculptor’s best known subject, the female nude. In MOCA Torso Robert Graham’s ability to blend classic forms with a contemporary practice is clearly evident.

Jane Evans 1946

- 2012

Lots 43 - 100

Jane Evans was born in Nelson 1946 and educated at Nelson College for Girls. She enrolled at the Ilam School of Fine Arts in 1965, and the following year travelled to England to attend London’s Waltham Forest Art College. Following a period of formal study she determined upon a program of self-education. This freedom of spirit from a young age resonates throughout a lifetime’s creation of vibrant, free-flowing works.

Evan’s innate understanding and use of colour saw her flower and figurative narratives hit a high spot in the buoyant international art market of the early to mid 1980s. Today, enthusiasm for her work is again being witnessed in the sale room.

After an initial diagnosis of rheumatoid arthritis in 1965, Evans was diagnosed with an ongoing condition that affected her for the rest of her life. Often literally painting through her pain, while adapting her painting methods and media accordingly, Evans stated: Suddenly there was life in front of me and I had to grab it with both hands. It was a compulsive thing for me to express the joys of life.

Evans moved to Christchurch in 1967, returning to Nelson in 1971 and the ongoing support of close friends and family. 1972 saw the artist painting the colourful characters of Sydney’s King Cross and setting up a studio in Melbourne. In 1974 she travelled again to

England where she spent three months commencing a series of works showing people visiting and viewing paintings in the London galleries and the lively exchanges at markets such as Portobello Road.

Returning home Evans purchased a cottage in Tasman Street which she renovated and lovingly established the garden which became a tremendous source of inspiration for her signature flower paintings. Of this time she said: the garden was an extension of my life. When I turned to watercolours I found myself in touch with this wonderful, loose spontaneous medium that was really exciting.

Passionate about the expressionist works of Matisse, Bonnard and Chagall, Evans said: I am drawn to the painters who express the joy in living. Her paintings resonated with the public and there were waiting lists for her work. She never allowed journalists to make mention of her illness but worked closely with John Coley who published her 1997 biography.

In the 1997 New Year Honours, Evans was appointed an OffceroftheNewZealandOrderofMeritforservices to painting. She died peacefully in 2012 at the Nelson home which she shared with her partner David Furniss.

Sally and Jane were close friends - Sally was her largest supporter.

43 Jane Evans

Madonna and Child

Acrylic on board

58 x 45

Signed & dated 1977

$20,000 -30,000

This tenderly rendered painting, Madonna and Child is known to have been Jane Evans personal favourite. Sally acquired the work in 2006, prior to that it had been held in a private collection since 1977.

October 1977 New Zealand Listener review, art commentator John Roberts perceptively sums up the effect and relationship between Jane Evans and Philip Clairmont.

Compare her works with Philip Clairmont's, for example - their themes are very similar. Like Evans, Clairmont develops his ideas from the immediate world. A window frame, a clothesline, a table are enough to set him at work. Clairmont and Evans both employ a style clearly derived from the conventions of postimpressionism and expressionism. How then is it possible for them to be so wildly different in their impact? It is partly a matter of colour. Evans uses warm ochres and reds, Clairmont

44 Jane Evans

Orchard Landscape (Mapua)

Oil on board 45.4 x 60

Signed & dated 1977

$4,000 - 6,000

45 Jane Evans

Four Minutes Past Five

Acrylic on board 76.8 x 38

Signed & dated 1973

$8,000 - 12,000

Illustrated p. 31 Jane Evans, John Coley, Hazard press, 1997

cold greens and blues on a sombre ground. But it is more than that. Clairmont's objects are pawns in a game of asserting visual authority first over the object — the rectangular piece of canvas or hessian — and then over the viewer. Evans couldn't be less interested in power. Her paintings are like old friends, familiar even at first viewing. A Clairmont on the wall would brace up everyone in its immediate vicinity each time they encountered it. An Evans would relax and please. Some would say that was in a certain sense a less important function. I cannot agree. I admire both the power of Clairmont and the comforting warmth of Evans.

46 Jane Evans

Boy Crouching No. 4

Mixed media on paper 54 x 37

Signed & dated 1974

$2,000 - 3,000

47 Jane Evans

Old Man with a Newspaper from a London Tube

Acrylic on board 75 x 50

Signed & dated 1971

$7,000 - 10,000

48 Jane Evans

Girl in a Red Dress

Gouache on paper 63 x 41

Signed & dated 1985

$3,000 - 5,000

49 Jane Evans

The Blue Overcoat

Acrylic on board 64 x 60

Signed & dated 1974

$7,000 - 10,000

Haberdashery Assistant hanging in the artist’s home.

