Dunbar Sloane Fine & Applied Art Part 1

17 & 18 A

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FINE & APPLIED ART AUCTION

17 & 18 APRIL 2013

1PART I

WEDNESDAY 17 & THURSDAY 18 APRIL 2013

PART ONE NEW ZEALAND & INTERNATIONAL FINE ART

Lots 1 – 108Wednesday 17 April, 6pm

PART TWO NEW ZEALAND & INTERNATIONAL FINE ART

Lots 200 – 474Thursday 18 April, 12 noon

PART THREE APPLIED ART

Lots A1 – A171Thursday 18 April, 5pm

OPENING PREVIEW • WELLINGTON Thursday 11 April • 5.00 – 6.30 pm

WELLINgTON VIEWINg

Friday 12 April 9am – 5pmSunday 14 April 11am – 4pmMonday 15 April 9am – 5pmTuesday 16 April 9am – 5pmWednesday 17 April 9am – 4pm

LOCATION

7 Maginnity StreetPO Box 224, Wellington 6140Ph (04) 472 1367 • Fax (04) 475 [email protected] • www.dunbarsloane.com

ENQUIRIES

Helena WalkerDirector, Fine & Applied [email protected]: 027 471 3662 • (04) 472 1367 • (09) 630 9178

CoveR IllusTRATIon Lot 27 • Ralph Hotere Green

InsIde FRonT CoveR Lot 24 • Bill Hammond Eagle & Bone

InsIde BACK CoveR Lot 25 • Richard Killeen Time to change male institutionalised war no 2

FINE & APPLIED ART AUCTION

PART ONENew Zealand & International Fine Art

Lots 1 – 1086pm • Wednesday 17 April 2013

8 DUNBAR SLOANE WELLINGTON

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PAUL DIBBLE (B 1943)Walking the Length of the Islandbronze, limited edition 1/3inscribed with signature and dated ‘Paul Dibble 2000 NZ’ (to the base)50 x 48 x 11cm$7,000 - 12,000

PROVENANCEwith Bowen Galleries, WellingtonPrivate collection, Wellington

2PAUL DIBBLE (B 1943)Defining the Homelandcast bronze, edition 1/3inscribed with signature and dated 1999206 x 37 x 28cm$30,000 - 40,000

PROvEnAncEPrivate collection, Auckland

LITERATUREPaul Dibble (Auckland 2001) p. 25, p.112-113

Defining the Homeland 1999…Tall and seemingly unassailable, this large, well crafted bronze could be interpreted as that rare thing, the female heroic figure - a watchful and assertive guardian of a land with a complex and contested cultural heritage.While recalling the heroism of New Zealand commemorative sculpture of old, it looks beyond notions of civic virtue and political power. Instead, Dibble suggests another kind of sculptural tradition for New Zealand, one that focuses on this country’s artistic heritage. His work can be read by everyone and thus remains as democratic as its Victorian predecessors.’

Dorothea Pauli, ‘Moving Forward, Looking Back. Paul Dibble and the Monumental

Figure’, Paul Dibble (Auckland 2001) p. 112

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9FIne & APPlIed ART

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GREER TWISS (B 1937)Seated mother with childbronze25 x 8 x 13cm$2,000 - 3,500

PROvEnAncEcollection of Sybil Alice Ferguson, a friend of the artistPrivate collection, Auckland

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JEFF THOMSON (B 1957)Cowweathered & painted corrugated iron120 x 210 x 45cm$5,000 - 8,000

PROvEnAncEcommissioned directly from the artistPrivate collection, Hawkes Bay

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11FIne & APPlIed ART

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ROBIN WHITE (B 1946)Hoopers Inletsilkscreen, limited edition 21/50signed, inscribed with title and dated ‘R WHITE 11/76’ (lower left)54.5 x 69cm$3,000 - 5,000

LITERATuREAlister Taylor, Robin White, New Zealand Painter, (Martinborough 1981),p. 110, no. 183

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ROBIN WHITE (B 1946)Mangawekasilkscreen, limited edition 32/36signed and dated ‘ROBIN WHITE JULY ‘74’ (lower right); inscribed with title (lower left)59 x 43cm$4,000 - 7,000

LITERATuREAlister Taylor, Robin White, New Zealand Painter (Martinborough 1981) p. 105

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ROBIN WHITE (B 1946)Church on a Hill, Pauatahanuisilkscreen, limited edition 8/25signed and dated ‘ROBIN WHITE MAY 1971’ (lower right), inscribed with title (lower centre)54 x 40cm (plate)$4,000 - 7,000

LITERATuRE:Alister Taylor, Robin White, New Zealand Painter, (Martinborough 1981) p. 91. no. 89

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LAURENCE ABERHART (B 1949)Nature Morte (Silence) Savage Club Wanganui, 20 February 1986gelatin silver printinscribed with title and dated ‘1986/1999 Print #11’ to the reverse24 x 19cm$4,000 - 6,500

PROvEnAncEwith Peter McLeavey Gallery, WellingtonPrivate collection, Wellington

LITERATuREArt New Zealand, Autumn 1989, 50 p. 50 (illustrated)Laurence Aberhart, Aberhart (Wellington 2007) pl. 1

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LAURENCE ABERHART (B 1949)Taranaki, Hawera 23 March 1993 (map)gelatin silver printinscribed with title and dated ‘1993 Print #4’ to the reverse19 x 24cm$3,500 - 5,500


LITERATuRELaurence Aberhart, Aberhart (Wellington 2007) pl. 180

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10LAURENCE ABERHART (B 1949)Fort Bastion, Interior chamber, Orakei (bank below Bastion Point)gelatin silver printinscribed with title to the reverse18.5 x 23.5cm$3,000 - 4,500

PROvEnAncEPrivate collection, Wellington

This and the following silver gelatin print were originally commissioned for publication in The Military Quarterly,.

