Important, Early & Rare

Important,Early& Rare 6:30pm Thursday 29th March 2012

Directors: Grahame Chote, Richard Thomson & Frances Davies272 PARNELL RD, AUCKLAND, PO BOX 37 344 TEL (09) 379 4010

FAX (09) 307 3421 www.fineartauction.co.nz

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Important,Early& Rare 6:30pm Thursday 29th March

Scarborough Gallery, International Art Centre,

Lower Ground Level, 272 Parnell Road, Parnell, Auckland

Viewing Times Page 3

Index Page 107

Conditions of Sale Page 108

Absentee Bid Form Page 105

Cover Illustration: Lot 40

Inside Front Cover: Lot 2

Inside Back Cover: Lot 36

Back Cover: Lot 21

272 Parnell Road Auckland New Zealand Ph +64 9 379 4010 www.fineartauction.co.nz

T H E O N L Y A U C T I O N E E R S O F P I C T U R E S E X C L U S I V E L Y

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2 Important, Early & Rare Thursday 29 March 2012

Auction ContactsRichard Thomson Frances Davies

Ph: 09 379 4002 Ph: 09 379 4010

[email protected] [email protected]

Mobile: 027 4751 071 Mobile: 027 4936 360

Auction administration James Watkins

Luke Davies Ph: 09 366 6045

Ph: 09 379 4010 [email protected]

[email protected]

Trish Young www.fineartauction.co.nz

Ph: 09 366 6045 Skype: fineartauction

[email protected] [email protected]

Auction VenueScarborough Gallery, International Art Centre, Lower Ground Level, 272 Parnell Road, Auckland.

On Evening of Sale:Please join us in our main gallery from 5.30pm for a glass of wine and refreshments. Coffee served before and during auction. For your additional comfort and viewing pleasure our street level gallery remains open until sale completion.

Car ParkingParking During Viewing Days:Available on site during weekend viewing, Saturday 24th & Sunday 25th March. Use Scarborough Lane entrance beneath our main gallery. During other viewing times on site parking is available on request.

Parking During Auction:Limited parking is available on site. Use Scarborough Lane entrance beneath our main gallery to access these carparks on evening of sale. Parking on Parnell Road is free after 6:00pm. A secure two level pay and display carpark

is located at 282 Parnell Road.

Location map

Works purchased may be uplifted at close of sale or Friday 30th March 9.30am - 5.00pm.

Payment may not be made during sale.

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Viewing TimesInternational Art Centre’s Scarborough Gallery,

Lower Ground Level, 272 Parnell Road, Auckland

Friday 23rd March 9:00am - 5:00pm Morning Tea Lecture 10:30am - 11:30am

Saturday 24th March 11:00am - 4:00pm

Sunday 25th March 11:00am - 4:00pm

Monday 26th March 9:00am - 5:30pm

Tuesday 27th March 9:00am - 5:30pm

Wednesday 28th March 9:00am - 5:00pm

Thursday 29th March 9:00am - 1:00pm (Auction 6:30pm)


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2011at a glance

International Art Centre’s 40th Anniversary year saw consistently positive results

achieved at auction in both the Historical and Contemporary markets. Strong

confidence resulted in the Important Early & Rare auctions alone generating

sales in excess of $3.5million. Extraordinary results were also witnessed in our

increasingly popular Contemporary & Collectable art auctions. We look forward

to welcoming you to our forthcoming sales and in our 41st year we wish all our

friends and clients a prosperous and successful 2012.



6 Important, Early & Rare Thursday 29 March 2012LUCI HARRISON PHOTOGRAPHYwww.luci.co.nz

7The Only Auctioneers of Pictures Exclusively


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Dr Angela Mackie of the Cathedral LecturesEdwin Harris to Ralph Hotere

RSVP Luke Davies

[email protected] Phone 09 379 4010

Harristo

HOTEREPreview Lecture & Morning Tea

Friday 23rd March 10:30am

Dr Angela Mackie Cathedral Lectureswww.duomo.ac.nz

EDWIN HARRIS c. 1810 - 1895

RALPH HOTERE b. 1931

JOHN BARR CLARKE HOYTE 1835 - 1913

GEOFF THORNLEY b. 1940


2 PETER SIDDELL Suburban Cloud Oil on board 36 x 50 Signed & dated 1986 Inscribed verso 15,000 - 25,000

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1 PETER SIDDELL 1935 - 2011 Five O’ Clock (Westwards) Oil on board 40.5 x 31 Signed 14,000 - 18,000

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5 OLIVIA SPENCER BOWER 1905 - 1982 Lake Ohau Watercolour 53 x 71 Signed 4,000 - 6,000

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3 E MERVYN TAYLOR 1906 - 1964 The Sacred White Heron Wood engraving, Edition of 40 17 x 13.5 Signed & inscribed 1,000 - 1,500

4 DON BINNEY b. 1940 Whatipu Pastel on paper 25.5 x 38 Signed & dated 1985 3,500 - 4,500

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6 BRENT WONG b. 1945 Islands - Clouds, 2004 Oil on board 26 x 38.5 Signed & dated 2004 Inscribed Painted at Muriwai & dated 2004 verso 7,000 - 10,000

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7 PETER SIDDELL 1935 - 2011 Borghese Alkyds and liquin on canvas 22 x 38 Signed & dated 1994 Inscribed verso 7,000 - 10,000

Provenance: Private Collection, Auckland Illustrated p. 171, The Art of Peter Siddell, Peter Siddell Godwit 2011

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Using a small, almost postcard like format in the images of Italian and French cities, Siddell again imbues his images with skies that are paradoxically expressive and static creating an otherworldly light that transforms and elevates the commonplace. In Borghese the campanile and domes of Rome are silhouetted by the glow of the morning (or is it evening) twilight; above this band of light cowers a sky heavy with grey and the image is heavy with portent, of what? Ambiguity surreptitiously underpins these works of apparent simplicity. It is in comparing these "foreign" images with local images that we gain further insight into the ways in which these paintings work. In Borghese a palm tree stands sentinel over the silent city, its natural jagged form simultaneously echoes and contrasts with the smooth, perfect man-made domes. Note affixed verso.


8 ALLEN MADDOX 1948 - 2000 A Hedonist’s Philosophy on Abstraction Triptych Oil on hessian 185.5 x 327 Signed, inscribed & dated 1977 11,000 - 15,000

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10 FREDERICK HUNDERTWASSER 1928 - 2000 Hommage à Schroeder-Sonnenstern, 1972 Silkscreen with metalic embossing - edition of 4200, 92 x 68 Stamped signatures, numbered & inscribed 1,500 - 2,000

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9 ERIC LEE JOHNSON 1908 - 1993 Eagle Indelible ink on paper 30.5 x 50 Signed 2,500 - 3,500

Provenance: Purchased by current owner from the artist, 1969 Exhibited ASA Gallery, August 4 - 15 1969 Original label affixed verso

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12 BRENT WONG b. 1945 Clouds, Headland - Field with Posts, 2004 Acrylic on board 46.7 x 63.2 Signed & dated 2004 Inscribed Painted at Muriwai & dated 2004 verso 12,000 - 15,000