50 Jane Evans

Haberdashery Assistant

Acrylic on board 58.2 x 43

Signed & dated 1974

$10,000 - 15,000

Provenance:

Purchased directly from the artist

Illustrated p. 6 & 49 Jane Evans, John Coley, Hazard press, 1997

Her inclination towards gentle satire is clearly shown in a painting she made after a visit to a store where she came across a young shop worker enjoying a hard boiled egg for lunch. Haberdashery Assistant caught the red-headed woman in the act of conspicuous consumption, her face contorted, one hand on her hip as she watched for an approaching customer, The

apparent simplicity of execution, the light touch of wit and the everyday subject matter belie the value of such images in a time when genre painting is rare.

p. 48 & 50 Jane Evans, John Coley, Hazard press, 1997

51 Jane Evans

Mr Mog Edwards

Under Milkwood Series

Acrylic on board 75 x 60

Signed, inscribed & dated 1975

$6,000 - 8,000

Mr Mog Edwards is a character from the Dylan Thomas radio play, Under Milkwood. Jane painted the entire cast for a major exhibition in 1975. This was an ambitious undertaking and made a strong impression.

Under Milkwood was a stunning series. Theatrical in their impact, these forceful, vigorous paintings interpreted Thomas’s glorious array of slightly crazed villagers in sympathetic, vivid images.

Jane Evans, John Coley, Hazard Press, 1997

Evans pictured in front of three works from the Under Milkwood Series. The series was exhibited at International Art Centre in 1989 resulting in a near sell out.

Mr Mog Edwards – The draper, enamoured of Myfanwy Price. Their romance, however, is restricted strictly to the letters they write one another and their interactions in their dreams.

Dylan Thomas

52 Jane Evans

Drawing for Reclining Nude

Acrylic and wash 54 x 36

Signed & dated 1973

$2,500 - 3,500

53 Jane Evans Still Life and Seascape

Oil on board 60 x 74

Signed & dated 1976

$10,000 - 14,000

54 Jane Evans

Poppies, Feb ‘82, No. 13

Flower Growing Series

Watercolour on blotting paper 44 x 57

Signed & dated 1982

$4,000 - 6,000

From My Window

Acrylic on paper 46 x 57

Signed & dated 1977

$4,500 - 6,500 56 Jane Evans

My Garden at Tasman Street

Watercolour 52 x 75

Signed & dated December 1978

$8,000 - 12,000

Jane’s Tasman Street garden was a source of continuing pleasure. It’s Spring blossomings gave her renewed inspiration. She completed many watercolours here which included her Red Poppies, Flowers Growing and Under the Pergola series.

Jane Evans father Dr George Evans (1897 - 1995)

An old style family doctor

Jane enjoyed being with her father who was a remarkable person. Although projecting an aura of quiet unhurried professionalism, an image heightened by his frequent stroking of and puffng on his pipe, he was in fact an energetic man involved in a range of community affairs. Besides his viola playing in the Nelson orchestra, he was at various times surgeon for the St John Ambulance Brigade, Medical Advisor to the Nelson Crippled Children Society and a supervisor of the National Marriage Guidance Council.

57 Jane Evans

Old Man with Pipe, 1981 also known as Portrait of the Artist’s Father in a Blue Cap

Acrylic on board 66 x 56

Signed

$7,000 - 10,000

Illustrated

p. 67 Jane Evans, John Coley, Hazard press, 1997

People of every description became the subjects of Jane’s art. Sometimes an elderly gentleman, depicted with a flourish of painterly strokes, impasto over glaze, tweedy textures suggested with a few confidently applied slashes, the colours muted, descriptive of mature solidity of character, is very much an evocation of her father.

p. 66 Jane Evans, John Coley, Hazard press, 1997

Flowers and figures continued to be the principal subjects of Jane’s output through the 1980s.

At the invitation of Denis Cohn, she sent a work, Inside the Garden IV, one of her first poppy paintings, to a group exhibition, Nine New Zealand Artists, in Auckland. A large, vibrant gouache in reds and ultramarine blue, it caused much interest and was immediately purchased.