11LAURENCE ABERHART (B 1949)Interior, Fort Takapunagelatin silver printinscribed with title to the reverse18.5 x 23.5cm$3,000 - 4,500


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12PETER ROBINSON (B 1966)Around the World in a Dayscreenprint on fabric, limited edition of 7signed and dated ‘PRobinson ‘98’ (upper left/lower right)106 x 76cm$4,000 - 6,000


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TONY DE LAUTOUR (B 1965)Powderlandacrylic on canvassigned and dated ‘Tony de Lautour/2005’ to the reverse91 x 91cm$7,000 - 10,000

PROvEnAncEwith Hamish MacKay Gallery, Wellington, 2006The cordyline collection, Wellington

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CHRIS HEAPHY (B 1965)Visionsacrylic on linensigned and dated ‘C. HEAPHY 1998’ and inscribed with title (lower right); signed and dated ‘98 to the reverse114 x 146cm$10,000 - 15,000

PROvEnAncEpurchased by the current owner directly from the artistPrivate collection, Marlborough

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NEIL FRAZER (B 1961)Ice walloil on canvassigned and dated ‘Neil Frazer 09’ to the reverse76 x 76cm$4,000 - 6,000

PROvEnAncEThe cordyline collection, Wellington

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SHANE COTTON (B 1964)Caveacrylic on papersigned and dated ‘Shane Cotton 2008’ and inscribed with title (lower right)76 x 58cm$16,000 - 20,000

PROvEnAncEwith Hamish McKay Gallery, Wellington 2008Private collection, Auckland

EXHIBITEDHamish Mckay gallery, Wellington, Shane Cotton New Painting, September 2008

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17JEFFREY HARRIS (B 1949)Crucifixion 2oil on boardsigned, inscribed with title and dated 2002-2006 to the reverse29.9 x 22.7cm$10,000 - 15,000

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18JEFFREY HARRIS (B 1949)3 Womenoil on boardsigned, inscribed with title and dated June 1972 to the reverse25.4 x 28.3cm$7,500 - 12,500

19JEFFREY HARRIS (B 1949)Boy on bicyclepencilsigned and dated ‘Jeffrey Harris 17.4.70’ and inscribed with title (upper right)42.5 x 69cm$2,000 - 3,500

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20ALLEN MADDOx (1948-2000)Ask Tonyoil on canvassigned with initials, inscribed with title and dated ‘7.82’ to the reverse68 x 105cm$12,500 - 17,500

PROvEnAncEgifted to the current owner by the artistPrivate collection, Hawkes Bay

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21BILL HAMMOND (B 1947)Lead Love Leadacrylic on canvassigned and dated ‘W. Hammond/1985’ and inscribed with title (lower left)76x 51cm$12,000 - 18,000

22BILL HAMMOND (B 1947)2 Couples Drinking Pissacrylic on kauri panelsigned & dated ‘W Hammond 1984’ (lower right), inscribed with title (lower centre)21 x 51cm$6,000 - 10,000

PROvEnAncEPrivate collection, Christchurch

LITERATuREJennifer Hay, Bill Hammond Jingle Jangle Morning, (christchurch 2007), p. 21. (colour illustration)

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23BILL HAMMOND (B 1947)Sic Eatin Ko Ko Pops Volgaoil on boardsigned and dated ‘W. Hammond 1986’ (lower left); inscribed with title (upper right)38.5 x 71.5cm$8,000 - 14,000


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24BILL HAMMOND (B 1947)Eagle & Boneacrylic on canvassigned and dated ‘W. Hammond/2007’ (upper right) and inscribed with title (lower right)100 x 60cm$70,000 - 90,000

PROvEnAncEwith Peter McLeavey Gallery, Wellington 2007Private collection, Auckland

EXHIBITEDWellington, Peter McLeavey Gallery, Recent Work, 2007Christchurch, Te Puna O Waiwhetu Christchurch Art Gallery, Bill Hammond Jingle Jangle Morning, 20 July - 22 October 2007; Touring to City Gallery Wellington Te Whare Toi, 16 November 2007 - 10 February 2008

LITERATuREJennifer Hay, Bill Hammond Jingle Jangle Morning, christchurch 2007, p. 193. (colour illustration)Jennifer Hay, Bulletin of christchurch Art gallery 149, Bill Hammond Jingle Jangle Morning, Winter June-August 2007, p. 15.

This work was also used for exhibition promotional posters for Jingle Jangle Morning, a copy of which accompanies this work


25RICHARD KILLEEN (B 1946)Time to change male institutionalised war No 2alkyd and pencil on aluminium, 88 pieceseach piece labeled with title, number and dated 25 August 1986, no 553variable$40,000 - 60,000

PROvEnAncESale, Dunbar Sloane Ltd, Wellington, The Vivienne Leung Collection, 19 August 1998 (lot 22)Private collection, Auckland

LITERATuREFrancis Pound, Stories we tell ourselves (Auckland 1999) p. 23-25.Similar work illustrated from the same series ‘Time to change male institutionalised war’ p. 98


26MICHAEL SMITHER (B 1939)The Dreameroil on boardsigned with initials and dated ‘MDS 78’ (upper right)71 x 178cm$50,000 - 70,000

LITERATuRE:Trish gribben, Michael Smither Painter, Ron Sang 2004 p. 154.


‘This painting began life as Lord of the Feasts. When I painted the St Francis paintings I was still a practicing Catholic. By the time I painted this I had abandoned formal religion, but not the concept of spirituality. This painting began as a rendering of an old wino I saw lying in oblivion in Wellington. As I painted him he began to glow; the light started to come out of his face. He showed me the possibility of sainthood in an ordinary man - St Francis in mufti and ecstasy. The mynah bird is both a predatory element and a prophetic aspect of the sleeper’s dream.’ Michael Smither