11 PETER SIDDELL 1935 - 2011 Evening Window Oil on board 41 x 31 Signed & dated 1986 Inscribed verso 14,000 - 18,000

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14 CHARLES TOLE 1903 - 1988 Landscape with Mount Oil on board 40.4 x 58.7 Signed & dated 1974 Original artist’s label affixed verso 8,000 - 12,000

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13 GARTH TAPPER 1927 - 1999 The Judge Oil on board 38 x 30 4,000 - 6,000

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16 GARTH TAPPER 1927 - 1999 Sunday Afternoon Oil on board 78 x 100 Signed 12,000 - 16,000

Provenance: Private Collection, NSW

15 DOUGLAS MACDIARMID b. 1922 Alps Mountains Oil on board 24.2 x 32.8 Signed & dated 1962. Inscribed verso 2,500 - 3,500

Provenance: Private Collection, London since 1962

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18 JOHN WEEKS 1886 - 1965 Auckland Foundry Oil on paper 53.2 x 65.6 8,000 - 12,000

17 SYDNEY LOUGH THOMPSON 1877 - 1973 Market in Brittany Oil on board 35 x 43 Signed 15,000 - 20,000

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19 BEATRIX DOBIE 1887 - 1945 Horse in a Landscape ‘The Fence’ Oil on canvas laid on wood 26 x 35 Signed Original label affixed verso reads: Royal Academy 1925 / Miss Beatrix Dobie / 57 St Stephens House / Westminster / Title : The Fence, (?), New Zealand 2,000 - 3,000

Provenance: Private Collection, France

20 ROBERT NETTLETON FIELD 1899 - 1987 Untitled - A Bend on the Clutha or Taieri River Watercolour 13.5 x 18 Signed & dated 1940 2,000 - 3,000

Our thanks to artist’s sons Jonathan & Kit Field and Anna Petersen of Hocken Library for their valued assistance in cataloguing this lot

21 A LOIS WHITE 1903 - 1984 Birds and Foliage Varnished watercolour 38.5 x 28 18,000 - 26,000

Provenance: Private Collection Auckland acquired from artist

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23 FRANCIS MCCRACKEN 1879 - 1959 Riverside Market Stalls Watercolour 43 x 49 Signed 2,500 - 3,500

Provenance: Estate of John Weeks 1886 - 1967

24 JOHN WEEKS 1886 - 1965 Still Life Tempera on paper 42.5 x 52.5 4,000 - 6,000

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22 ROBERT HERDMAN-SMITH 1872 - 1937 Entrance to Arab Bazaar, Cairo Watercolour 37 x 31 Signed 2,000 - 3,000

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25 GARTH TAPPER 1927 - 1999 Winters Night Oil on board 60 x 81 Signed 8,000 - 12,000

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26 JOHN WEEKS 1886 - 1965 Facades at Night Tempera on board 75 x 62 8,000 - 12,000

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27 JAMES COOK 1904 - 1960 Egg Market, Gerona Oil on canvas 56 x 76.5 2,500 - 3,500 Original label affixed verso

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28 FELIX KELLY 1916 - 1994 The Garden Room Oil on board 56 x 43 Signed & dated 1952 10,000 - 15,000

Exhibited: Felix Kelly: Paintings of America, Spain, Italy & New Zealand, Cat. no. 20, December 1952 The Leicester Galleries, Leicester Square, London

Reference: p. 274 The Art and Life of Felix Kelly, Donald Bassett, Darrow Press 2008

The life of expatriate artist Felix Kelly (1914 - 1994) is as intriguing as his work. Born in Epsom, Auckland he attended Kings College but left New Zealand aged 21 years for the bright lights of London. Befriended and patronised by many leading society figures of the day, Kelly exhibited alongside Lucien Freud, Julian Trevelyan and on one occasion Frances Hodgkins. A life of glamour and creativity ensued.

Kelly painted the famous Garden Room Murals at Castle Howard, where the ITV series Brideshead Revisited was filmed, designed theatre sets for Sir John Gielgud and Dame Sybil Thorndike and illustrated magazines such as Harper’s Bazaar. Kelly’s distinctive work, rarely seen at auction, is held in British and American collections, Te Papa and Hawke’s Bay Museum and Art Gallery.

A major retrospective was held at Gus Fisher Gallery, Auckland in 2010. Kelly’s extraordinary life is documented in Donald Bassett’s biography Fix: The Art & Life of Felix Kelly


29 RAYMOND CHING b. 1939 Field Guide II (Red Bird) 1993 - 1998 Oil on linen 71.5 x 91 Signed, inscribed & dated 1998 45,000 - 55,000

Provenance: Purchased by current owner, London 1998

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What hint do the words “black” and “window” give us as to the meaning of Hotere’s work?

We stand motionless in front of a window, we look through the window and we behold a scene. The scene is confined by the frame; the scene stretches from the glass, in the front, through the vast space behind and on to a vanishing point on the horizon.

We stand motionless in front of a painting; we look at the painting and we behold a scene. The scene is confined by the frame; the scene stretches from picture plane (the imaginary glass) through the “space”, the picture space, and on to a vanishing point on the painted horizon.

This is a simplified version of Brunelleschi’s and Alberti’s take on perspective, commonly known as the Renaissance window. Hotere has taken the frame of an old villa’s sash window to reinforce the idea in our mind of a view to behold in New Zealand.

Hotere’s Black Paintings originated as a protest in the early 1980s against the proposed aluminum smelter at Aramoana. Destruction of the natural beauty of the area and the toxic waste it would produce were the issues of concern. Imagine looking out of a window at night: the view is black, the death of that day. Hotere has extended that simple image: given the area, he is implying a future death of the environment indicated by black acrylic paint with silver/grey of the smelter. Black painted board replaces the glass of a demolition sash window complete with brass handle just as an ugly smelter cancels out the view of an idyllic New Zealand scene.

This work is part of the Mungo series where the significance of black to the artist is reinforced with the words BLACK WINDOW in upper case at the top left. In the Mungo National Park a very important archaeological discovery was made in 1974 – human remains dating up to 68,000 years ago. At this site, a weathering experiment was set up to determine the deterioration of materials such as wood, bone and shell buried in the different layers of soil and every few years the results would be quantified. (Kriselle Baker).

Above the words BLACK WINDOW stretches out two layers in different tones of a hazy grey seemingly above or beyond a shore with indications of light and sun. But Hotere, as is his wont, does not leave the viewer completely devoid of hope. The bed of Lake Mungo, dry as it was, revealed the length of man’s existence, which it otherwise could not have done. Perhaps, too, some good will come eventually from the construction of the smelter. Hotere paints a swirling mass of red gold, the greatest symbol in sacred terms and the most important metal in economic and secular terms, on which is written in four groups of three in white the temperatures of the samples. The four Gospels added to our knowledge of the tri-partite Christian God; 4 x 3 = spiritual knowledge, and the results of these samples will also add to Man’s knowledge not only in Mungo but in Aramoana as well.

The length of Man’s existence in Mungo becomes, in this Hotere work, an existential reflection on the quality of life in Aramoana: Black Window - Mungo at Aramoana.