This success resulted in an invitation for a solo show in 1985. Sales were to begin at 10 am on 8 July. A queue formed on the stairs before 9 am and Denis Cohn fielded telephone calls from as

58 Jane Evans

Girl on a Blue Ground

Oil on canvas 50 x 39.5

Signed & dated 1982

$4,000 - 6,000

This work features in a YouTube video

Jane Evans A Celebration of Colour www.youtube.com/watch?v=96x5MnbSC5M

59 Jane Evans

Mixed Vase on Tablecloth

Gouache on paper 56 x 74

Signed & dated 1984

$4,000 - 6,000

far away as Dunedin. Cohn commented that he had never experienced an opening like it and joked that he would wear a crash helmet when the doors opened. Nervously excited by the buzz that foreshadowed the opening, Jane had positioned herself at a coffee bar around the corner from the gallery. She had asked a friend, Maunu Stephens, to ‘scout’ for her. Moments after the gallery opening hour he appeared to tell her that everything had been sold. That evening Jane attended the offcialopening,amazedand elated at the sellout result.

p. 72 Jane Evans, John Coley, Hazard press, 1997

Signed & dated 1989

$4,000 - 6,000

Signed & dated 1985

$7,000 - 10,000

62 Jane Evans

Garden Breeze II

Watercolour 56 x 75

Signed & dated 1986

$3,000 - 5,000

63 Jane Evans

Kite Day Summer No. 2

Gouache on paper 60 x 79

Signed & dated 1982

$3,000 - 5,000

Watercolour & gouache 76 x 57

Signed & dated 1985

$4,000 - 6,000

65 Jane Evans A Jug with Iceland Poppies

Watercolour & gouache 60 x 40

Signed & dated 1983

$3,000 - 5,000

66 Jane Evans

We Two - Jane’s Garden Studio Oil on canvas 70 x 83

Signed & dated 2009

$8,000 - 12,000

67 Jane Evans Poinsettias

Gouache on paper 60 x 40

Signed & dated 1992

$4,000 - 6,000

Signed & dated 2008

$4,000 - 6,000

Signed & dated 1982

$4,000 - 6,000

Signed & dated 1985

71 Jane Evans

Beverley with Pinot Noir

Gouache on paper

76 x 58

Signed & dated 1991

$6,000 - 8,000

Illustrated p. 94

Jane Evans, John Coley, Hazard Press, 1997

Jane Evans In the Garden Watercolour 58 x 76

Signed & dated 1989

$4,000 - 6,000

Signed & dated 1999

$2,500 - 3,500

Oil on canvas 30 x 25

Signed & dated 2008

$4,500 - 6,500

Signed & dated 2009

$2,500 - 3,500

Signed & dated 2011

$2,500 - 3,500

Watercolour & gouache 40 x 30

Signed & dated 2009

$2,500 - 3,500

Gouache & watercolour 40 x 30

Signed & dated 2009

$2,500 - 3,500

Signed & dated 1982

$3,000 - 5,000

Signed & dated 1991

$4,000 - 6,000

Dorje

Acrylic on Arches paper 67.5 x 45

Signed & dated 1990

$3,000 - 5,000

Illustrated: p. 73 Jane Evans, John Coley, Hazard press, 1997

Iceland Poppies - Chair & Vase

Watercolour & gouache 80 x 60.5

Signed & dated 2010

$3,000 - 5,000

Watercolour & gouache 46 x 36

Signed & dated 2010

$2,500 - 3,500

Watercolour & gouache 60.5 x 40

Signed & dated 2011

$3,000 - 5,000

Watercolour & gouache 40 x 30

Signed & dated 2008

$2,500 - 3,500

Watercolour & gouache 60.5 x 40

Signed & dated 2000

$4,000 - 6,000

Ink on paper 26 x 20

Signed & dated 1977

$1,800 - 2,500

Well Here She Goes Lithograph, edition A/P, 46 x 57

Signed, inscribed & dated 1989

$600 - 1,000

89 Jane Evans

From the Sketchbook, Doodling Ink on paper 43 x 34

Signed & dated 1972

$1,800 - 2,500

90 Jane Evans

Untitled, 1990 Brush and ink on paper 39 x 29

Signed & dated 1990

$1,750 - 2,250

91 Jane Evans Camp Cambridge Brush & ink on paper 57 x 38

Signed & dated 1980

$1,800 - 2,600

92 Jane Evans

Whoops, What a Short Run

Lithograph, edition A/P, 53 x 38

Signed, inscribed & dated 1989

$600 - 1,000

93 Jane Evans Boy, 2002

Brush & Ink on paper 40 x 30

Signed & dated 2002

$1,750 - 2,250

94 Jane Evans Blue Irises

Watercolour & gouache 60.5 x 40

Signed & dated 2009

$3,000 - 5,000

95 Jane Evans

Untitled - Lady with Hat

Brush and ink on paper 38 x 30

Signed, inscribed & dated 1990

$1,750 - 2,250

96

Jane Evans

