Two Collections

TWO COLLECTIONS

Two Collections

A Modern Collection of British Prints & Contemporary NZ Art 05 - 12 December

A collectable sale embraces all fields, tastes and artistic endeavours and fall into a range of categories. Our specialist team care for, curate and present, as temporary custodians, these unique collections to the world.

Our December Collectable auction features two distinct collections of contemporary art. This diverse offering includes an outstanding collection of midcentury British prints which features works by Dame Barbara Hepworth, Sir Terry Frost, Patrick Caulfield, Sir Howard Hodgkin and other leading British artists.

The sale also features a collection of New Zealand modernist works. Highlights includes works by Julian Dashper, Seraphine Pick, Rohan Wealleans, Michael Parekōwhai, Billy Apple and John Nixon.

The auction encompasses a wide array of works including painting, collage, sculpture & multimedia installations.

Condition reports

Grace Alty gracealty@artcntr.co.nz

Luke Davies luke@artctr.co.nz

Registrations

Grace Harris grace@artcntr.co.nz

202 Parnell Road Parnell 1052, Auckland

09 379 4010

Viewing Times

Tuesday 05 Dec - Friday 08 Dec, 9:00 - 5:00pm Monday 11 Dec - Tuesday 12 Dec, 9:00 - 5:00pm

Please note we will not be open for weekend viewing (09 - 10 Dec)

Consignments & Enquiries

Grace Alty gracealty@artcntr.co.nz

Grace Harris grace@artcntr.co.nz

Celebrating the perspectives, innovative dialogues and vital contributions of female artists, consignments are now invited to our May 2024 auction, Women.

Early consignments include works by A. Lois White, Evelyn Page, Maud Sherwood & Eileen Mayo.

Important

01 Tony De Lautour

British Book Club c.1997

Oil on found book 19.5 x 13.5

$800 - 1,200

Provenance

Acquired from Hamish McKay, Wellington

02 Tony De Lautour

Untitled, Lion Candlestick Holder 2008

Glazed earthenware 12 x 19

$800 - 1,200

Provenance

Acquired from Hamish McKay, Wellington

03 Tony De Lautour

Web, 2007

Screenprint, edition 13/25 22 x 32

Signed, inscribed & dated 2007

$1,500 - 2,500

Provenance

Acquired from Hamish McKay, Wellington

04 Tony De Lautour

Untitled, (Eagel Disc)

Glazed earthenware 13 x 13.5

$500 - 700

Provenance

Acquired from Hamish McKay, Wellington

05 Tony De Lautour

Liar Liar

Oil on found saw 30 x 125

Signed, inscribed & dated 2003

$4,500 - 5,500

Provenance

Acquired from Hamish McKay, Wellington

06 Rose Nolan I Don’t Know Who You Are But Can You Tell Me Where I Am?

Embroidery cotton on cotton 17 x 18

$400 - 600

Provenance

Acquired from Hamish McKay, Wellington

07 Rose Nolan Hard, But Fair

Embroidery cotton on cotton 19 x 20

$400 - 600

Provenance

Acquired from Hamish McKay, Wellington

08 Julian Dashper

Untitled, Drumskin Orange & Blue, 1996

Vinyl on drumhead 53 x 53

$35,000 - 45,000

Provenance

Acquired from Hamish McKay, Wellington

Julian Dashper is one of the most renowned reductive artists of his generation. Working across a wide array of media for nearly three decades, Dashper produced conceptually and aesthetically rigorous paintings, works on paper, installations, albums, performances, and ephemera. Much of his work concerns the connection between abstract art and popular culture. One recurring theme is the reading of international Modernism in New Zealand art.

Dashper’s artistic practice encompassed a wide range of disciplines, including painting, sculpture, installation, and conceptual art. He was known for his minimalist aesthetic and his ability to merge elements of abstraction, geometry, and popular culture into his works.

One of Dashper’s notable contributions to the art world was his exploration of the relationship between art and music. He incorporated musical elements into his installations and performances, blurring the boundaries between visual and auditory experiences. This interdisciplinary approach earned him recognition and respect both within and outside the art community.