Angela Mackie

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30 RALPH HOTERE b. 1931 Black Window - Mungo at Aramoana Acrylic on board 104 x 66 Signed, inscribed & dated Port Chalmers, 1982 110,000 - 130,000 Presented encased in original colonial sash window frame

Provenance: Purchased by current owner from Brooke Gifford Gallery, Christchurch, 1982

Towards Aramoana label affixed verso

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32 GEOFF THORNLEY b. 1940 Unnamed / Named #11 Oil on canvas 229 x 198 Signed, inscribed & dated 1997 verso 45,000 - 55,000

Provenance: Peter Bromhead Collection, Auckland

Exhibited: Vavasour Godkin Gallery, 1997 Original label affixed verso

Geoff Thornley remains a painter’s painter. He is undoubtedly New Zealand’s most eminent minimalist abstract artist, dedicating the past thirty years to exploring the play of light and shade on large canvases that are sometimes over-whelming in there complexity of subtle texture and finesse of painterly astringent, quality.

His work is not for the faint-hearted, but those who approach his paintings openly they will discover a slow-burning fuse of aesthetic pleasure and delight probably unmatched by many other contemporary New Zealand artists.

Thornley’s work is collected by the Public Galleries of New Zealand and many prominent art foundation trusts, including Fletchers, Jenny Gibbs and the Wallace Collection.

31 ANDRé HEMER b. 1981 Base and Awesome (watching my paint dry) Acrylic on canvas 107 x 107 Signed, inscribed & dated 2007 verso 3,500 - 4,500

Provenance: Private Collection, Christchurch

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34 FRANCES HODGKINS 1869 - 1947 Two Girls Watercolour 18.2 x 25.6 Signed 18,000 - 26,000

33 A LOIS WHITE 1903 - 1984 The Chase Watercolour 19 x 19 Signed 3,000 - 5,000

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35 PETER MCINTYRE 1910 - 1995 Rangitikei River Watercolour 53 x 75 Signed 17,000 - 22,000

Provenance: Private Collection, Auckland. Purchased by current owner from McGregor Wright Gallery, Wellington, circa 1968

For years its white cliffs (Rangitikei River) and its green water have been my favourite subject and I have explored every stretch of it, watching the light on the cliffs change and shadows define new shapes. Peter McIntyre 1979

The mighty Rangitikei River is one of New Zealand’s longest rivers winding 185 kilometres through the Central Plateau to the South Taranaki Bight. McIntyre often painted the curving river bed and spectacular white cliffs of the Rangitikei valley. His chosen subject featured in a 1998 stamp issue.

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36 WILLIAM A SUTTON 1917 - 2000 Jim O’Fee’s Paddock Oil on canvas 52 x 76 Signed & dated 1949 40,000 - 60,000 Together with a double sided pencil drawing on paper 28 x 46.3cm featuring the same subject and verso a study for Nor’wester in the Cemetery

Provenance: Estate of Tom Kreisler, formerly in the collection of George Roth

Exhibited: The 1949 Group Show , Christchurch 26th October - 4th November 1949 Facsimile copy of the 1949 Group Show catalogue accompanies this lot.

This iconic painting by Sutton is on the market for the first time since its acquisition in the early 1950s by current owner’s family. The uniqueness of this opportunity is enhanced by preparatory studies of Jim O’Fee’s Paddock and verso sketch for Auckland Art Gallery’s Nor’wester in the Cemetery 1950. Sutton’s hand drawn location map of Jim O’Fee’s Paddock is affixed verso.

Jim O’Fee’s Paddock is part of a seminal series of landscape paintings, including Bruce Creek 1949 Christchurch Art Gallery, and Country Church Series 1950-53, which Sutton produced in the Canterbury and Otago regions on his return from a study trip to Europe in 1949. This proved to be a defining period in Sutton’s career, establishing his reputation alongside those of colleagues Rita Angus, Doris Lusk and Colin McCahon, as an artist who captures the unique geographical and architectural nuances of southern New Zealand. Whilst Sutton’s vision has largely been framed within the Canterbury School, Jim O’Fee’s Paddock offers another set of qualities that provides scope for rethinking his place in the cannon of New Zealand art.

While this painting speaks within a regionalist vernacular, in this particular case the barren simplicity of the undulating hills around Wanaka, it also addresses mans impact on the land. This is a painting that does not simply revel in the sublime vista of this site, it literally and proverbially digs below the surface, to lay bare another psychological depth. This is a land that has been cut, drawn and quartered by the machinery of an increasingly industrialized form of agricultural production. However, there is a latent ambiguity as to whether Jim O’Fee’s Paddock is a celebration of New Zealand farming practices, a more subversive analysis of land value, or an opportunity for Sutton to show off his increasingly sophisticated abilities with paint. It is also worth noting that during World War II, Sutton designed and painted camouflage for military installations in the South Island, perfectly summarized in Somewhere Up Country 1944, Dunedin Public Art Gallery. So, Jim O’Fee’s Paddock is a highly charged and evocative painting, which on greater reflection reveals an artist coming to grips with a landscape that has changed forever.

36 Hand drawn map of Jim O’Fee’s paddock locationaffixed verso

36 Study for Jim O’Fee’s Paddock

36 Study for Nor’wester in the Cemetery - verso

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37 JOHN BARR CLARKE HOYTE 1835 - 1913 Panorama of Auckland from Mt Hobson, Remuera Watercolour 44 x 53 Signed & dated 1871 90,000 - 150,000

John Barr Clark Hoyte was prominent amongst landscapists of the 1860s and 1870s and is perhaps our best known watercolourist of the era. Hoyte spent his early years in Auckland, a founding member of the Auckland Society of Artists, establishing his studio in Scarborough Terrace, just off Parnell Road.

The view Hoyte painted here is outstanding. It shows Tiritiri Matangi Island and Little Barrier to the left with the hills of Coromandel to the right. The spire in the middle left of the picture is that of St. Mary's Church, the other, rising above the library of Bishop's Court, St Stephens Avenue is still to be seen, although in 1910, the Bishop's private chapel was moved to Diocesan School in Epsom. Here we have one of the most panoramic views of Auckland.

Several years after the completion of this work, John Logan Campbell tried unsuccessfully to purchase the land around Orakei which included the slopes of Mt Hobson. During an excursion to Remuera in 1881, Campbell climbed to the summit of Mt Hobson from where he ‘gazed on the wonderful panorama which lay revealed to my sight for the first time’. This view further convinced Campbell that he had found the perfect site for the new capital.

It was here in 1844 the Remuera Feast took place with the historic meeting between Hobson and Te Kawau. The Feast was intended as a sign of Waikato mana and a reminder of the continuing power and influence of local Maori. At the time, it is recorded as being one of the largest gatherings ever held in New Zealand. The Feast was attended by 4,000 Maori from seventeen tribes.

Mt Hobson retains evidence of a tightly fortified pa on the summit. Many of the terraces, ditch defences, storage pits and middens are clearly visible around the cone’s crest, except in the north west where a large flat topped reservoir is buried. It’s western slopes are thought to have been extensive hillside Kumara gardens.

Mt Hobson had earlier been sold to George Graham of the Royal Engineers who bought it as part of a larger block in 1844. However, after investigation of his ownership claims in 1847, the Crown retained that part of the land which now forms the Mt Hobson Domain. The hill was named in honour of Captain William Hobson, the first Governor of Auckland. It was the first hill Hobson climbed after his arrival in New Zealand.