Untitled - Girl with Earrings

Brush and ink on paper 38 x 30

Signed, inscribed & dated 1990

$1,750 - 2,250

97

Jane Evans

Untitled Brush and ink on paper 38 x 29

Signed, inscribed & dated 1990

$1,750 - 2,250

98

Jane Evans

Untitled - Side Profile

Brush and ink on paper 38 x 30

Signed, inscribed & dated 2002

$1,750 - 2,250

99

Jane Evans

Untitled - Seated Lady

Brush and ink on paper 38 x 30

Signed, inscribed & dated 1990

$1,750 - 2,250

100 Jane Evans

Untitled - Red & White Dress

Brush and ink on paper 38 x 30

Signed, inscribed & dated 1990

$1,750 - 2,250

101 Patricia France

Flowers in a Black Pot Oil on board 37 x 31

Signed & dated 1987

$2,000 - 3,000

Provenance:

Purchased from International Art Centre. February 2013

102 Style of Sydney Lough Thompson Tunny Boats, Concarneau Oil on board 44 x 59

$1,500 - 2,500

103 Lloyd Harwood

The Little Bird Oil paintstick on board 22 x 34

Signed & dated 2010

$1,000 - 1,500

Provenance:

Purchased directly from the artist

104 Anna Caselberg

Composition in Green & Gold

Watercolour 54 x 67

$800 - 1,200

105 Garth Tapper

Untitled Figure Oil on board 27 x 22

Signed

$1,500 - 2,500

106

Six ceramic each 28 x 28 (variable)

$1,000 - 1,500

Glazed ceramic 33 x 33 x 10

Signed

$1,500 - 2,500

109

Glazed ceramic 50 x 50 x 12

Signed

$1,500 - 2,500

Glazed ceramic 20 x 20

Signed

$1,000 - 1,500

110 Austin Davies

A Season of Sifted Sorrow v.15

Acrylic on board 23 x 19

Signed & dated 2003

$1,800 - 2,500

111 Henryk Szydlowski

Fish on a Platter

Oil on canvas 91 x 82

Signed & dated 1980

$1,500 - 2,500

112 Peter O’Hagan

And Wallis Said to her Prince

Gouache on paper 73 x 75

Signed & dated 1999

$3,000 - 5,000

113 Peter O’Hagan

Lunch in a Burgundy Vineyard

Watercolour, gouache & gum 76 x 75

Signed & dated 1997

$3,000 - 5,000

114 Craig Potton

Paratiho Farm

Six unique colour photographs 39 x 54

Note: Sally and her husband Robert developed Paratiho Farms and Lodge in the early 1990s. Sally sold it in 2008.

$3,000 - 5,000

115 Leo John Meissner

American 1895 - 1977

Marine Lace

Wood engraving, edition 44/50, 26 x 20

Signed & inscribed

$400 - 600

116 Leo Bensemann

Dancing Dwarf

Wood Engraving 11.5 x 8.5

$800 - 1,200

Exhibited, Group Show, 1945

Illustrated: A Second Book of Leo Bensemann’s Work, Caxton Press, 1952

Cover of the catalogue for Leo Bensemann’s Retrospective Exhibition, Rue Pompalier Gallery, Akaroa, 1972

117 Tony Lane

The Harvest Oil on board 90 x 120

Sign & dated 1980

$1,500 - 2,500

118 Irvine Major

Boat Harbour

Watercolour 37 x 28.5

Signed

$2,000 - 3,000

119 Sally Barron

Faster or Greener Oil on canvas 100 x 120

Signed

$2,000 - 3,000

Sally Barron’s Faster or Greener exhibition in 2016 explored solitary communion with nature and the sense that we are truly ourselves when isolated within it. Abandonment in the freest sense of the word and self containment are recurring themes for me. I like to alternate between the narrative and abstract. SB

$3,000 - 4,000 118

120 Irvine Major Golden Bay, Small Bay 2 Oil on board 68 x 85 Signed & dated 2009

Ship

$1,000 - 2,000

Ship Series II

Oil

Signed & dated 2001

$1,000 - 2,000

Signed

Life was full of colour, and that was what I wanted to put down in my painting.

For Jane, flower paintings were excuses for using colour; flowers in all their varieties were simply colours on a palette in their combinations and various forms. They also satisfied her instinct for decorative painting, which would not only allow her to share her pleasure in sumptuous colours but also to express her feelings about flowers, thus echoing those of Emile Nolde, who wrote: The blossoming colours of flowers and the purity of those colours — I love them. I love flowers and their fate; shooting up, blooming, radiating, glowing, gladdening, bending, wilting, thrown away and dying.