Gribben, Michael Smither Painter, 2004, p. 154


Our eyes slide down the dark dark grey (charcoal) iron sheet, as if over a rippled sea with its peaks and troughs, and we almost fall through it. At first it seems vague, this spacious flatness, or rather neutral without real colour, volume without veneer, but soon it begins to possess qualities, signs and life. The descent of our eyes down each sheet of corrugated iron, like slipping down the incline of a newly corrugated roof, occurs as if we were waiting for that moment when a tongue would peel back, like the lid of a sardine can, to catch our fall, revealing a verdant underbelly, green as a spring leaf or a Granny Smith apple. A world otherwise revealed resplendent in a gash. As our eyes sink and glide down each wrinkly panel surface in a sort of fascination they are also caught, inveigled, by a cobwebby filigree of delicate plant-like forms (tiny fern fronds?) that race through the iron almost eating their way forward like etching acid. Then we notice that the upper and lower edges of each corrugated iron sheet are fixed to a support by beaten lead head nails, like little silver humming magnets stuck to a charcoal refrigerator door. Further footholds for our descent, these nail heads are cast mementoes of small objects given to the artist by his friends, they function like the small ex votos of beaten metal one finds in Italian churches, banal and stereotypical in character, humdrum in their mediocrity, but potent in psychic efficacy and private memory. Now standing back from the whole composition, we perceive that the two rippled surfaces of iron are deliberately juxtaposed (a diptych) to concoct a cruciform shape that hovers ephemerally before our eyes. A conjured shape that in its proportions reminds us of Hotere’s shiny black, reflective lacquered paintings of the 1970s, each featuring a perfectly centred, full-length, sharp, coloured slit-like cross. corrugated iron, invented in England in 1830, introduced into New Zealand in 1850 (it ‘roofed’ the first New Zealand Parliament in 1852), and now regarded as iconic kiwiana, has over the course of his career been framed, painted, lacquered, scratched, sanded, burnished, and scored by Ralph Hotere. Now that Hotere himself has become something of a New Zealand icon, it seems fitting, as writer Geoff Chapple maintains, that behind all the familiar New Zealand icons lies “the unremitting ripple of corrugated iron”.

Professor Laurence Simmons

27RALPH HOTERE (1931-2013)Greenlacquer on corrugated iron with cast pewter mountingssigned and dated ‘Hotere/Port Chalmers/’97’ and inscribed with title to the reverse of each paneleach panel 200 x 85.5cm; overall 200 x 175.5cm$100,000 - 150,000

PROvEnAncEPrivate collection, Auckland


Gottfried Lindauer (1839-1926), along with Charles F Goldie was New Zealand’s best known painter of Maori subjects in the late nineteenth-early twentieth centuries. Bohemian by birth, Lindauer trained as an artist at the Academy of Fine Arts, Vienna, where he established a successful career as a portrait painter. Emigrating to New Zealand in 1874, Lindauer initially settled in Nelson. A move to Auckland in the mid 1870s however proved crucial. It was there he met prominent businessman and collector Henry Partridge (1848-1931), who was to become his lifelong patron. Partridge commissioned Lindauer to depict numerous portraits of eminent Maori, both living and deceased, as well as large-scale depictions of re-enactments of traditional Maori life and customs over a period of 30 years. Partridge’s aim was to create a pictorial history of Maori at a time when it was widely believed that Maori were dying literally and as a distinct cultural group.

The interpretation of Lindauer’s portraits has varied enormously, depending on the viewers socio-cultural contexts. For many colonial Europeans the portraits represented a supposed vanishing Maori culture, as well as being important ethnographic documents providing a valuable record of Maori physiognomy, moko, dress and arefacts. For many Maori, especially the families and descendants of those portrayed, his portraiture was interpreted in an entirely different light. They were viewed and still are to this day, as embodiments of the presence, spirit and mana of the subject, a link between the past and present, and as taonga that need to be protected. As such Lindauer was held in extremely high regard within the Maori community and his mutual respect can be seen in his sensitive handling of his Maori subjects. It is also suggestive of the sympathy and empathy that he as an outsider, a czech artist in a predominantly Anglo European population understood.

The present work is most likely a private commission for the sitters family. Although the identity of the sitter is not recorded, the work is entitled Hamiora Maioha. It is most likely a depiction of either Hamiora Wiremu Maioha (1888 - 1963) of Ngai Tawake hapu of Nga Puhi, resident of the Bay of Islands or Hamiora Te Maioha (1864 - 1929) born Waimate north, Northland, New Zealand on 25 Jan 1864 to Hoani Maioha and Margaret Makere Farley.

28GOTTFRIED LINDAUER (1839-1926)Hamiora Maiohaoil on canvassigned ‘G. Lindauer’ (lower left)60 x 50cm$65,000 - 85,000

PROvEnAncEPurchased by the vendor’s father, McKearneys, Hastings 1974Private collection, Hawkes Bay


29VERA CUMMINGS (1891-1949)Maori Chieftain with Huia feather behind his earoil on canvassigned ‘V.Cummings’ (lower right)20.5 x 15.5cm$2,500 - 4,000

30VERA CUMMINGS (1891-1949)Maori Woman with Moko and greenstone earringoil on canvassigned ‘V.Cummings’ (lower right)20.5 x 15.5cm$2,000 - 3,500

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31WILLIAM G BAKER (1864-1924)Kenepuru Soundoil on canvassigned ‘W. G. Baker’ and inscribed with title (lower right)76 x 111cm$4,000 - 7,000

32JOHN PHILEMON BACKHOUSE (1845-1908)The Pink Terraces; The White Terracesoil on boardboth signed with initials (one lower right; the other lower left)each 26 x 37cm(2)$5,000 - 8,000

PROvEnAncEPrivate collection, Taranaki

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33JOHN BARR CLARKE HOYTE (1835-1913)Pink Terraces and Lake Rotomahanawatercoloursigned ‘J.C Hoyte’ (lower left)33.5 x 56.5cm$15,000 - 25,000

PROvEnAncEPrivate collection, Marlborough

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34JOHN BARR CLARKE HOYTE (1835-1913)Milford Soundwatercolour and pencil53 x 94cm$15,000 - 25,000

PROvEnAncEPrivate collection, Kapiti Coast

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35ALExANDER YOUNG JACKSON CC CMG (CANADIAN, 1882–1974)Lower St Lawrenceoil on boardsigned ‘A Y JACKSON’ (lower centre right); inscribed with title and dated ‘April 1953’ to the reverse25 x 33cm$20,000 - 30,000

PROvEnAncEPresented to Priory Headquarters by R M MacDonnell, High Commissioner for Canada to The Priory in New Zealand of the Order of St John, 1968

Alexander Young Jackson cc cMg (canadian, 1882–1974) studied at the Conseil des arts et manufactures, Montréal with Edmond Dyonnet. After a brief period as a graphic artist for a lithograph company in chicago, Young fought in the First World War. Injured in 1916, he continued service as an official Canadian war artist (1917-1919).