Hoyte is essentially an exponent of the picturesque landscape. While topographical interest remains high, it is always subordinate to the effects of light, space and atmosphere. His most marked stylistic peculiarity, the sign of 'Hoyteness', is that lapis blue, bright and deep, which fills the depths of his valleys, and the profoundest of his shadows. A contemporary reviewer speaks of his full and pure colour as based upon sound principles of aerial perceptive - and that may, indeed, have been the intention of those characteristic blazes of blue.

Hoyte later moved south to Dunedin before travelling to Australia, where he held various posts as a drawing master to supplement what proved to be variable income. He died in Sydney in 1913.

It is as a portrayer of the scenic beauties of the Dominion that he will long be remembered. This work is possibly the finest example in private ownership.

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39 MARGARET OLROG STODDART 1865 - 1934 Fendalton Roses Watercolour 47.5 x 63.5 Signed 20,000 - 30,000

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38 MARGARET OLROG STODDART 1865 - 1934 Franz Joseph Glacier Watercolour 30 x 43 Signed 7,000 - 10,000

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Lighters ferry to shore Major-General Sir Thomas Simpson Pratt, Lieutenant Colonel Carey and a further fifty troops of the 40th Regiment from the steam sloop HMCSS Victoria to the beleaguered town of New Plymouth. Other vessels depicted include the paddle-steamer Tasmanian Maid, the Airedale and the George Henderson which was later that year wrecked off the New Plymouth coast with no loss of life.

New Plymouth was reduced to a state of siege at the beginning of the first Taranaki War. Martial law was proclaimed. The settlers were driven into town, their homesteads burnt by Maori making it necessary to constrict the occupied area and entrench the town.

Lieutenant Colonel Carey together with fifty men of the 40th Regiment, arrived off New Plymouth aboard the war steamer HMS Victoria on the evening of 3 August 1860. Their mission was to reinforce the garrison which numbered about twelve hundred men.

The historical events recorded in this rare oil painting, also relate to a watercolour titled New Plymouth Under Siege - 40th Regiment, Marshland Hill, Taranaki, New Plymouth sold by International Art Centre in 2008. A watercolour depiction of the same scene as the present lot, is held in the collections of Alexander Turnbull Library. Whilst both works are by Harris, the offered work is a significantly larger and more dramatic version.

Edwin Harris is noted for his early views of New Plymouth and Nelson. He had some artistic training in England prior to his 1841 arrival in New Zealand with his wife and family aboard the William Bryan, the first of the Plymouth Company vessels to arrive in Taranaki. Harris worked briefly as a surveyor for the Company and farmed a property in the vicinity of town. Following the outbreak of the first Taranaki War in 1860, the Harris family were evacuated to Nelson where they eventually settled. His daughter Emily Cumming Harris was an award winning botanical artist.

40 EDWIN HARRIS c. 1810 - 1895 New Plymouth Under Siege,1860 Oil on canvas 37 x 79 80,000 - 120,000

Provenance: Private Collection, Taranaki

EDWIN HARRIS New Plymouth Under Siege - 40th Regiment, Marshland Hill, Taranaki, New Plymouth’ - Circa 1860Sold by International Art Centre, October 2008 - TSB Bank Collection

The oil painting being offered is painted from the sea looking towards New Plymouth with Mt Egmont clearly visible. In the watercolour ‘New Plymouth Under Siege - 40th Regiment, Marsland Hill’, the ships depicted in the present scene can be seen in the far distance.

Works by Edwin Harris are extremely rare to the market. It is understood that this is the only oil painting by the artist to appear for sale.

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A Significant Late Entry by

CHARLES BLOMFIELD 1848 - 1927

Kauri Park Entrance

Important,Early& Rare Thursday 29th March

40a CHARLES BLOMFIELD 1848 - 1926 Kauri Park, The Entrance Oil on canvas 50 x 75 Signed & dated 1919 95,000 - 125,000

Provenance: Private Collection, Auckland Original Auckland Society of Arts labelaffixedversoreads: Kauri Park, The Entrance ChasBlomfield- In artist’s hand

www.fineartauction.co.nz

ThisimportantworkbyCharlesBlomfieldwascompletedin1919beforetheparkwasofficiallynamedTrounsonKauriParkin1921.

After a trip to theTrounson Kauri Park, north ofDargaville, CharlesBlomfieldcommentedintheNewZealandHerald:

Aucklandissingularlyfavouredinpublicbenefactors.Onevaluablegiftafteranotherispouredintothelapofthecommunity.Amongthemall,thelatestgiftstandsoutinprominence-ThegiftbyMrTrounsonofKauriPark,Kaipara.

Ihavebeencampinginthisparkforthelastfewweeks,sketchingthekauris,andhavenohesitationinstating-Ihavebeenthroughmostofthekauriareas-thatthisbushcontainsthefinestspecimensofthekauriinNewZealand,andsayingitistheequivalenttosayingthefinestspecimensofkauriintheworld.Whetherinsize,height,varietyorenvironment,thereisnothingequaltoitanywhere.

Viewedfromtheneighbouringhilloverlookingthepark,theforestappearstobeallkauri.Thereisnothingtobeseenoverthewholeexpanseofthreeorfourhundredacres,butthetopsofkauritrees,andthetopissingularlylevel.Notoweringtreeover-topsitsfellows.

In 1890, when the timber industry threatened to virtually wipe out Northland kauri forests, 3.34 hectareswas initially set aside by theGovernment.An early settler and sawmiller JamesTrounson addedafurther22hectarestothisinitialgesture.

Following the establishment of a Scenic Preservation Club, Mr Trounson offeredtosellanother364hectaresofforestlandtotheGovernmentforthevalueofthetreesalone.ItwasofficiallyopenedasTrounsonKauriParkin1921.

This450hectaresforestreservelocatedinwesternNorthlandishometoseveralthreatenedspecies,suchasNorthIslandbrownkiwi,NZpigeon,batsandkaurisnails.Italsoincorporatesamagnificentdensestandofkaurithathaslongbeenrecognisedasoneofthebestexamplesintheworld.

CharlesBlomfieldexhibitedwiththeSocietyofArtistsAucklandfrom1873to 1877 and was included in the NewZealandIndustrialExhibitions in 1885 and 1889, the MelbourneInternationalExhibitionin1880.In1906his work was included in the NewZealandInternationalExhibitionheld inChristchurch.Afterhisdeathin1926workswerealsoincludedintheCentennialExhibitionin1940.CharlesBlomfieldworkisrepresentedinallNewZealandpublicgalleriesaswellastheAlexanderTurnbullandHockenlibraries.


An extraordinary piece of New Zealand History 41 INA HASZARD 1870 - circa 1970 White Terraces, Rotomahana Oil on canvas 59.5 x 89.5 Signed

To be offered for sale with: Two geological specimens of the Pink and White Terraces collected from the shores at the base of the Terraces by Ina Haszard c. 1885

Twelve photographs of the Pink & White Terraces by C Spencer and others.

Edward William Payton, 1859-1944 The recent volcanic eruption in the lake country, New Zealand, from sketches taken on the spot by E W Payton. Supplement to the Auckland weekly news Circa 1886 Colour lithographs on one side of sheet 51 x 38

A copy of New Zealand’s Wonderland A Weird Region, New Zealand Newspapers Ltd, 1944

History records Ina Hazard as a survivor of the Tarawera eruption and daughter of Charles Hazard, headmaster of Te Wairoa School. The school was situated in Tuhourangi Village in proximity to the dwelling of Wi Keepa Te Rangipuawhe, of Te Arawa iwi Tuhourangi who controlled access to Rotomahana. A friendship based on mutual respect developed between Charles and Wi Keepa. Prof R M Keam, author of Tarawera: The Volcanic Eruption of 10 June, 1886 commented that such a relationship would have availed Charles and his family access to collect small pieces of sinter from the Terraces.