More reading on Jane Evans

Jane Evans 1946 - 2012 Stuff.co.nz

http://www.stuff.co.nz/nelson-mail/news/7072419/Jane-Evans-1946-2012

Jane Evans New Zealand Artist https://en.wikipedia.org/wiki/Jane_Evans_(artist)

School to restore forgotten Jane Evans painting - Nelson Mail http://www.stuff.co.nz/nelson-mail/news/70732331/school-to-restore-forgotten-jane-evans-painting

Home is where the art is: Jane Evans’ cottage of colour https://news.open2view.com/2013/03/12/home-is-where-the-art-is-jane-evans-cottage-of-colour/

The Suter Te Aratoi O Whakatū http://thesuter.org.nz/collection/

Jane Evans Haberdashery Assistant hanging in the artist’s home.

Absentee Bid Form

The Sally Hunt Collection 6:30pm Tuesday 7 November 2017

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

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

Registration Bidding Number

Name

Address

Telephone Home

Lot Number

Artist and Title

Signature........................................................ / / 2017

International Art Centre offers this service to clients unable to attend sale.

International Art Centre is not responsible for error or failure to execute bids. Fax +64 9 307 3421 or post to PO Box 37344 Parnell, Auckland 1151 before 3pm 7 November ( day of sale )

Sale categories at International Art Centre

Important & Rare Art

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

Modern & Contemporary Art

Twice a year our Modern & Contemporary Art auctions play an integral role in enabling market access to the most sought-after artists who have defined New Zealand’s art narrative over the past 50-years. These sales never fail to present an exciting offering of both painting and sculpture by a range of our modern and contemporary greats. Spanning that vital period from the establishment of mid-century modernism through to the cutting edge of our national contemporary art discourse, this is an acclaimed and significant event in the auction calendar. Our new state-of-the-art premises will ensure contemporary art is now exhibited and auctioned in a dynamic and appropriate environment.

Consign Now

Richard Thomson

Ph. +64 9 379 4010 Mob. 0274 751 071

E. richard@artcntr.co.nz

Always consigning Always

Collectable & Affordable Art Single Owner Auctions

The buzz generated by our regular Collectable Art auctions reflects the popularity of this sale: an event at which seasoned connoisseurs and budding collectors alike converge to appreciate one of the most eclectic and diverse offerings available to the market. Because this auction specifically caters to the more affordable end of the market - generally presenting works valued at $5,000 and less, this is an exciting opportunity to unearth some real treasures. Collectable Art auctions offer a number lower-priced works from highly-sought after artists in print and edition form, as well as quality works from artists whose presence on the secondary market is just beginning to crystallise.

From time to time, the secondary market is fortunate enough to be exposed to one of those rare collections which transcends the value of its individual works of art, and stands to represent something iconic in its entirety. Our team is well-versed in the process of offering single-owner collections for sale, and take pride in the process of curating a single-owner sale when the opportunity arises. We offer a targeted marketing campaign and maximise the use of both electronic and print-based collateral to effectively showcase such collections to maximum effect. The strong networks we have established locally and internationally are reflected in some of the private collections which have been entrusted to us in recent years, namely: the sale of the John Leech Collection, the Barry Pilcher Collection of Contemporary Art and a selection of works from the Fletcher Trust Collection.

Consign Now

Luke Davies

Ph. +64 9 379 4010

E. luke@artcntr.co.nz

ARNOLDI C .........................36, 37, 39

BARRON S .................................... 119

BENSEMANN L ............................. 116

BROOKBANKS G ........................... 13

CASELBERG A.............................. 104

CASTLE L .......................107, 108, 109

CHANDLER L ................................ 123

CHILD M ....................................... 106

CROFT D .............................. 121, 122

DAVIES A ...................................... 110

DAWSON N 22

EVANS J ...........43, 44, 45, 46, 47, 48, ........ 49, 50, 54, 63, 51, 52, 55, 56, 57, ....... 58, 59, 60, 61, 62, 63, 64, 65, 66, ........ 67, 68, 69, 70, 71, 72, 73, 74, 75, ........ 76, 77, 78, 79, 80, 81, 82, 83, 84, ......... 85, 86, 87,89, 88, 90, 91, 92, 93, ...................94, 95, 96, 97, 98, 99, 100

BEDRI RAHMI E .............................. 33

‘Life

Jane Evans