10 Saskia Leek

Untitled, Ice Cream Truck 1997

Enamel on board 30 x 21

$2,000 - 3,000

Provenance

Acquired from Hamish McKay, Wellington

Acrylic on panel 54 x 49

Signed, inscribed & dated 2006

$8,500 - 9,500

Provenance

Acquired from The Young, Wellington

11 Saskia Leek

Blue Rose, 2003

Oil on board 29 x 20.5

$3,500 - 5,500

Provenance

Acquired from Hamish McKay, Wellington

12 Mikala Dwyer IOU, 2005

Mirror acrylic on wood 37.5 x 15.5

$9,000 - 14,000

Provenance

Acquired from Hamish McKay, Wellington

13

Michael Harrison

In Tune, 2003

Acrylic on paper 29.5 x 20.5

Signed

$2,500 - 4,500

Provenance

Acquired from Hamish McKay, Wellington

14 Seraphine Pick

Untitled, 1997

Acrylic on plastic radio 24 x 32

$3,500 - 5,500

15 Seraphine Pick

Untitled

Watercolour on paper 38 x 28

Signed & dated 2004

$1,500 - 2,500

Provenance

Acquired from Hamish McKay, Wellington

16

Simon Attwooll

Car Crash Compilation #5, 2015

Screenprint collage on dyed paper in artist frame 35.5 x 46

$600 - 800

Provenance

Acquired from The Young, Wellington

17 Simon Attwooll

Car Crash Compilation #19, 2015

Screenprint collage on dyed paper in artist frame 36 x 46.5

$600 - 800

Provenance

Acquired from The Young, Wellington

18 Robin Neate

Harlequin, 2004

Oil on canvas 69 x 49

$5,500 - 7,500

Provenance

Acquired from Hamish McKay, Wellington

19 Rob Cherry & Seraphine Pick

Las Vegas, 2008

Colour photograph, edition 2/10

19.5 x 10.5

$350 - 650

Provenance

Acquired from Hamish McKay, Wellington

21 Rob Cherry & Seraphine Pick Karori, 2009

Colour photograph, edition 2/10 14.5 x 20

$400 - 600

Provenance

Acquired from Hamish McKay, Wellington

20 Rob Cherry & Seraphine Pick Door, 2010

Colour photograph, edition 2/10 19.5 x 11

Signed by both Artists verso

$400 - 600

Provenance

Acquired from Hamish McKay, Wellington

22 Rob Cherry Boot, 2003

Acrylic on card 15 x 10

$350 - 450

23 Rohan Wealleans Star of Darkness, 2010

Mixed media in perspex box 33 x 32

Signed, inscribed & dated 2010 verso

$1,400 - 1,800

24 Rohan Wealleans Spender, 2006 Acrylic on paper 59 x 41

$1,500 - 2,500

Provenance Acquired from Michael

Parekowhai

Tranquillitatis: Sea Tranquility

photographic print, edition of 100 14.5 - 2,500

26 Anne-Marie May

Untitled, 2003

Felt wool 20.5 x 20.5

$1,200 - 1,500

Provenance

Acquired from Hamish McKay, Wellington

Anne-Marie May is an artist who works across sculpture, installation, design and textiles to explore spatial, perceptual and chromatic relationships. Her practice seeks to create both spatial and conceptual connections between an artwork and its architectural location.

Michael Lett Gallery

27 John Nixon

Untitled

Enamel on jute 60 x 60

$15,000 - 20,000

Provenance

Acquired from Hamish McKay, Wellington

John Nixon is internationally recognised as a seminal figure in Australian art. For over 50 years, Nixon produced and exhibited abstract and conceptual works that extended the possibilities of radical modernism.

Nixon explored the truth of materials and his tools, giving voice to found and pre-used objects. Throughout his six-decade long career, Nixon remained dedicated to the exploration and furtherance of radical modernism.

With a focus on constructivist and minimalist principles, his work took many forms, including painting, collage, printmaking, drawing, photography, film, dance, experimental music, art theatre direction, graphic design, curating and teaching. He is also recognised as a frequent collaborator with and generous mentor to many artists across generations.

Nixon’s works are held in every major state museum collection in Australia. Selected international public collections that hold his work include the Solomon R. Guggenheim Museum, New York, Muzeum Sztuki, Łodź, Foire National d’Art Contemporain, Paris, Stiftung fur Konkrete Kunst, Reutlingen, The Artists Museum, Łodź; Herning Kunstmuseum, Denmark, Daimler Chrysler Collection, Berlin, Kunstmuseum Esbjerg, Denmark, Espace d’Art Contemporain, Demigny; and National Gallery of Contemporary Art, Seoul.

28 Et Al

Ibid. Public Projects, Rotoiti Lake

Screenprint on vinyl 84 x 118

$3,000 - 4,000

Provenance

Acquired from Hamish McKay, Wellington

In 2001 the artist working under the pseudonym L. Budd resigned, re-signing thereafter simply as “et al.” meaning “and others”. While L. Budd had been an inclusive signature throughout the late 1990s often signing as “L. Budd et al.”, hinting at the collaborative of unnamed parties, this was nonetheless a new beginning, a birth with an implicit end. Not the death of the author but the death of the individual signatory, and the emergence of a new collective framework, also anonymous.

29 Matt Griffin

Wasted (Pots and Rocks)

Collage with corrugated card frame

33.5 x 45.5

Signed, inscribed Wasted (Pots and Rocks) & dated 2011 verso

$1,500 - 2,500

Provenance

Acquired from Hamish McKay, Wellington

30 Billy Apple

Art for Youthline, 2006

Laser etched acrylic 23.5 x 14.5

Edition 13/24

$750 - 1,250

Provenance

Acquired from Hamish McKay, Wellington

31 Billy Apple

As Good as Gold

325ml bottle of Robard and Butler

Wine 24 x 6

$275 - 425

32 Michael Stevenson

How the Mighty Have Fallen Ink on newsprint screenprint 68 x 50

$2,200 - 4,200

Provenance

Acquired from Hamish McKay, Wellington

33 Michael Stevenson

Time for a Cup of Tea Ink on newsprint screenprint 68 x 50

$2,200 - 4,200

Provenance

Acquired from Hamish McKay, Wellington

Michael Stevenson uses historical research and reconstruction to produce installations and artworks that index social, economic and ideological global forces.

Based in Berlin since 2000, he was born in the small town of Inglewood and graduated from Auckland’s Elam School of Fine Arts in 1986.

Stevenson has exhibited widely and the subjects of his work range across late twentiethcentury political histories. He represented New Zealand at the 50th Venice Biennale (12 June-2 November 2003) with This is the Trekka (2003), an installation addressing colonial and Cold War influences on New Zealand nationalism.

Stevenson has also exhibited at the Tate Modern, London, Witte de With, Rotterdam, The Power Plant, Toronto and the Sculpture Center, New York, as well as biennials in Berlin, Panama, Athens, Liverpool, Sydney and Auckland. The survey exhibition Michael Stevenson was held at Sydney’s Museum of Contemporary Art, 6 April-19 June 2011.