On the fateful night of 10 June, 1886 Hazard and his family observed the eruption from their verandah. Ina later recalled “the moon was still shining and, together with the glow from the mountain, it was an uncommon spectacle”. A few hours later the Hazard home collapsed under a rain of rocks taking the lives of Charles Hazard and other family members. Ina Hazard survived and in her adult life worked as an artist, living in Putaruru with her daughter Elva Aitcheson. Local residents who visited Ina’s home recall viewing a large collection of her paintings featuring the Terraces and other local scenes.

Our thanks to the generous assistance of Prof. R M Keam, Auckland University in cataloguing this offering.

Edward William Payton Double sided lithograph unframed

Ina Haszard oil painting

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Pink Terrace White Terrace

Twelve photographs by Charles Spencer and others featuring view of Lake Rotomahana, Otukapuarangi The Pink Terrace & Te Tarata The White Terrace


44 ALFRED SHARPE 1836 - 1908 Harlequin and Sulphur Inlet, Coromandel Watercolour 38.5 x 63 Signed & dated 1881 25,000 - 35,000

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42 ALBIN MARTIN 1813 - 1888 View of Paihia Watercolour 7.5 x 13 2,500 - 3,500

Provenance: Collection of the Artist’s Great Granddaughter, Auckland.

43 LAURENCE WILLIAM WILSON 1850 - 1912 Mount Cook from Lake Pukaki Watercolour 20 x 26 Signed & inscribed 2,500 - 3,500

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There with friends I am surrounded; There no solitude I feel;

And to me her mystic wonders Nature ever doth reveal - Alfred Sharpe


45 JOHN WEEKS 1886 - 1965 Shaded Courtyard, Edinburgh Oil on board 25 x 35 Signed & dated 1923 2,500 - 3,500

46 JOHN WEEKS Scottish Village Oil on board 25 x 35 Signed & dated 1923 2,500 - 3,500

47 PETER MCINTYRE 1910 - 1995 Whakapapa River, King Country Watercolour 51.5 x 71.5 Signed 16,000 - 22,000

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48 ARTIST UNKNOWN New Zealand 19th Century Pohorua Pa, Urenui, Taranaki, 1870s Oil on canvas 30.5 x 50.5 1,000 - 2,000

49

49 JOHN PHILEMON BACKHOUSE 1845 - 1908 Waikato River Oil on board 35 x 60 Signed 3,000 - 5,000

Note: The largest work by Backhouse ever offered for sale

61

50

50 CHARLES DECIMUS BARRAUD 1822 - 1897 Extensive View of Taranaki and Mt Egmont Watercolour 44 x 76 Signed & dated 1885 16,000 - 22,000


51 M W HARTWELL New Zealand 20th Century Evening Oil on canvas 49.8 x 39.5 Signed & dated 1929 Inscribed ‘Evening’ verso 2,500 - 3,500

Presented in a C F Goldie kauri frame carved by Goldie’s framer John Leech

51

52 CHRISTOPHER AUBREY Circa 1830 - 1902 Birchwood Station, Takatimu Mountains Watercolour 44 x 62 Signed & dated 1881 12,000 - 16,000

63

52


53

65

54

54 FRANCES HODGKINS 1869 - 1947 Portrait of a Judge Watercolour 35 x 26.5 Signed 18,000 - 25,000

Provenance: Private Collection, Christchurch since 1989 Ex. Pharazyn Estate Collection

53 CHARLES DECIMUS BARRAUD 1822 - 1897 Abbotts Creek Crossing Watercolour 36 x 51 Signed 10,000 - 15,000


55 CHARLES NATHANIEL WORSLEY 1862 - 1923 Ruanui Homestead Watercolour Signed 2,500 - 3,500

56 CHARLES NATHANIEL WORSLEY 1862 - 1923 Garden, Ruanui Station Watercolour Signed 2,500 - 3,500

56

55

67

58 HORATIO GORDON ROBLEY 1840 - 1930 Te Kuha 1864 Watercolour 25 x 17.5 Inscribed & dated 1864 9,000 - 12,000

58

57 ANTONIO ZATTA 1840 - 1930 Nuova Zelanda 1778 Hand coloured copper plate engraving published Venice 1778 45.5 x 35.5 6,000 - 8,000

Provenance:Pendergrast CollectionEx Rotorua Art Gallery loan collection label affixed verso

57


59

59 CHARLES BARNEY CORY American 1857 - 1921 Apteryx Australis (Kiwi) c. 1881 Lithograph 68 x 53 Inscribed Apteryx Australis 800 - 1,200

The American ornithologist Charles Barney Cory published by subscription “The Beautiful and Curious Birds of the World”, a work containing 20 double elephant folio size plates, 27” x 21” in an edition of 200. The work was delivered to subscribers in seven parts over three years, from 1880 to 1883. The birds pictured were exotic and uncommon, and even included the extinct Dodo and Great Auk.

60 WILLIAM GEORGE BAKER 1864 - 1929 Near Greytown Oil on board 29 x 44 Signed & inscribed 1,400 - 1,800

30

60

69

61

61 JOHN BARR CLARKE HOYTE 1835 - 1913 Pink Terraces, Rotomahana Watercolour 30 x 51 Signed 15,000 - 25,000


63 RAYMOND CHING b. 1939 Blue Bills Oil on panel 65.5 x 75.5 Signed & dated 1996 18,000 - 25,000

62 RAYMOND CHING b. 1939 Wood Fringes Oil on panel 32.5 x 25 Signed verso 5,000 - 8,000

Provenance: Private Collection, Auckland Purchased by current owner International Art Centre 1978

Illustrated p. 76 - 77 The Art of Raymond Ching, Paintings and Drawings 1972 - 1979 Peter Hansard, Collins 1981

The making of this small picture was more than usually complicated and spread over a period of many months. The flash pools which had prompted the painting began to dry up as work progressed and never returned, for this was the year of the worst droughts recorded in southern Britain. There is, therefore, evidence of reworking and overpainting, unusual for Ching - Text: The Art of Raymond Ching, Paintings and Drawings 1972 - 1979 Peter Hansard, Collins 1981

62

71

63


64

64 RAYMOND CHING b. 1939 Mottled Petrel or Cape Pigeon (Daption Capense Australe) Watercolour 70 x 49.5 Signed, inscribed & dated 1967 6,000 - 9,000

Provenance: Private Collection, Auckland Purchased by current owner from Raymond Ching’s first exhibition in Auckland 1967

73

65 RAYMOND CHING b. 1939 Brambles Watercolour 48 x 36.5 Signed 2,500 - 3,500

Provenance: Private Collection, Auckland Purchased by current owner International Art Centre circa 1980