Returning to Canada in 1919, Jackson and six fellow artists - Franklin Carmichael, Lawren Harris, Frank Johnston, Arthur Lismer, J E H MacDonald and Frederick Varley formed the Group of Seven (1919-1930). The group was renowned for its paintings inspired by the Canadian landscape, believing that a distinct style of Canadian art could be developed through direct contact with nature. This was considered bold at the time, as the Canadian wilderness had previously been considered too rugged to be painted, hence initiating the first major Canadian national art movement. The Group was succeeded by the Canadian Group of Painters in the 1933 of which Jackson was again a founding member.

In addition to his work with the Group of Seven, his long career included teaching at the Banff School of Fine Arts (1943-1949). In his later years he was artist-in-residence at the McMichael Gallery in Kleinberg, Ontario.

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36GRAHAME SYDNEY (B 1948)Marquee at the Dog Trialswatercoloursigned and dated ‘G. SYDNEY 1982’ (lower right)23.5 x 46.5cm$20,000 - 30,000

PROvEnAncEPurchased directly from the artist by the current owner, 1982Private collection, Christchurch

LITERATuREGrahame Sydney, Brian Turner, Owen Marshall, Timeless Land (Dunedin 2002) p. 83

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37MELVIN [PAT] DAY (B 1923)Wellington Headsoil on canvassigned and dated ‘Day 84’ (lower right)137.5 x 228.5cm$15,000 - 20,000


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38LEO BENSEMANN (1912-1986)Wainui Ioil on boardsigned with initials and dated ‘LB 77’ (lower right)62 x 111cm$15,000 - 20,000

PROvEnAncEPurchased directly from the artist by the current owner, 1981Private collection, Kapiti Coast

EXHIBITEDchristchurch, Brooke gifford gallery, 1979

LITERATuREcaroline Otto, Leo Bensemann: Landscapes & Studies (nelson 2006) p. 81 (colour illustration)Peter Simpson, From Fantastica: The World of Leo Bensemann (Auckland 2011) p. 161-2.

Bensemann begun Wainui I in 1974 and only later finished the work in 1977 and is one of only two works he completed of Wainui. He held the work in high regard commenting in a letter to his daughter Caroline and her husband Paul Otto in January 1974:

‘My dear caroline and Paul,…I am leaving Nelson on Saturday and may not get another chance to send you (both) loving greetings from this most beautiful place…I came over a week ago last Saturday and the days have melted away in swimming, eating, sleeping and quite a lot of doog painting. In fact I have been painting very well for some reason I cannot understand because I arrived here a worn out nervous wreck…I started a biggish painting of the headland on the other side of Wainui Inlet and am terribly pleased with it - it alone had made the trip up here worthwhile. Something like this:The pretty little island is crowned with vivid green bush and is called Taupo. Out on the horizon you can just see Farewell Spit float like a mirage on a cerulean sea. The hills are olive green and brown gold and the great sweeping golden beach shatters in the right hand corner into Maori fish-hook shapes. Don’t think I will sell this one…’

Otto, Leo Bensenmann: Landscapes & Studies, p. 81.

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39MELVIN [PAT] DAY (B 1923)Still life with fruitoil on canvassigned and dated ‘Day ‘60’ (lower right); inscribed with title and inscription ‘Oroya Happy Anniversary 1962/Love Pat’ to the reverse41 x 101cm$6,000 - 10,000

PROvEnAncEwith Mark Hutchins Gallery, WellingtonPrivate collection, Wellington

EXHIBITEDRotorua Museum of Art & History, Melvin Day Continuum, 2005

40MELVIN [PAT] DAY (B 1923)Inscriptionmixed media on canvassigned and dated ‘Day 60’ (lower right); inscribed with title to the reverse79 x 91.5cm$4,000 - 6,000

PROvEnAncESale, Dunbar Sloane Ltd, Wellington,15 November 2006 (lot 12)The cordyline collection, Wellington

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Japanese Prisoners Mono Island c1943 by Russell Clark [Archives Reference: AAc 898/ 508 ncWA] Archives New Zealand The

Department of Internal Affairs Te Tari Taiwhenua

THE RUSSELL CLARK COLLECTION

The following ten lots (with the exception of lot 47) are from the personal collection of a member of the clark Family, christchurch

41RUSSELL CLARK (1905-1966)Japanese Prisoners, Monopencilsigned ‘RUSSELL CLARK’ and inscribed with title (lower left)39.5 x 49cm$2,000 - 4,000

LITERATuREMichael Dunn, The Drawing of Russell Clark, New Zealand Artist and Illustrator (Auckland 1976) p. 36-7, pl. 24 (illustrated)

This work is a study for Japanese prisoners, Mono Island c 1943, national collection of War Art, Auckland War Memorial Museum (see illustration right)

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42RUSSELL CLARK (1905-1966)Volcanic Harbouroil on boardcertificate of authenticity from William A Sutton, 1986 attached to the reverse39 x 58cm$2,500 - 4,500

43RUSSELL CLARK (1905-1966)Sketch for Auckland Anchor Stone Sculptureswatercolour, pencil and inkinscribed with title (lower centre)35 x 53cm$1,000 - 2,000

LITERATuREMichael Dunn, The Drawing of Russell Clark, New Zealand Artist and Illustrator (Auckland 1976) p. 78-79, pl. 83 (similar study)

44RUSSELL CLARK (1905-1966)Maquette’s for Anchor stones, Bledisloe Building, Aucklandhinuera stone29cm height each, (one af)$1,000 - 2,000

LITERATuREMichael Dunn, The Drawing of Russell Clark, New Zealand Artist and Illustrator (Auckland 1976) p. 79, pl. 84 (original sculptures)

These maquette’s are studies for the large Anchor Stones located Bledisloe State Building, Auckland 1959. The sculpture is based on the shape of two historic Maori anchor stones; one Matoahorua stone in the collection of the National Museum and Tainui stone on the grave of Tamati kingi Te Wetere, Mokau.