34 Jan Van Der Ploeg

Untitled, Sale 2003

Paper, ready made multiple 23 x 31

$350 - 650

Jan van der Ploeg is well-known for his distinctive brand of lively pop-abstraction. He predominantly works between large-scale wall paintings, smaller paintings on canvas and board and print editions. Geometric patterns that often bring optical illusion into play have become increasingly synonymous with his practice.

His work continues to be exhibited extensively across Europe, North America and Oceania. Institutional highlights include: Hammer Museum, Los Angeles, MoMA PS1, New York, Ludwig Forum for International Art, Aachen, Kunsthaus Baselland, Basel, Museum for Concrete Art, Ingolstadt, Stedelijk Museum, Amsterdam.

35 Et Al

Untitled, Screenprint for the Venice Biennale

Screenprint, edition of 100 116 x 78

$1,500 - 2,500

Provenance

Acquired from Hamish McKay, Wellington

36 Marilyn Tweedle

Merely to Breathe was Enjoyment

Acrylic and ink on paper 30 x 85

$9,000 - 14,000

Provenance

Acquired from Hamish McKay, Wellington

37 Peter Peryer Passion Flower, 2012

Photographic print, pigment ink on Hahnemuhle Photo rag Paper, edition of 3/25 16 x 16

Signed, inscribed & dated 2012 verso

$1,600 - 2,200

Provenance

Acquired from The Young, Wellington

38 Rob Cherry Untitled, Simon & Garfunkel Acrylic sheet and record 30 x 30.5

$350 - 650

39 Hany Armanious

Crop Circles

Wax, shell, wood, resin & rubber 26.5 x 16.5

$9,000 - 14,000

Provenace

Acquired from Michael Lett Gallery

Egyptian-born artist Hany Armanious is best known for his sculptural work with casting. He was a key figure in Sydney’s grunge scene of the early 1990s and in 2011 was Australia’s representative at the Venice Biennale.

One of the most persistent features of Armanious’s work has been his fascination with the process of casting. It has become the backbone of his enquiry, as both method and subject.

His work exploits our tendency to make links between things which resemble one another in form, material, function and process.

Armanious was born in Egypt and grew up in Australia, where he gained a Bachelor of Visual Arts from the City Art Institute, Sydney in 1984. He has exhibited widely throughout Australasia, Europe and United States over the past two decades.

40 Ben Buchanan

Untitled, 1997

Vinyl adhesive tape on poster 61 x 44

$2,000 - 3,000

Provenance

Acquired from Hamish McKay, Wellington

41 Jan Van Der Ploeg

Grip

Acrylic on card 16 x 18.5

$600 - 1,200

Provenance

Acquired from Hamish McKay, Wellington

42 Iain Cheeseman

Hextreemist

Calf Skin 70 x 55

$750 - 1,250

Provenance

Acquired from The Young, Wellington

Cheeseman marries personal experience with a deeply critical and keen eye for what’s happening around the planet we call home. A published poet, as well as an established maker, Iain’s practice is wide-ranging and encompasses painting, carving, sculpture, embroidery, and woodworking

The materials he uses are diverse and vary between bodies of work, from self-milled timber, felt, found objects, embroidery, stainless steel tube and rod, welded PVC rod and paint. The art can be small and demanding or large-scale and skeletal. For Iain it is the impact of the artwork that has bearing on its presence, not necessarily its scale.

43 Lionel Budd

Lionel B is a Permanent Atom 1777

Acrylic on book shrinkwrap

electrics 41 x 29

$1,200 - 1,800

Provenance

Acquired from Hamish McKay, Wellington

44 Ronnie Van Hout

Monster

Type C print, edition 10/20 38 x 50

$2,500 - 3,500

Provenance

Acquired from Hamish McKay, Wellington

45 Gavin Hipkins

The White Oval

Rayogram photograph 40 x 30

Signed & dated 2000, edition 7/25 verso

$600 - 800

Provenance

Acquired from Hamish McKay, Wellington

46 Francesca Heinz Ponytail, 2014

Digital video on Sony Bravia tv, usb stick 67 x 42

$1,500 - 3,500

Provenance

Acquired from The Young, Wellington

Over the last two decades Hipkins has worked primarily within photography and moving image, exploring landscape traditions and postcolonial theory; digital montage and discourses of hybridity; photo and filmic experimental narrative structures.

Early in his career, New Zealand artist Gavin Hipkins was described by fellow artist Giovanni Intra as a ‘tourist of photography’. This epithet has been used repeatedly by commentators on Hipkins’ work to describe two intertwined aspects of his practice. As art historian Peter Brunt puts it, Hipkins is a constantly travelling photographer, ‘an iconographer of desire, travel, time and … modern communities’, and a tourist within the medium, ‘a great manipulator of the photographic artifact itself’.

Artist Bio’s

Tony De Latour 01 - 05

Tony de Lautour is a painter whose practice is characterised by a willingness to engage with culture in its entirety, integrating disparate imagery and ideas in work that is insightful and often provocative. He draws thematic and iconographical inspiration from such diverse sources as prison tattoos, corporate catalogues and post-quake rezoning maps. It is a unique visual language that seeks to illuminate the social and political realities of our time: the codes and contradictions, fears and follies that comprise an identity or a society.