65


66

66 G J WIBER Colonial View with Ships and Settlers Oil on board 28 x 44 Signed 1,500 - 2,500

67 JOHN WEEKS 1886 - 1965 Market Place Watercolour 14.8 x 19.6 Inscribed Marketplace verso 2,000 - 3,000

68 MARGARET OLROG STODDART 1865 - 1934 Roses Watercolour 44 x 56 Signed 15,000 - 18,000

67

75

68


69

69 PETRUS VAN DER VELDEN 1837 - 1913 Woman in a Cane Chair Watercolour and charcoal 36.2 x 25.8 2,500 - 3,500

Provenance: Private Collection, Auckland since 1979 Ex D Watson. Sydney Collection Ex Melba van der Velden Collection

Illustrated p. 187 Volume II, Petrus van der Velden A Catalogue Raisonné, T L Rodney Wilson, Chancery Chambers Publishers 1979

Exhibited: The Melba Collection International Art Centre, 21 May - 1 June 1979

70 PETRUS VAN DER VELDEN Portrait of a Man Seated at a Desk Charcoal on paper 35.5 x 24.4 Signed & dated 1910 4,500 - 6,500

Illustrated p. 193 Volume II, Petrus van der Velden A Catalogue Raisonné, T L Rodney Wilson, Chancery Chambers Publishers 1979

Exhibited: Robert McDougall Art Gallery, Christchurch 1963

71 PETRUS VAN DER VELDEN Melba Pencil drawing on paper 12.5 x 8.5 Signed, inscribed & dated April 1, 1910 1,500 - 2,000

Provenance: Private Collection, Auckland since 1979 Ex Melba van der Velden Collection

Exhibited: The Melba Collection International Art Centre, 21 May - 1 June 1979

77

7170


72 LAURENCE WILLIAM WILSON 1850 - 1912 Hut on the Routeburn Track, Lake Wakatipu Watercolour 50 x 31.4 Signed, inscribed & dated 1895 5,000 - 8,000

73 CHARLES BLOMFIELD 1848 - 1926 Karangahake Gorge Oil on board 21.5 x 30 Signed 2,500 - 3,500

72

73

79

74

74 JOHN GULLY 1813 - 1888 The Kaikouras Watercolour 35 x 62.5 Signed 12,000 - 16,000


75 HENRY WILLIAM KIRKWOOD 1854 - 1925 Wanganui River Oil on board 30.7 x 23.5 Signed 1,500 - 2,000

76 HENRY WILLIAM KIRKWOOD 1854 - 1925 Southern Inlet Oil on board 29 x 21 Signed 1,500 - 2,500

7675

81

77

77 LAURENCE WILLIAM WILSON 1850 - 1912 Snow Capped Peaks, Lake Manapouri Oil on canvas 60 x 90 Signed & dated 1891 10,000 - 15,000


78 79

78 TOM ESPLIN 1915 - 2005 The Chora of Kythera Oil on board 34.5 x 27.5 Signed 4,500 - 6,500

79 CHARLES HENRY HOWORTH 1856 - 1945 Wanganui River Oil on board 47.5 x 36 Signed 2,000 - 3,000

83

80 JOHN WEEKS Saint Tropez Watercolour 14.8 x 19.6 1,500 - 2,500

81 JOHN WEEKS Canal Boats, Venice Mixed media on paper 27 x 23.2 1,500 - 2,500

80

82

82 JOHN WEEKS Sun, Sails & Shadow Watercolour 22.5 x 29 1,500 - 2,500

81


84 WILLIAM GEORGE BAKER 1864 - 1929 Makuri Gorge Oil on canvas 90 x 60 Signed & inscribed 4,000 - 6,000

85 WILLIAM GEORGE BAKER 1864 - 1929 Near Taihape Oil on canvas 46 x 61 Signed & inscribed 3,000 - 5,000

86 HENRY WILLIAM KIRKWOOD 1854 - 1929 Smith Sound Oil on canvas 29 x 49 Signed & inscribed 2,500 - 3,500

83

83 COLIN V WHEELER b. 1919 I Triumph Still Oil on board 64 x 79 Signed & dated 1998 3,000 - 5,000 Original artist’s label with inscription affixed verso

85

85

8684


87

87 CHARLES BLOMFIELD 1848 - 1927 Lake Mapourika Oil on canvas 34 x 54 Signed & dated 1906. Inscribed verso 7,000 - 10,000

88 RAYMOND CHING b. 1939 Wedge Tail Eagle Study, 1978 Watercolour 49.5 x 37.5 Signed, inscribed & dated 1978 4,500 - 6,500

89 RAYMOND CHING Wedge Tail Eagle Watercolour 54 x 38 Signed & inscribed 4,500 - 6,500

87

89

Provenance:Private Collection, AucklandPurchased by current owner International Art Centre 1980Illustrated p. 166 - 167 Studies and sketches of a Bird PainterRaymond Ching, Landsdowne 1981

88

Provenance:Private Collection, AucklandPurchased by current owner International Art Centre 1979Illustrated p. 162 - 163 Studies and sketches of a Bird PainterRaymond Ching, Landsdowne 1981


90 DOUGLAS BADCOCK 1922 - 2009 Earnscleugh, Autumn, May 2008 Oil on board 40 x 61 Signed. Inscribed verso 3,500 - 4,500 Note: This is the artist’s last plein air painting. See inscription verso

91 DOUGLAS BADCOCK Silver Birch, Speargrass Flat, Queenstown Oil on board 30 x 39.5 Signed. Inscribed verso 2,500 - 3,500

92 DOUGLAS BADCOCK Bannockburn Cliffs, Early Spring, 1991 Oil on board 39 x 60 Signed. Inscribed verso 4,500 - 6,500

Born in Balclutha 1922 Douglas Badcock had a highly successful professional career. Preferring to paint en plein-air, mostly in oil, Douglas earned a reputation as one of New Zealand's leading landscape painters. His paintings are included in the collections of the Queen of England and King of Thailand. He was a Kelliher Art Award winner and several books have been published on his work. He came second in the 1959 Kelliher Art Award and third in the 1962 award.

Badcock held his first exhibition in Wellington in 1960, which sold out within two days. A review at the time described him as ‘a realistic painter and absolutely sincere with a natural talent and a high technical standard ... a master of the New Zealand landscape, he paints New Zealand as he sees it’. He produced at least three publications: My Kind Of Country then later My Kind of Painting and A Painter in Fiji.

In a 2004 Listener article Badcock said, ‘I paint seas, skies, mountains. I paint the world I know, as it appears to me. I have an image that is there and I have to record it. When I’m painting I let the subject reveal itself. Picasso said `I don’t seek, I find’. And finding is a revelation – intellectually, emotionally, spiritually. The primary motivation is self-expression, but if there’s no vision, if we don’t see beauty in nature any more, then we’re nowhere.’