45RUSSELL CLARK (1905-1966)Helmet HeadFired clay sculpture51cm height$2,000 - 4,000

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46RUSSELL CLARK (1905-1966)Portrait Busthollow modelled concrete40cm height$1,500 - 2,500

Most likely the same bust depicted in Russell clark’s painting Two Heads and Flowers 1949, ‘Russell Clark 1905-1966, A Retrospective.Exhibition’, Robert McDougall Art gallery catalogue 1975 p. 39.

47RUSSELL CLARK (1905-1966)Sculpture Group 2oil on boardsigned ‘Russell Clark’ (lower left); inscribed with title to the reverse38.5 x 65cm$4,500 - 7,000


This work is most likely an alternative study for the Hays Ltd Sculpture, Riccarton, christchurch

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48RUSSELL CLARK (1905-1966)Native Carriers & Guides, Mono. Treasury Islandswatercolour, pencil and inkinscribed with title (lower right)23.5 x 35.5cm$1,000 - 2,000

This work is a study relating to Russell Clark’s, Native guides, Mono Island, 1944, National Collection of War Art, New Zealand.[Archive Reference: AAAC 898/ NCWA 123],

The following three lots were produced for the New Zealand School Journal. From 1940 Russell clark began his long association as a principal illustrator for the Journal. Over the following years his imagery was to become familiar to a whole generation of primary school children.

49RUSSELL CLARK (1905-1966)Founding fathers of Banks Peninsulaink and pencil37.5 x 56cmtogether with another drawing by the same hand, Colonial Settlement, Canterbury (2)$2,000 - 3,000

50RUSSELL CLARK (1905-1966)Colonial settlement of Canterburyink and pencil37.5 x 56cmtogether with another drawing by the same hand, European & Maori negotiations (2)$2,000 - 3,000

51RUSSELL CLARK (1905-1966)Surveying the settlement of Canterburyink and pencil37.5 x 56cmtogether with another drawing by the same hand, European settler discovering territory with Maori guide (2)$2,000 - 3,000

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potential for dramatic contrasts and distinctions between shadow and light, and day and night. Certainly, this sense of drama is evident in his drawing for The Breakthrough: Minqar Qa’im, and was refined even further in the finished painting, now held in Archives New Zealand war art collection (refer image below). McIntyre’s confidence in astutely capturing a fluctuating chiaroscuro of fire and flames against the dead of night was no accident. From his arrival in North Africa in 1941 he had frequently observed the 2NZEF, describing their movements travelling at night. He recalled: ‘It was a fantastic sight, one of the great spectacles of the war, as the entire New Zealand Division advanced across the desert in a huge pall of dust. ‘ Moreover, this initial record of the attack provided an insight into his working methods as an artist. The editing of the damaged tank in the immediate foreground and narrowing of the view of the convoy in the finished painting, accelerates the urgency and movement of the vehicles and their insistence in ensuring that they escape captivity. McIntyre later generously recalled: ‘I think my 2 1/2 years in the Western Desert with the New Zealand Division were the best times in my whole life in the company of men. Do you know what I mean? To me the New Zealand Division in those days was a superb thing. Men at their best in extraordinary circumstances.’

Dr Warren Feeney PHD, Masters Thesis on Peter McIntyre’s War Art, Canterbury University, 1995

52PETER MCINTYRE (1910-1995)The breakthrough, Minqar, Qa’im, 1942ink on papersigned ‘PETER MCINTYRE’ (lower right)18.5 x 31cm$10,000 - 15,000

PROvEnAncESale, Dunbar Sloane Ltd, Wellington, 12 August 2009 (lot 33)Private collection, Australia

New Zealand war artist Peter McIntyre’s remarkable working drawing for The Breakthrough: Minqar, Qa’im records his immediate impression of the Second New Zealand Expeditionary Force’s (2NZEF) breach of its confinement by General Erwin Rommel’s troops in the cliffs above Mersa Matruh in Egypt in June 1942. The 2nZEF has returned to Egypt from Syria, following Rommel’s infiltration of the allied lines and fears for his occupation of Egypt. However, although anticipating support from the 1st Armoured Division, the 2NZEF became quickly encircled by Rommel’s forces and confined in Minqar Qa’im. Lacking in tank support, the 2NZEF decided to strike against the German line, surprising its blockage towards midnight, relying on its infantry to force the breakthrough with rifles and grenades. As they advanced, the 2NZEF’s trucks followed, shelled from both sides by the startled german forces. McIntyre recalled these events when he toured New Zealand as official war artist in1943: ‘There were streams of fire coming from both sides when the Division started to break its way through. The Maori driver of Captain McIntyre’s truck pulled his tin hat down over his eyes and went for his life.’ The war against Rommel in the North African desert presented McIntyre and other war artists with a very different environment to that of the First World War. British war artists faced many problems working in these conditions and both Edward Bawden and Edward Ardizonne admitted that they had trouble adjusting to the vast indefinite desert spaces. McIntyre, however, appears to have responded favourably, appreciating the landscape’s

The breakthough, Minqar, Qa’im, 27-28 June 1942 by Peter McIntyre [Archives Reference: AAAC 898/ 20 NCWA] Archives New Zealand The Department of Internal Affairs

Te Tari Taiwhenua


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53TOM ESPLIN (1915-2005)Market Day, Old Stockholmoil on boardsigned ‘Esplin’ (lower right); inscribed with title to the reverse38 x 56cm$6,000 - 9,000

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54PETER MCINTYRE (1910-1995)Rangitikei Riverwatercoloursigned ‘PETER MCINTYRE’ (lower right)52.5 x 71cm$12,000 - 16,000

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55MOUNTFORD TOSSWILL [TOSS] WOOLLASTON (1910-1998)The Grey Riveroil on board90 x 120cm$16,000 - 22,000


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56ALBERT NAMATIJIRA (AUSTRALIAN/ABORIGINAL, 1902-1959)Ridges at Ormistonwatercoloursigned ‘ALBERT NAMATJIRA’ (lower right)34 x 52.5cm$10,000 - 15,000

PROvEnAncEPrivate collection, Tauranga

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57NICHOLAS CHEVALIER (1828-1902)Study for Race to the Market, Tahitioil on boardsigned with initials and dated ‘NC. 79’ (lower right)14.5 x 23cm$20,000 - 30,000

PROvEnAncEPrivate collection, Britain

Born in Russia, Chevalier arrived in Melbourne in 1855 becoming an illustrator for Melbourne Punch and exploring different parts of the region with his friend and fellow artist Eugene von Guerard. In 1865 Chevalier moved to New Zealand.