De Lautour’s art is quirky and full of dark humour. His paintings have been included in numerous exhibitions in public galleries including the Te Manawa (Palmerston North), The Waikato Museum of Art & History in Hamilton and the Govett-Brewster Art Gallery in New Plymouth.

Seraphine Pick 14 - 15

Séraphine Pick’s original and imaginative practice has made her one of New Zealand’s most highly regarded painters.

For the past thirty years, Pick has engaged with figments of memory and explored the body as a site of consciousness in her painting practice. She graduated from University of Canterbury’s Ilam School of Fine Arts in 1988, and quickly established herself as an artist of note. After a number of strong showings, she was awarded the Olivia Spencer Bower Award in 1994 and the Rita Angus Residency in 1995. She followed this up with the illustrious Frances Hodgkins Fellowship in 1999.

Pick’s paintings can be found in such public collections as Auckland Art Gallery Toi o Tāmaki, Christchurch Art Gallery Te Puna o Waiwhetū, National Gallery of Victoria, Melbourne and Museum of New Zealand Te Papa Tongarewa.

Rose Nolan 06 - 07

Rose Nolan is a Melbourne-based artist who works across a range of mediums including painting, sculpture, photography and printmaking. Her practice regularly oscillates between the discrete and the monumental and is informed by a strong interest in architecture, interior and graphic design combining formal concerns with the legacies of modernism.

Establishing her practice in the mid-1980s, Nolan belongs to a generation of Australian artists who grappled with what being an artist meant in the wake of the end of the belief in the idea of an artistic avant-garde.

Nolan typically employs a radically reduced palette of red and white, and simple utilitarian materials and methods, in an exploration of personal, playful and often self-effacing narratives.

Simon Attwooll 16 - 17

Slipping between mediums: not quite painting, or printmaking, nor object-based practice, Simon Attwooll manoeuvres between analogue and digital using found photographs in his artistic practice.

In a time when photography often only exists in a digitised form Attwooll encourages an alternative method of engagement. Attwooll’s works explore the nuances in our relationship to them and encourage us to re-examine our relationship to the photographic image and object.

Diena Georgetti is an Australian contemporary artist born in Alice Springs, Australia and currently based in Melbourne, Australia. Her works been displayed in galleries across Australia, including the National Gallery of Victoria, Institute of Modern Art in Brisbane and the Gallery of South Australia.

Georgetti creates complex abstract paintings derived from diverse source material, including early 20th century art historical movements as Constructivism, Cubism and Dada.

Rohan Wealleans 23 -24

Rohan Wealleans is known for layering colour upon colour, then carving into it.

Auckland-based artist is obsessed with paint’s literal, material qualities, but he is equally concerned with metaphor. In his work, paint always transforming, becoming something else.

Wealleans completed a Master of Fine Arts painting at the University of Auckland in and in the same year won the Waikato Art In 2006 he was the winner of the 15th Annual Wallace Art Award. Since 2001, Wealleans exhibited regularly both in New Zealand internationally.

Rob Cherry 18 - 22, 38

Rob Cherry is a self-taught, multi-media whose work includes lyrically abstract mobiles, unorthodox watercolours and collages. He has exhibited since 1988, participating group exhibitions at the City Gallery Wellington, Dunedin Public Art Gallery, Govett -Brewster Gallery, New Plymouth and the Christchurch Gallery. His exhibitions have been profiled in America and Sculpture magazines.

contemporary currently have Australia, Victoria, the the Art paintings including such

Saskia Leek’s paintings are exercises in subterfuge. Generally small in size and painted on board, Leek’s works repurpose imagery that is essentially stock to the Western canon. Often, the artist presents her subject matter at a distance. Firstly, there is physical distance: the object of focus exists in the middle ground, just out of reach of total comprehension. Then, through light and colour, these forms teeter towards abstraction.

Leek’s work is included in the collections of Museum of New Zealand Te Papa Tongarewa, Wellington, Auckland City Art Gallery, GovettBrewster Art Gallery, New Plymouth and Dunedin Public Art Gallery.

Mikala

Dwyer 12

Mikala Dwyer is a Sydney-based artist known for her playful, fantastical installations that explore matter and alchemical metamorphosis. Influenced by early 20th-century art movements, including dada, constructivism and arte povera, her work pushes at the traditional limits of performance, sculpture and installation. She integrates all kinds of materials – from plants, mirrors, trinkets, fabric and perspex to clay, helium, wood, paint and wool – in different combinations, exploring the relationship between viewers and objects.

Her installations and sculptures are experimental and experiential architectures that play with the permeable and changeable nature of objects and our relationship with them.

Michael Harrison 13

Michael Harrison’s light, ethereal works convey a beguiling sense of intimacy, developing his own personal iconography which draws on a wide range of influences. He gradually builds each painting using layers of light watercolour wash and subtle tonal modelling. His delicate compositions of people and animals highlight the importance of relationships, the desire for contact, both physical and emotional and the loneliness of its absence.

Ben Buchanan 40

Arts in 2003 Prize. Annual Wealleans has and

Michael Parekowhai 25

Michael Parekowhai is an Auckland-based sculptor, photographer and installation artist. Born in Porirua, Michael Parekōwhai is one of New Zealand’s most important contemporary artists. Images of camaraderie, tools for learning and music are reoccurring motifs in Parekōwhai’s work. He makes popular culture, art history and the everyday complex through a playful layering of signifiers.

In 2001, Parekōwhai was given an Arts Foundation Laureate Award, and a major survey of his work, *The Promised Land*, was staged at GOMA, Brisbane, in 2015.