91

90

89

92

Works from the Estate of Douglas Badcock 1922 - 2009


93 DOUGLAS BADCOCK 1922 - 2009 Willows & Crown Range, Speargrass Flat, Wakatipu Oil on board 28.5 x 38.5 Signed. Inscribed verso 2,000 - 3,000

94 DOUGLAS BADCOCK Clyde Buildings Oil on board 29.5 x 39 Signed. Inscribed verso 2,200 - 3,200

95 DOUGLAS BADCOCK Willows, Omakau, Manuherikia Valley, Otago Oil on board 28 x 38 Signed. Inscribed verso 1,800 - 2,500

96 DOUGLAS BADCOCK “Winchester’, Canterbury 1985 Oil on board 29 x 39 Signed. Inscribed verso 1,800 - 2,500

Works from the Estate of Douglas Badcock 1922 - 2009

Douglas Badcock at his easel, 2004(Photo supplied by Badcock family)

91

93

94 96

95


98 VERA CUMMINGS 1822 - 1897 Lighting Up Oil on canvas board 20 x 15 Signed & inscribed 2,500 - 3,500

98

97 JOHN GULLY Attributed 1819 - 1888 Mt Egmont from Opunake - A Pair Watercolour 17.5 x 29 1,500 - 2,500

97

97

99 PETER MCINTYRE 1910 - 1995 Hong Kong Harbour Watercolour 52 x 73 Signed 6,000 - 8,000

93

99


100 ILENE ROSA STICHBURY 1898 - 1991 Maori Group Outside Whare Oil on canvas 16 x 25 Signed 800 - 1,200

101 ILENE ROSA STICHBURY Waikato River Scene Oil on canvas 28.5 x 41 Signed 400 - 700

100

102108

101

95

102 ILENE ROSA STICHBURY Maori Girl Oil on canvas 29.5 x 19.5 Signed 600 - 800

103 PETER BEADLE b. 1933 Gold Coach & Escort, Frankton Flats, Remarkables Oil on board 60 x 90 Signed 5,000 - 8,000

103

Provenance:Estate of Sir Harcourt Caughey


105

104 RAYMOND CHING b. 1939 Bobwhite & California Quail Pencil on paper 44 x 34.4 Signed, inscribed 1,500 - 2,500

105 RAYMOND CHING Gulls, 1979 Pencil on paper 52 x 36 Signed 1,400 - 1,800

Illustrated p. 120 The Art of Raymond Ching, Paintings and Drawings 1972 - 1979 Peter Hansard, Collins 1981

104

97

107 ARTIST UNKNOWN New Zealand 19th Century Lake Wakatipu - A Pair Oil on board 25 x 35 One inscribed 800 - 1,200

107

107

106

106 ARTIST UNKNOWN New Zealand 19th Century Figures by the Sea, St Heliers Watercolour 15 x 24 Inscribed Rangitoto and dated 1878 verso 800 - 1,200


109

108

108 CHARLES BLOMFIELD 1848 - 1926 South Island Lake Scene Oil on canvas 34 x 59.5 2,500 - 3,500

109 PEGGY SPICER 1908 - 1984 Auckland Harbour from Parnell Watercolour 36 x 51 Signed 1,500 - 2,500

110 VERA E WHITEMAN 1873 - 1952 Springtime, Wanganui Watercolour 24 x 25 Signed 800 - 1,200

111 COLIN LOVELL SMITH 1894 - 1960 Canterbury Landscape Oil on canvas 40 x 50 Signed 1,000 - 2,000

112 THOMAS DARBY RYAN 1864 - 1927 Lake Wakatipu Watercolour 20 x 31 Inscribed & dated January 16 800 - 1,200

99

111

112

Thank YouEnd of Sale

Next auctionContemporary & Collectable Art

Wednesday 2nd May

110


Subscription price NZ$

New Zealand $77.50Australia $115.00Rest of the World $165.00

Name ............................................................................................................................................................

Address .........................................................................................................................................................

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Fax to +64 9 307 3421 or Post to International Art Centre PO Box 37344 Parnell Auckland 1151

Alternatively subscribe online www.fineartauction.co.nz or by calling Toll Free 0800 800 322 with credit card details

Private Treaty Sales - Please contact me when works by the following artists are available for sale by private treaty

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TRACEY ELLERTON - VICTORIA KASEY SEALY - NSW


SIMON MCINTYRE Headlands

Oil on canvas 160 x 125cm Est. $4,500 - 6,500

PHIL PRICE

The Wiggley Wagon

Steel & wood sculpture

Est. $4,000 - 6,000Auction 6:00pm Wednesday 2nd May 2012Catalogue available and online from 18th April www.fineartauction.co.nz / *Entries close 6th April

272 Parnell Road Auckland / Ph +64 9 379 4010 www.internationalartcentre.co.nz

THE ONLY AUCTIONEERS OF PICTURES EXCLUSIVELY

IAN SCOTT Small Lattice No. 164

Acrylic on canvas 62 x 62cm Est. $3,000 - 4,000

MARTIN POPPLEWELL Vine Leaf Blowing Around

Lithograph 50 X 69.5 No reserve

2nd May Contemporary& Collectable Art

Important,Early & RareJULY 2012 - ENTRIES NOW INVITED

International Art Centre is currently accepting entries for the next Important, Early & Rare New Zealand Art Auction to be held July 2012.

To discuss consignments to the sale please contact:Richard Thomson E. [email protected] M. 0274 751071

Toll Free 0800 800 322 Ph +64 9 3794010

or upload an image for preliminary appraisal atwww.fineartauction.co.nz

100% UNRESERVED! 100% SOLD!Sunday Affordable Art held 19 February 2012

International Art Centre’s first auction of 2012 saw all 216 lots sold under hammer 19th February. Sunday Affordable Art was an internet only catalogue marketed predominantly online. It included works from artist’s estates, Ida Carey, W J Reed, Gaston de Vel and Cyril Whiteoak together with dozens of affordable works by mostly established artists.

Join our electronic mailing list to receive notification for these events. Email [email protected] with subject ‘Email Notification’

International Art Centre acknowledges and welcomes the market’s increasing interest, enjoyment and acquisition of art. For all collectors and first time buyers our Sunday Affordable Art auctions provide exciting opportunities to enter the market with minimum risk and maximum confidence.

PETER SIDDELL Lily Pond fetched $47,400 March 2011

BRUCETRELOAR

THE SEATHE LAND

& ITS PEOPLE

272 Parnell Road Auckland / Ph +64 9 366 6045www.internationalartcentre.co.nz Flower Girls Acrylic on board 59 x 74cm

Interior, Green Tivaevae Acrylic on board 60 x 95cmInterior, Blue Tivaevae Acrylic on board 60 x 95cm

105

Absentee Bid FormImportant, Early & Rare Art Auction Thursday 29th March 2012

272 PARNELL ROAD AUCKLAND NEW ZEALANDPH 09 379 4010 www.fineartauction.co.nz

Bid $NZ excluding buyers premium Lot Number Artist & Title

Telephone Res

Address

Name

Signature.............................................................................................. / / 2012

International Art Centre offers this service to clients unable to attend saleand 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 29th March

Registration Bidding Number

EmailBus

Please bid on my behalf for the following lots up to the price recorded below.Bids are to be executed as cheaply as is permitted by other bids or reserves, if any, and subject to Conditions of Sale printed in this catalogue.