In 1869 Chevalier left Australasia on the royal yacht Galatea in the company of the Duke of Edinburgh. Chevalier had been a member of the entourage for His Royal Highness’s tour of victoria and Tasmania that began in 1867. Galatea sailed the Pacific and Indian oceans for a year, providing the artist with rich and exotic scenery that inspired his work for years to come.

The present work, set in Opunohu Bay was completed on this tour and is a study for Chevalier’s masterpiece Race to the market, Tahiti, 1880, which currently hangs in Art Gallery of New South Wales, Australia.

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58GIROLAMO PIERI BALLATI NERLI (1860-1926)Apia Harbour, Samoa c1892oil on canvassigned ‘G. Nerli’ (lower right)40.5 x 86.5cm$20,000 - 30,000


In August 1892 Nerli visited Apia, Samoa where he met and painted Robert Louis Stevenson, producing portraits in oil, pastel and charcoal, one of which hangs in the Scottish National Portrait Gallery.A notice in the Samoa Times of 27 August 1892 outlined his plans:‘By the Lubeck last trip there arrived in Samoa Signor Nerli, an Italian artist. It is the intention of this gentleman to reproduce, principally in oils, some of our magnificent scenery, and also to make some portraits of the Samoan natives, which he proposes to exhibit at the Sydney Exhibition. Signor Nerli informs us that he is prepared to undertake private commissions.’

Nerli produced a number quantity of plein air watercolour sketches in Samoa, a number of which show Stevenson’s house and environs. This previously unrecorded large oil is a notable addition to this rare and much sought after series of work.

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59GIROLAMO PIERI BALLATI NERLI (1860-1926)Rotten Row, Hyde Park, Londonoil on boardsigned ‘G. Nerli’ (lower left)23 x 31cm$4,000 - 6,000


60GIROLAMO PIERI BALLATI NERLI (1860-1926)Rowing on the Serpentine, Hyde Park, Londonoil on boardsigned ‘G. Nerli’ (lower right)23 x 30.5cm$4,000 - 6,000


61GIROLAMO PIERI BALLATI NERLI (1860-1926)Boat House, Hyde Park, Londonoil on boardsigned ‘G. Nerli’ (lower right)23 x 30.5cm$4,000 - 6,000


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62ALFRED DE BREANSKI SNR RBA (BRITISH, 1852-1928)On Wild Aberdeenoil on canvassigned ‘Alfred de Breanski’ (lower left); signed and inscribed with title to the reverse76 x 127cm$25,000 - 35,000

PROvEnAncEPrivate collection, Canterbury

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63JOHN BEVAN FORD (1930-2005)The Cloak of Changchunacrylic, pastel and ink on papersigned (lower right)138.5 x 248cm$4,000 - 7,000

PROvEnAncEPurchased directly from the artistPrivate collection, Wellington

Bevan Ford was one of New Zealand’s pioneers of Contemporary Maori Art. His paintings and sculptures achieved wide recognition with major sculptures in the International Sculpture Parks of Beijing and changchun (2001). Changchun is the capital and largest city of Jilin province, located in the northeast of the People’s Republic of china.

64GUY NGAN (B 1926)Mural for Yangtze Restaurant, Wellingtonacrylic and gold leaf on board120 x 240cm$2,000 - 3,500

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65GUY NGAN (B 1926)Animated Coloursoil & polyurethane on boardinscribed ‘Tiki Hands Horizon (centre left); inscribed with title and dated 1973 on original artist label to the reverse79 x 120cm$8,000 - 12,000

PROvEnAncEcollection of the artistSale, Dunbar Sloane Ltd Wellington, 15 August 2007 (lot 38)Private collection, Wellington

LITERATuREguy ngan, Guy Ngan Scrapbook no 1 (Auckland 2010)

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66RALPH HOTERE (1931-2013)Aramoanalithograph, limited edition P.Psigned and dated ‘Hotere ‘90’ (lower right)53 x 66cm$4,000 - 6,000

LITERATuREPeter vangioni & Jillian cassidy, Hotere, Empty of shadows and making a shadow, lithographs by Ralph Hotere (Christchurch 2005) p. 51, fig. 32

67RALPH HOTERE (1931-2013)L Mort a les Couleurs du Paonlithograph with hand applied coloured inks, limited edition 4/14signed and dated ‘Hotere ‘85’ (lower left); inscribed ‘death wear the colours of a peacock (giono)’ (upper left)53.5 x 37.5cm$3,500 - 5,500

PROvEnAncEwith The Small Gallery, Wellington 1986

LITERATuREPeter vangioni & Jillian cassidy, Hotere, Empty of shadows and making a shadow, lithographs by Ralph Hotere (Christchurch 2005) p. 35, fig. 7

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68ROBIN WHITE (B 1946)Along the way of sorrows I-XIVetching, limited edition 15/18signed ‘Robin White’ (lower right); dated ‘Jerusalem, May 1992’ (lower left)9 x 90cm (overall); 9 x 6cm (each)$2,000 - 4,000

69BILL HAMMOND (B 1947)Waiting for Bullerink and graphite on papersigned with initials and dated ‘WDH/1994’ (upper left)75 x 56cm$12,000 - 16,000