Peter Peryer 37

Peter Peryer began photographing in 1973 at the age of thirty-two after initially pursuing a teaching career. His career which spanned over forty years was rich and varied, his photography practice taking him around New Zealand, Europe, USA and the sub Antarctic.

His work played a key role in the recognition of the medium in the New Zealand art world and particularly in the New Zealand art market. Peryer seldom worked in series, preferring to make unique images of specific subjects—his definitive image of this or that.

Buchanan’s obsession with abstraction, pattern making, music and popular culture has seen him develop a highly idiosyncratic style and way of making art. His current practice is primarily focused on translating modernist abstraction into hyper contemporary context. His fantastic sense of colour and form see the works shift and pulsate through a myriad of colour combinations and effects creating a psychedelic and hypnotic vibe. Through his hand crafted process the hard edges of the cut vinyl initially appear as grid like perfection but on closer inspection the works slowly reveal an organic quality, warming up and creating an open ended space which responds to the viewers perceptions. Buchanan’s practice swings between the intimate and the monumental, ranging from small works on paper to huge site specific installation.

artist mobiles, participating in Wellington, -Brewster Art

Christchurch Art in Art paint, The paint’s equally paint is else.

Jan Van Der Ploeg 41

Jan van der Ploeg is well-known for his distinctive brand of lively pop-abstraction. He predominantly works between large-scale wall paintings, smaller paintings on canvas and board, and print editions.

Geometric patterns that often bring optical illusion into play have become increasingly synonymous with his practice.

His works are widely collected and are held in all major New Zealand institutions, and internationally, including the Bibliotheque Nationale in Paris and the Australian National Gallery in Canberra. Peryer is a New Zealand Arts Foundation Laureate.

Titled inscribed, signed and dated 2011 verso

$10,000 - 15,000

and dated ‘07

$5,000 - 8,000

$4,500 - 6,500 and

Dated 9/11/17

Screenprint on wove paper, edition

2/45 107 x 81

Signed

$3,500 - 4,500

by Waddington Graphics, London

Screenprint on wove paper, edition 2/45 107 x 81

Signed

$3,500 - 4,500

Published by Waddington Graphics, London 1990

53 Patrick Caulfield CBE, RA Arita Flask

Screenprint on wove paper, edition

2/45 107 x 81

Signed

$3,500 - 4,500

Published by Waddington Graphics, London 1990

54 Patrick Caulfield CBE, RA Lamp and Kuan Ware

Screenprint on wove paper, edition

2/45 107 x 81

Signed

$3,500 - 4,500

Published by Waddington Graphics, London 1990

55 Patrick Caulfield CBE, RA Ipanema

Glazed lithograph on bone china, edition 203/500 30 x 30

$500 - 800

56 Sir Terry Frost

Spirals

Silkscreen print and collage on arches paper, edition 52/125 55 x 68

Signed

$2,000 - 4,000

Provenance

The Mall Galleries, London

Concordia II

Screenprint with woodblock on wove paper, edition 62/195 52 x 68

Signed, inscribed & dated 1997

$1,000 - 2,000

Published by Advanced Graphics, London

58 Albert Irvin R.A

Concordia I

Screenprint with woodblock on woven paper, edition 54/195 52 x 68

Signed, inscribed & dated 1997

$1,000 - 2,000

Published by Advanced Graphics, London

59 Albert Irvin R.A

Concordia III

Screenprint with woodblock on wove paper, edition 145/195 52 x 68

Signed, inscribed & dated 1997

$1,000 - 2,000

Published by Advanced Graphics, London

60 Albert Irvin R.A O’Connell

Screenprint with woodblock on wove paper, edition 50/225 59 x 75

Signed, inscribed & dated 1995

$1,500 - 2,500

Published by Advanced Graphics, London

61 Albert Irvin R.A Montcada II

Screenprint on wove paper, edition AP IV/X of 90 86 x 70

Signed, inscribed & dated 1993

$2,000 - 3,000

Published by Advanced Graphics, London

Albert Irvin R.A Merrion

Screenprint with woodblock on wove paper, edition 96/225 59 x 78.5

Signed, inscribed & dated 1996

$1,500 - 2,500

Published by Advanced Graphics, London

63 Barbara Hepworth

Three Forms, from Opposing Forms 1969

Screenprint in colours on TH Saunders paper, edition A/P 77.5 x 58

Signed

$4,500 - 6,500

Printed & publ. Curwen Studio, London

64 Patrick Heron CBE

Six in Vermillion with Green in Yellow 1970

Screenprint, edition 38/100 77.5 x 59

Signed & dated 1970

5,500 - 7,500

$4,500 - 6,500

66 John Piper

Eye and Camera - Red, Blue, Yellow

Screenprint on Grand Vélin

Arches Paper, edition of 150 59 x 75

Signed & dated 1980

$2,000 - 3,000

Published by Kelpra Editions and the Tate Gallery

65 William Tillyer

Living by the Esk - De Stijl Woodcut with collage print, edition 4/60

70.5 x 80.5

Signed & dated 1983

$1,500 - 2,500

Published by Bernard Jacbson, London, 1983

Signed & dated 1970

$1,000 - 2,000

Signed & dated 1970

$1,500 - 2,000

69 Howard Hodgkin

Artist and Model (in green and yellow)