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Prices Realised10th November 2011 Important, Early & Rare and 8th December 2011 Contemporary & Collectable Art AuctionIncludes post auction negotiated sales. Prices quoted are fall of the hammer which attract buyers premium

10th NovemberImportant, Early & Rare

1 $20,5002 $8003 $7004 $1,0005 $6,7508 $8,5009 $1,10010 $5,00011 $5,20016 $4,80018 $16,00021 $15,00023 $12,00024 $48,00027 $18,50028 $30,00029 $6,00031 $2,50032 $5,00033 $3,50034 $5,50035 $3,00036 $4,00038 $4,50039 $20,00044 $4,60045 $22,00046 $2,75050 $56,50051 $190,00052 $1,10055 $20,00056 $17,00057 $29,000

58 $10,00062 $9,00064 $18,00068 $5,00073 $5,25074 $5,00075 $2,00076 $4,00079 $3,90080 $3,50081 $4,00084 $2,60085 $3,00086 $3,50087 $5,00088 $1,80089 $7,00090 $1,30091 $70092 $12,00093 $6,75094 $50095 $1,00096 $4,00097 $3,25098 $4,00099 $2,500103 $9,250105 $2,400106 $1,000107 $8,250108 $7,250109 $1,000110 $1,400111 $600112 $1,250113 $2,000114 $2,600

116 $4,250119 $6,000120 $5,800121 $2,000122 $1,800123 $5,000124 $2,400125 $1,800126 $5,000127 $2,400128 $3,000130 $400131 $1,800132 $1,000134 $700136 $500137 $20,000

8th DecemberContemporary& Collectable

1 $7,5002 $9,0003 $4005 $2006 $2,1507 $1,4008 $50012 $8,00013 $70014 $2,70017 $2,50018 $5,25019 $5,90021 $5,00026 $4,50028 $400

29 $2,50030 $3,10031 $35032 $70033 $2,25034 $4,25035 $1,00037 $1,50038 $1,60040 $6,75041 $1,60042 $50043 $30044 $35045 $45046 $30047 $55048 $80049 $7550 $22551 $25052 $10053 $60054 $40055 $70057 $30058 $20059 $45061 $80062 $2,30069 $1,60070 $30073 $1,00075 $4,00076 $2,20077 $4,00078 $1,00079 $600

80 $3,75081 $3,00082 $37583 $5,20085 $2,50086 $2,50088 $50089 $50092 $2,10094 $5,00098 $2,750101 $200106 $1,700107 $1,500108 $6,500112 $1,800113 $10,250114 $11,000115 $12,500116 $250119 $625123 $900124 $1,300125 $700127 $1,400129 $1,400130 $1,800131 $840132 $600133 $1,500134 $400135 $2,400137 $5,250138 $5,250140 $950141 $500142 $2,000143 $400

144 $425145 $2,250146 $2,200147 $700148 $850150 $1,300151 $1,400152 $600153 $900155 $900156 $900163 $700164 $200165 $500167 $625169 $275170 $350172 $1,225173 $425174 $500175 $500177 $3,000178 $500179 $200181 $800182 $200183 $525184 $400185 $750187 $1,800188 $300189 $900190 $1,200191 $500193 $700195 $350198 $1,250199 $1,300

200 $1,200201 $800202 $850204 $1,275205 $1,400208 $2,900209 $750212 $500214 $700215 $300216 $1,400217 $600218 $220219 $360220 $500221 $300222 $800225 $400226 $400227 $500228 $900229 $400233 $350234 $600235 $300236 $1,300238 $2,000226 $600230 $3,500

Results for auction

held 19 February 2012

may be viewed online

www.fineartauction.co.nz

107

IndexAUBREY C ....................................................... 52

BACKHOUSE J P ............................................. 49

BADCOCK D .............. 90, 91, 92, 93, 96, 94, 95

BAKER W G ......................................... 84, 85, 60

BARRAUD C D .......................................... 50, 53

BEADLE P ...................................................... 103

BINNEY D ......................................................... 4

BLOMFIELD C ................................... 73, 87, 108

CHING R ..... 29, 62, 63, 64, 65, 88, 89, 104, 105

COOK J ........................................................... 27

CORY C B ....................................................... 59

CUMMINGS V ................................................ 98

DOBIE B .......................................................... 19

ESPLIN T .......................................................... 78

FIELD R N ....................................................... 20

GULLY J ..................................................... 74, 97

HARRIS E ........................................................ 40

HARTWELL M W ............................................. 51

HASZARD I ..................................................... 41

HEMER A ........................................................ 31

HERDMAN S R ................................................ 22

HODGKINS F ............................................ 34, 54

HOTERE R ....................................................... 30

HOWORTH C H ............................................. 79

HOYTE J B C ............................................. 37, 61

HUNDERTWASSER F ...................................... 10

KELLY F ........................................................... 28

KIRKWOOD H W ............................... 75, 76, 86

LEE J E ............................................................... 9

LOVELL-S C .................................................. 111

MACDIARMID D ............................................ 15

MADDOX A ...................................................... 8

MARTIN A ....................................................... 42

MCCRACKEN F ............................................... 23

MCINTYRE P ....................................... 35, 47, 99

ROBLEY H G ................................................... 58

RYAN T D ...................................................... 112

SHARPE A ....................................................... 44

SIDDELL P ........................................... 1, 2, 7, 11

SPENCER B O .................................................... 5

SPICER P ....................................................... 109

STICHBURY I R ............................. 100, 101, 102

STODDART M O ................................. 38, 39, 68

SUTTON W A .................................................. 36

TAPPER G ............................................ 13, 16, 25

TAYLOR E M ..................................................... 3

THOMPSON S L ............................................. 17

THORNLEY G ................................................. 32

TOLE C ............................................................ 14

UNKNOWN A ................................ 48, 106, 107

VAN DER VELDEN P ........................... 69, 70, 71

WEEKS J .......... 18, 24, 26, 45, 46, 67, 80, 81, 82

WHEELER C V ................................................. 83

WHITE A L ................................................ 21, 33

WHITEMAN V E ............................................ 110

WIBER G J ....................................................... 66

WILSON L W ..................................... 43, 72, 77

WONG B .................................................... 6, 12

WORSLEY C N .......................................... 55, 56

ZATTA A .......................................................... 57


Conditions of Sale andA 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 Monday 2nd April 2012 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 BIDSWhen 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.

ESTIMATESEstimates 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 BIDSAbsentee bidding arranged - please refer to absentee bidding in back of catalogue. Fax to (09) 307 3421 or post to PO Box 37 344 Parnell 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.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 BIDSTelephone bidding available to subscribers. There is no charge for this service.

PAYMENT FACILITIESEftpos: Available for transactions depending on your daily limit.

Bank deposits: Please ask for our bank details to be sent by fax or email if you wish to pay by direct debit. Quote the Lot number(s) purchased as reference.

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’. International Art Centre reserves the right to release goods once cheque proceeds have been cleared.

Credit cards: Visa and Mastercard accepted with a 2% surcharge. American Express cards not accepted.

EXPORTING As a general rule, anyone exporting New Zealand works over 60 years of age should apply for an export certificate from the Ministry for Culture and Heritage to avoid disputes with customs. This does not apply to non New Zealand works. For full details visit www.mch.govt.nz

FREIGHT & PACKINGInternational Art Centre arrange door to door delivery both nationally and internationally. Please arrange insurance on your items prior to them leaving our premises.

OTHER ENQUIRIESShould 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 [email protected]

BUYERS PREMIUM12.5% Buyers premium plus GST on premium applies to all lots. (Total buyers premium is 14.38% including GST) www.fineartauction.co.nz

272 PARNELL RD AUCKLAND NEW ZEALAND TEL +64 9 379 4010 FAX +64 9 307 3421 PO BOX 37 344 PARNELL AUCKLAND 1151 www.fineartauction.co.nz

THE ONLY AUCTIONEERS OF PICTURES EXCLUSIVELY

Documents

Important, Early & Rare