PROvEnAncEwith Peter McLeavey Gallery, Wellington, 1995Private collection, Wellington

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70PAT HANLY (1932-2004)Bride & Groomlithograph, limited edition 26/50signed and dated ‘Hanly ‘90’ (lower right) and inscribed with title (lower centre)63 x 50cm$2,000 - 3,000

71PAT HANLY (1932-1994)The Golden Agereverse intaglio, limited edition 23/30signed and dated ‘Hanly 79’ (lower right), inscribed with title (lower left)49 x 50.5cm$2,000 - 4,000

LITERATuRE:Neil Rowe, Hanly, The Printer as Printmaker, 1981, p. 40., no. 40

72PAT HANLY (1932-2004)Hope vessel and heartlithograph, limited edition p. 7.signed and dated ‘Hanly ‘86’ (lower right) and inscribed with title (lower left)35 x 42cm$1,500 - 2,500

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73GORDON WALTERS (1919-1995)Kurascreenprint, limited edition 104/150signed and dated ‘Gordon Walters 1982’ (lower right), inscribed with title (lower left)75 x 56.5cm$4,000 - 7,000

74BARBARA HEPWORTH (BRITISH, 1903-1975)Two marble forms, Mykonoslithograph, artist proofsigned ‘Barbara Hepworth’ (lower right)81 x 59cm$2,000 - 4,000

Hepworth made two sets of lithographs with the Curwen Press, London between 1969-71. This work is from the 12 Lithographs series which was published in 1969 from drawings made at the artist’s studio in St Ives. The Aegean Suite, published in 1971, developed from her fascination with Greece following a visit in 1954 with Margaret Gardiner.

75RICHARD KILLEEN (B 1946)Flock of light, 1999acrylic and gesso on aluminium, 30 pieceseach piece inscribed with cat #3358 and indivdually labelled.variable size, 5.5 x 6cm each approximately$3,500 - 5,000

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76PHILIP CLAIRMONT (1949-1984)Zig: Frontal View (study for painting)inksigned and dated ‘Phil Clairmont Aug 72’ and inscribed with title (lower right)58 x 53cm$4,000 - 7,000

PROvEnAncESale, Dunbar Sloane Ltd, Wellington, 28 July 1999 (lot 61)Private collection, Wellington

77TONY FOMISON (1939-1990)Girloil on papersigned with monogram, inscribed with title and dated ‘62 (lower right)63 x 54cm$5,000 - 7,000

PROvEnAncECollection of Olivia Spencer Bower, ChristchurchSale, n H Mccrostie & co Auctioneers, christchurch, The Collection of The Late Olivia Spencer Bower (lot 31)Private collection, Canterbury

78BILL HAMMOND (B 1947)Untitledoil stick and felt pen on buff papersigned and dated ‘WDHammond/1998’ (lower left)63 x 59cm (maximum)$2,000 - 4,000

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79TONY LANE (B 1949)Hand, Tears, Stigmataoil, aluminium leaf and composition ornaments on gesso panelsigned with initials (lower left) and dated ‘2.04’ (lower right); signed, inscribed with title and dated to the reverse73 x 51cm$3,500 - 5,500

PROvEnAncEwith Mark Hutchins Gallery, Wellington 2004The cordyline collection, Wellington

80TONY LANE (B 1949)Handoil, silver leaf on gesso panelsigned with initials (lower left) and dated 2/97 (lower right); signed, inscribed with title and dated to the reverse105 x 105cm (inclusive of frame)$3,500 - 5,500

81JOHN PARKER (B 1944)Not quite white, not quite blackoil on papersigned and dated ‘J S Parker 03’ (lower right); inscribed with title (lower centre)100 x 70cm$2,500 - 4,000

PROvEnAncEwith Tinakori Gallery, Wellington, 2003The cordyline collection, Wellington

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82LEONARD MITCHELL (1901-1971)New Zealand Centennial Exhibition Wellington, Nov 1939 - Apr 1940lithograph archival mounting on linenprinted by Whitcombe & Tombs Ltd, 1939101.5 x 67cm$4,000 - 5,500

83 I MAJORCanterbury Centennial Celebrations Christchurch April 8th-14th 1940screenprint archival mounting on linen87.5 x 56.5cm$2,500 - 3,500

84EDWARD COLE (FL. 1930)New Zealand Apples, The Empire’s Star Turn. The Dominion of New Zealandlithograph archival mounting on linenc1925-193576.5 x 50.5cm$2,000 - 3,000

85A AMSPOKERNew Zealand, Pan American World’s Most Experienced Airlinescreenprint archival mounting on linenprinted in uSA, 195889.5 x 55.5cm$3,000 - 4,500

86LEONARD MITCHELL (1901-1971) FOR NEW ZEALAND GOVERNMENT TOURIST DEPARTMENTMt Egmont, 8,260 ftlithograph archival mounting on linenprinted by G H Loney, Government Printer, Wellington c1934-193799.5 x 66cm$3,000 - 4,000

87NEW ZEALAND RAILWAYS, PUBLICITY BRANCHNew Zealand, the playground of the Pacific. Thousands of feet above worry level! Mt. Cook.lithograph archival mounting on linenprinted c M Banks Ltd, Lithographer, Wellington, c1933101 x 64cm$3,000 - 4,000

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88JOHN BARR CLARKE HOYTE (1835-1913)Maori surveying bustling harbourwatercoloursigned ‘J.C. Hoyte.’ (lower left)34 x 56.5cm$4,000 - 6,000

89NICHOLAS CHEVALIER (1828-1902)Sunset on Snow Covered Mountainswatercoloursigned and dated ‘N. Chevalier. 1878’ (lower left); inscribed with title and numbered 360 on original paper label to the reverse32 x 46cm$3,000 - 6,000

PROvEnAncECollection of W Collingwood Smith, RWSPrivate collection, Britain

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90GIROLAMO PIERI BALLATI NERLI (1860-1926)Laughing Jackassesoil on boardsigned ‘gP nerli’ (centre right)34 x 60.5cm$14,000 - 18,000