150 XX/XXX

Soft-ground etching & watercolour on wove, edition of 100 81 x 102

Initialled & dated 1980

$4,500 - 6,500

Published by Petersburg Press, London

70 Jacob Love

Green P6MA Press, From the Interior

Profile Series 2014

Inkjet print, edition 1/5 45 x 45

Signed

$1,000 - 1,500

71 Jacob Love

Red P6MA Press 1/5, From the Interiro

Profile Series 2014

Inkjet print, edition 2/5 45 x 45

Signed

$1,000 - 1,500

73 Jacob Love

Orange P6MA Press, From the Interior

Profile Series 2014

Inkjet print, edition 2/5 45 x 45

Signed

$1,000 - 1,500

72 Jacob Love

Red P6MA Press, From the Interior Profile Series 2014

Inkjet print, edition A/P 17.5 x 17.5

Signed

$250 - 350

74 Jacob Love

Blue P6MA Press, From the Interior

Profile Series 2014

Inkjet print, edtion 1/5 45 x 45

Signed

$1,500 - 2,000

75 Gerald Laing Pendulum

Screenprint on woven paper, edition

39/70 89 x 58.5

Signed & dated 1987

$1,000 - 2,000

Published by Marlborough Fine Art, London

76 Stanley Hayter Aquarius Suite III

Silkscreen 71 x 58.5

Signed & dated 1970

$1,000 - 2,000

The Ring Cycle Series, I - V Etching, edition 21/40 44 x 59.5

Signed, inscribed & dated 1988, 5 etchings Unframed in folder

$800 - 1,200

Burnt

Serigraph, edition 25/75 94 x 74

Signed & inscribed

$1,800 - 2,800

79 Allen Jones

Woman-Splash (Kneeling Woman)

Lithograph in colours on Arches Paper, edition 51/65 66 x 50

Signed & dated 1970

$1,000 - 2,000

Published by Edition Galerie, Wolfgang Ketterer, Munich

80 Allen Jones Head

Lithograph on Rives wove paper, edition 67/75 76 x 56.5

Signed & dated 1967

$1,500 - 2,500

Patrick Caulfield CBE, RA 50 - 55

Patrick Caulfield was born in Acton, West London. He studied at the Chelsea School of Art (19561960) and at the Royal College of Art (19603) where his contemporaries included David Hockney and Allen Jones. He subsequently taught at Chelsea School of Art (1963–71), and in 1964 was included in the New Generation exhibition at the Whitechapel Gallery, which resulted in him being associated with the Pop art movement. Caulfield was and remained opposed to this label, seeing himself rather as “a ‘formal’ artist”.

White Ware Prints is a portfolio of eight screenprints published in an edition of 45, with 13 proofs of each image, by Waddington Graphics, London. The subject of each print is a single white ceramic pot set against a dark background. Caulfield explained that the inspiration for this series came from the Victoria & Albert Museum, in particular its published catalogues of oriental ceramics. The colour of the background varies from print to print, while there are accents of other, brighter hues, and an dominant part of the composition in several prints is a strong source of light emanating from top right.

Howard Hodgkin 69

Sir Gordon Howard Eliott Hodgkin CH CBE was a British painter and printmaker. His work is most often associated with abstraction. Soft-ground etching from two copper plates printed in sepia, with hand colouring in water colour (a yellow wash background) and green gouache. On Stonebridge mould-made etching paper.

Sir Terry Frost 56

Sir Terry Frost was born in Leamington Spa, England. He started painting in 1943 when a prisoner of war, and then studied under Victor Pasmore at the Camberwell School of Art in London (1947-50). At Camberwell he came into contact with the work of the St Ives artists Ben Nicholson, Barbara Hepworth, Peter Lanyon and Roger Hilton who, among others, influenced the development of his own abstract style. Frost believed that painting and printmaking were inseparable, and that each medium informed the other. Prints were therefore an essential element of his oeuvre, which encompassed etching, linocut, woodcut and drypoint etching, while bold colours and simplified geometric forms distinguished both his paintings and prints.

Stanley Hayter 67 - 68

Stanley William Hayter CBE was an English painter and master printmaker associated in the 1930s with surrealism and from 1940 onward with abstract expressionism. Regarded as one of the most significant printmakers of the 20th century, in 1927 Hayter founded the legendary Atelier 17 studio in Paris.

John Lethbridge 77

John Lethbridge studied at the Wellington Design School and the Elam School of Fine Arts in Auckland before moving to Australia in 1975, where he has since established a successful career as an artist. Well-regarded for his sculpture, photographs and drawings, Lethbridge has also held an interest in printmaking since his early period in New Zealand. The subconscious, dreamlike imagery of Lethbridge’s Ring Cycle series centres around a floating ring with pipes protruding from the sides while various surreal dramas take place in each work.

Albert Irvin R.A 57 - 62

Albert Irvin studied at Northampton School of Art from 1940 to 1941, before serving as a navigator in the RAF during World War II. He went on to study at Goldsmiths College where he later returned to teach between 1962 and 1983. He also taught at art colleges throughout Britain. Irvin’s first solo exhibition was held in 1960 at 57 Gallery, London. A major retrospective of his work from 1960 to 1989 was held at the Serpentine Gallery, London in 1990. He continued to exhibit regularly at Gimpel Fils, London. Irvin was awarded a Travel Award to America by the Arts Council in 1968 and later received an Arts Council Major Award. He was elected a Royal Academician in 1998 and lived and worked in London. Paul Moorhouse, Tate curator and author of the book Albert Irvin: Life to Painting, wrote of him: “even to those familiar with his work, seeing a new painting by Irvin can be an extraordinary experience akin to discovering a young, energetic artist in the first flush of ambition. Given the force of its restless energy, its freshness and the sense it communicates of an artist in love with his chosen activity, it is even more surprising to realise that this is the work of an artist in his late seventies.”