PROvEnAncEcollection of the artist 1888-c1893Sale, Leonard Joel Ltd, Melbourne, 1974 (lot 842)Private collection, Marlborough

EXHIBITEDArt Society of New South Wales, Annual Exhibition 1888, no 124 (21 Pounds)Otago Art Society, 1948 Centennial Exhibition of Art in Otago (entitled as Amused) original exhibition label attached to the reverse

LITERATuRESydney Morning Herald, 18 September 1888Financial Review, 4 June 1987, p. 32 (illustrated)Peter Entwisle, Michael Dunn & Roger Collins, Nerli, An exhibition of paintings & drawings (Dunedin 1988) p. 108-110 fig. 28 (illustrated)

This work is based on sketches of the front row of Fuller’s Theatre, Sydney

91ALFRED O’KEEFE (1858-1941)Tea is Readyoil on canvassigned and dated ‘A. K. O’Keefe 1891’ (lower left); signed and inscribed with title on original label attached to the reverse68.5 x 50cm$4,000 -6,000

PROvEnAncEwith Ferner Galleries, AucklandPrivate collection, Marlborough

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92MARGARET OLROG STODDART (1865-1934)White Chrysanthemumswatercoloursigned and dated ‘M.O.Stoddart, 1896.’ (lower right)76 x 54cm$6,000 - 10,000

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93FRANCES HODGKINS (1869-1947)Floral study with poppies c1930gouachesigned ‘Francis Hodgkins’ (lower left)33.5 x 33cm$20,000 - 30,000


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94JAMES CROWE RICHMOND (1822-1898)Kepler Mountains, Lake Anauwatercoloursigned & dated ‘J. C. Richmond 1889’ (lower centre), inscribed with title (lower right)31 x 52cm$2,500 - 4,000

95OLIVIA SPENCER BOWER (1905-1982)Adele Island, Nelsonwatercoloursigned ‘OLIVIA SPENCER BOWER’ (lower right)37 x 56cm$2,000 - 3,500

PROvEnAncEwith Peter McLeavey Gallery, WellingtonSale, Webb’s Auckland, The Richard & Rhoda Potton collection, 31 March 2008 (lot 1)

This work was painted c1935.

96VICTOR GILBERT (FRENCH, 1847-1933)Farm yard with dusting of snowoil on boardsigned ‘Victor Gilbert’ (lower left)34.5 x 44.5cm$3,000 - 5,000

PROvEnAncEby descent to the current ownerPrivate collection, Tauranga

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97CHARLES D BARRAUD (1822-1897)Surveyors crossing the Waikato Riverwatercolour heightened with whitesigned and dated ‘C.D.Barraud/N.Z. 1863’ (lower right)34 x 49cm$4,000 - 7,000

98GEORGE O’BRIEN (1821-1888)Cheltenham Beach, North Head, Auckland Harbourwatercolour heightened with whitesigned ‘GOBrien’ (lower left)14 x 20cm$3,000 - 5,000

A similar composition by george O’Brien is housed in The Fletcher Trust collection, Auckland.

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99COLIN WHEELER (1919-2012)Cromwell Graveyardoil on boardsigned and dated ‘COLIN V. WHEELER - 1985’ (lower right)60 x 54cm$2,500 - 4,500

100PETER MCINTYRE (1910-1995)Hop Field, Motueka Valleyoil on boardsigned ‘PETER MCINTYRE’ (lower right)58 x 67cm$4,000 - 7,000

LITERATuREPeter McIntyre’s New Zealand (Wellington 1964) pl. 38

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101NICOLAS DILLON (B 1966)Paradise Ducksoil on canvassigned and dated ‘Nicolas Dillon 2009’ (lower right)80 x 120cm$4,000 - 7,000

PROvEnAncEPrivate collection, Australia

Born in Blenheim, 1966, Nicolas Dillon has exhibited worldwide including the prestigious ‘Birds in Art’ exhibition at The Leigh Yawkey Woodson Art Museum in Wasau, Wisconsin and the Society of Wildlife Artists, London.

102NICOLAS DILLON (B 1966)Spawning Brown Troutoil on canvassigned and dated ‘Nicolas Dillon 2011’; inscribed ‘Spawning Brown Trout’ as seen in the headwaters of Top Valley Stream, Richmond Ranges, Marlborough, NZ, July 2010’ to the reverse80 x 120cm$4,000 - 7,000

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103MOUNTFORD TOSSWILL [TOSS] WOOLLASTON (1910-1998)South of Greymouthwatercolour and pencilsigned ‘Woollaston’ (lower right)33.5 x 50cm$4,000 - 7,000


104MOUNTFORD TOSSWILL [TOSS] WOOLLASTON (1910-1998)Pah Hilloil on boardsigned ‘Woollaston’ (lower right)59 x 89cm$10,000 - 15,000

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105PHILIP TRUSTTUM (B 1940)Untitled (Garden series)oil on boardsigned with initials & dated ‘PST/ ‘74’ (lower centre)39 x 47cm$3,000 - 5,000

106GRETCHEN ALBRECHT (B 1943)Red lineacrylic on canvassigned ‘Albrecht’ (lower right); inscribed with titled and dated 1973 on the reverse/stretcher178 x 83cm$12,000 - 18,000

PROvEnAncESale, Webb’s, Auckland, 3 April 2001, lot 59Private collection, Auckland

EXHIBITEDElva Bett Gallery, Wellington, August 1978 ($600 - original gallery stamp on the stretcher)

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107JANE EVANS (1946-2012)Beverley with Agapanthusgouachesigned ‘Jane Evans ‘92’ (lower right)76 x 56cm$4,000 - 7,000

PROvEnAncEPurchased directly from the artistPrivate collection, Marlborough

LITERATuREJohn coley, Jane Evans, (christchurch 1997) p. 100 (colour illustration)

108JANE EVANS (1946-2012)Flowers in Italian vase with booksgouachesigned and dated ‘Jane Evans ‘90’ (lower right); inscribed with title to the reverse74 x 56cm$3,000 - 5,000

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Dunbar Sloane Fine & Applied Art Part 1

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