Irvin’s work developed from a time when he considered that in order to give the necessary gravitas to a painting it had to be dark and sombre, through to a growing realisation that high key colour can be crucial in the achievement of full expressive and communicative force. His work was exhibited in the Sir Hugh Casson Room for Friends at the Royal Academy in 2011.

Bruce McLean 69 & 103

Bruce McLean (born 1944) is a Scottish sculptor, performance artist and painter.

McLean was born in Glasgow and studied at Glasgow School of Art from 1961 to 1963, and at Saint Martin’s School of Art, London, from 1963 to 1966. At Saint Martin’s, McLean studied with Anthony Caro and Phillip King. In reaction to what he regarded as the academicism of his teachers he began making sculpture from rubbish.

McLean has produced paintings, ceramics, prints, work with film, theatre and books. McLean was Head of Graduate Painting at The Slade School of Fine Art London He has had one man exhibitions including Tate Gallery in London, The Modern Art Gallery in Vienna and Museum of Modern Art, Oxford.

In 1985, he won the John Moores Painting Prize. McLean lives and works in London

Gerald Laing 75

Gerald Laing was one of the most significant artists in both the American and British Pop art movements. He studied at the Saint Martin’s School of Art, where he established the newsprint painting style depicting newspaper images of pop culture icons on large canvases. His portrait of Brigitte Bardot, BB (1968), is his most recognizable work. On a visit to New York, he met and later exhibited with Pop artists Andy Warhol, Roy Lichtenstein, and Robert Indiana, the latter of whom he worked for as a studio assistant. After a 30 year focus on sculpture, Laing resumed painting in the newspaper style to create works critiquing the war crimes at Abu Ghraib and commenting on celebrity culture with a series of Amy Winehouse images like Gethsemane (2008). His work is in the collections of the Tate Modern, the Museum of Modern Art, and the Whitney Museum of American Art.

Allen Jones 79 & 80

Painter and sculptor Allen Jones was a seminal— and controversial—member of the British Pop art movement; he’s renowned for highly sexual figurative works that raise questions about the representation and objectification of women. Jones rose to infamy in the 1960s with a series of sculptures that depicted women as furniture, posed for submission and clad in fetishwear. Feminists derided these pieces, yet the female form remained Jones’s primary subject. He has made photographs—notably of Kate Moss in a gold breastplate of his design—and stylized oil paintings, watercolors, and prints that reference fashion, dancing, and cabaret. Jones has exhibited in London, Zürich, Hong Kong, Shanghai, St. Louis, and Lisbon. His work sells for millions on the secondary market and belongs in the collections of the Museum of Modern Art, the Tate, the National Portrait Gallery in London, the Stedelijk Museum, the Whitney Museum of American Art, the Hirshhorn Museum and Sculpture Garden, and the Nagaoka Museum, among other institutions.

Jacob Love 70 - 74

Jacob Love was born in the U.K. and studied at the University of the West of England (BA(Hons), 2005) and Goldsmiths, University of London (MA, 2008). Since 2008 he has been a lecturer in photography at Goldsmiths. His art practice spans photography, video, film, design, installation and dance, and his work deals with sex, sexuality, interior worlds, interior design, loneliness and the obsessive culture of photographic image production and consumption.

Love’s interest in the power of photographic images to transcend matters of representation has been examined in his series of prints, based on wallpaper patterns. His inkjet print, Blue P6MA Press, consists of a grid of images of repeated images, presented kaleidoscopically, which on closer inspection are found to consist of assemblages of parts of the male anatomy.

William Tillyer 65

William Tillyer was born in Middlesbrough, northern England, and studied painting at the Middlesbrough College of Art (1956–9), before moving south to London in the 1960s to study at the Slade School of Art, with painting as his main subject and printmaking as his subsidiary. Following his time at the Slade, Tillyer took up a French Government Scholarship to study gravure under Stanley William Hayter, at Atelier 17 in Paris. In 1963 he returned to England. In 1959 two of Tillyer’s paintings were accepted for the Young Contemporaries, the tenth in a series of annual exhibitions showcasing the best work done by students in England’s art schools. Tillyer’s first major exhibition was held at the Arnolfini Gallery in Bristol in 1970 and consisted of 33 etchings, three of which were immediately purchased for the British Council Collection. Those prints were created by a variety of techniques, including etching and five-tone screenprinting. In addition to printing and painting in watercolors, oils and acrylics, Tillyer has used a variety of other materials and techniques, such as three-dimensional panels and canvases stretched together with string. His work is distinguished by its changing nature, and its concern with the very nature of painting itself.

Barbara Hepworth 63

Hepworth used the process of printing to work on ideas which would eventually translate into sculpture, creating an abstract sense of space, form and texture through the use of transparent smooth layers and bold mark-making.

81 Maurice Picaud (Pico)

Folies Bergeres

Bas-relief 49.5 x 48

$3,000 - 5,000

Maurice Picaud Pico was a French architect, interior designer and one time designer for Ruhlmann furniture who created the dancing lady facade over the entrance to the Folies Bergere building in Paris in 1926. The facade depicts the dancer Lila Nikolska, who posed for the sculpture. A comprehensive account of this decoration can be found in the book by Gilles Neret entitled ‘The Arts of the Twenties’.

82 Bob Carlos-Clarke

Marco with Meat Cleaver 1990

Giclee print, edition of 3/25 99.5 x 73.5

Signed & dated April 2008 verso

$4,000 - 6,000

A limited edition print released by The Estate of Bob Carlos Clarke, to coincide with the 25th anniversary edition of the classic book ‘White Heat’ by Marco Pierre White and Bob Carlos

Screenprint, edition 1/20 27 x 36.5

Signed, inscribed & date 1986

$1,000 - 2,000

Oil on board 23.5 x 26

Signed

$800 - 1,200

85 Tony Lane

Hill, Clouds, Trees

Oil on linen 40 x 50

Signed & dated 8.10

$3,000 - 5,000

86 Alan Pearson

Tightrope Walkers Symphony

Oil, oil pastel & graphite on paper 47 x 64

Signed & dated 1988

$3,000 - 5,000

88 Alexander Calder Homage to Euclid Lithograph 52 x 72

Certificate of authenticity affixed verso

$3,000 - 5,000

$7,000 - 9,000

Screenprint, edition 9/25 42 x 55.5

Signed, inscribed & dated 2005

$4,000 - 6,000

Automotive paint on fibreglass 42 x 14

$34,000 - 38,000

91 Peter Siddell Auckland Oil on board 42 x 35

Signed & dated 1970

$3,000 - 5,000

92 Philip Clairmont

The Cold War

Graphite and ink on paper 20 x 31.5

Signed & dated

$1,800 - 3,200

on board 44 x 75

Signed lower right

$5,000 - 8,000

86 x 55

Signed lower left

$5,000 - 8,000

95 Andy Leleisi’uao

Clouded Diaspora, 2020

Acrylic on canvas 41 x 60.5

Signed

$4,000 - 5,000

96 Andy Leleisi’uao

Crepuscular Walk, 2023

Acrylic on canvas 50 x 40

Signed

$3,800 - 4,800

Otago Peninsula from the Studio at Port Chalmers

Ink and wash 44 x 69

Signed & dated 3-1972

Titled, inscribed ‘to Maria from Ralph’ and dated 72 lower right

$7,000 - 10,000

98 Piera Mcarthur

The Pianist, 1997

Acrylic on canvas 71 x 61

Signed & dated 1997

$3,500 - 5,000

99 Pat Hanly

Arabian Nights, RNZ Ballet 1995

Screenprint, edition 91/101 0 x 0

Signed, inscribed & dated 1995

$2,500 - 3,500

Resting Horse, 1981

Color lithograph, on wove paper, edition 7/100 59 x 78

Signed lower right

$3,000 - 5,000

The Ghosts in the Morning Screenprint, edition 93/100, 48 x 68

Signed, numbered & inscribed

$200 - 400

Untitled Cloisonne enamel and gilt leaf on copper 22.5 x 9.5

$1,200 - 1,400

Lithograph on paper, edition 50/100

69 x 50.5

Lithograph on bone china,

203/500 30 x 30

Signed, inscribed & dated 2008

$3,000 - 4,000

Lithograph, edtion 19/24 76 x 64

Signed & dated 1995

$1,500 - 2,500

Untitled

Watercolour 27.5 x 34

Signed & dated 1965 lower right

$3,500 - 4,500

Signed lower right & dated (indistinct) 69

$3,500 - 4,500

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 forth with 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 4:00pm Friday 27 October 2023 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 whilst auction is in progress. Payment can also not be made until completion of auction.

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 buyers premium.

Absentee Bids

Absentee bidding arranged - please refer to absentee bidding in back of catalogue. Email to info@internationalartcentre.co.nz before 3pm day of sale. Please do not be offended if a member of our staff ask for your credit card details as security.

Absentee bids can also be left via our website to registered members. Our website www.internationalartcentre.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.

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International Art Centre no longer accepts cheques or cash.

Protected Objects Act

Art objects over 50 years old made by an artist or maker born in or related to New Zealand may be protected New Zealand objects, and therefore require permission from the Ministry for Culture and Heritage in order to be exported. Applications for permission to export can be made at https://mch.govt.nz/nz-identity-heritage/ protected-objects/exporting

Freight & Packing

International Art Centre arrange door to door delivery both nationally and internationally. Please arrange insurance on your items prior to them leaving our premises. Uber deliveries within the wider Auckland area can also be arranged.

Other Enquiries

Should you have any questions relating to the sale or if we can be of any other assistance please contact us during business hours on (09) 379 4010, Toll Free 0800 800 322 or email info@internationalartcentre.co.nz

Buyers Premium

17.5% Buyers premium plus GST on premium applies to all lots. (Total buyers premium is 20.12% including GST)

Always Consigning

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. With over 50 years in business, experience continues to equal results. Due to an appreciative, and greatly valued clientele of nationwide and international buyers and sellers we look forward to breaking new ground. Charles Frederick Goldie, Colin McCahon, Felix Kelly, Gottfried Lindauer and Frances Hodgkins are just some of the highlighted artist’s we seek for these sales.

Single Owner Collections

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. International Art Centre 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 which have been established by International Art Centre both 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, Treasures from the Dame Kiri Te Kanawa Collection, the Spark Foundation Collection, and a selection of works from the Fletcher Trust Collection.

Collectable

The buzz generated by International Art Centre’s 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, this is an exciting opportunity to unearth some real treasures. The Collectable Art sale offers 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. These sales present an exciting offering of both painting and sculpture by a range of our modern and contemporary greats.

ART at HOME

Our Art at Home sale offer astute collectors the opportunity to browse and acquire a diverse array of contemporary art, from emerging newcomers to established staples. Artists shown in this auction practice across a diverse range of media including photography, painting and printmaking.