W.T.Macalister A A Deans Art Trust Collection

JOIN US TO CELEBRATE THE GRAND OPENING OF OUR

NEW GALLERY330 ST ASAPH STREET CHCH

DECEMBER 4 – ENTRIES INVITED

FINE ART, INTERIORS & COLLECTORS CARS

Ronnie van Hout Comin’ Down 2013. Reproduced courtesy of the artist

DECEMBER 4 – ENTRIES INVITED

FINE ART, INTERIORS & COLLECTORS CARS

Allen Maddox, Untitled Grid Oil on Canvas, Signed and dated 1983 1070 x 1020mm $12,000 - $18,000

Ronnie van Hout Comin’ Down 2013. Reproduced courtesy of the artist

In 2009 Austen established the A A Deans Art Trust, in order that his private collection be managed professionally for the future benefit of his family and the community.

The Trustees are pleased to present to the market, from this body of works, forty-five paintings covering nine decades of a lifetime committed to art.

Sale Day - THUR 6.30pm

24th OCTOBER 2013

VIEWINGS

OCTOBER 19th - 24th SAT, SUN 11am - 3pm

TUE 9am - 6pm

WED 9am - 8pm

THUR 9am - 5pm

330 ST ASAPH STREET, CHRISTCHURCH 03 366 8396 [email protected]

WTMACALISTER.COM

1 Rooftops 1938 Watercolour2 Nude 1938 Oil3 Torlesse from Abners Head 1939 Watercolour4 Bottey on Laig Ghru Pass 1945 Watercolour5 Bealey Broadstream, nr Bealey 1946 Oil6 From Mt Potts, D’Archiac 1947 Watercolour7 Totara Tree, Peel Forest 1947 Oil8 Upper Waitaha 1948 Watercolour9 Swiss Houses, Evolene 1950 Oil10 Rakaia Hills 1951 Watercolour 11 Rakaia Hills 1951 Watercolour12 Mt Peel and Bush 1952 Watercolour13 Figures at Peel Forest Dog Trials 1956 Watercolour14 Campsite, Whitcombe Pass 1956 Watercolour15 Wanaka Nor’wester Over 1957 Oil16 Mills Bush, Peel Forest 1959 Oil17 Two Thumbs and Mt Sinclair 1960 Watercolour18 From the Remarkables 1960 Watercolour19 Moonlight on Stag Flat 1968 Watercolour20 Lake Sarah, Waimak 1969 Watercolour21 Mount’s Green & Walter from Tasman Glacier 1969 Watercolour22 Rata, Peel Forest 1969 Oil23 Wellington from The Crescent 1971 Watercolour24 Te Mata Peak, Hawkes Bay 1971 Watercolour25 Near Mt Hutt 1972 Watercolour26 Mt Tasman from Pioneer Hut 1973 Watercolour27 Totara 1974 Oil28 Untitled / Artists Studio Verso 1974 Oil29 Old Man Range from Mt Peel Station 1976 Oil30 Hut by Mt Cook Station 1976 Watercolour31 Tarn Cass, Mt Hutton 1978 Watercolour32 Rotten Tommy, Mt Cook c1980 Watercolour33 Rangitata from Mt Peel track c1980 Watercolour34 Mt Peel from Arundel 1980 Oil35 Breast Hill Station, Otago 1986 Watercolour36 Ti point Northland 1989 Watercolour37 Rural Oz, near Orange NSW 1990 Watercolour38 Mt Canabolos, Orange, NSW 1991 Oil39 Lake Hawea 1995 Watercolour40 Near Athabraska Glacier, Canada 2001 Watercolour41 Loch Lomond, Scotland 2005 Watercolour42 Swingbridge by Lake Heron 2005 Watercolour43 From St Winnifred’s Hut 2006 Watercolour44 Mills Bush, Peel Forest 2007 Oil45 Rangitata Gorge in Snow 2011 Watercolour

Lots

Welcome to W.T.Macalister’s fifth auction catalogue.

W.T.M was established in February 2012. During W.T.M’s first

year of trading in what can be referred to as ‘tumultuous’

times in the city of Christchurch we brought to the market

three very significant collections. Our inaugural auction

“40 years of Leo Bensemann” followed closely by the Sir Ronald

& Lady Scott collection from Wellington and the R Geoffrey

Bell Collection. All sales were highly successful and broke

several New Zealand auction records establishing W.T.M as

market leader of single owner collections. If you are looking to

sell a collection consult the name you can trust W.T.Macalister.

Now with two superb Galleries located in the Christchurch Art

District, W.T.M opens with two exceptional collections, Grahame

Sydney, Robin Judkins, 5 Decades (23rd October) and The AA

Deans Art Trust Collection (24th October). November 3rd will see

the largest private collection of Sterling Silver in New Zealand

history go under the hammer all from a Canterbury gentleman.

The Silver Sale promises to be a highlight for collectors.

The Gow Langsford Gallery (from Auckland) will be

exhibiting in our galleries from the 13th till the 23rd of

November during New Zealand Cup and Show Week.

December 4th sees the introduction of W.T.M Fine

Arts, Interiors & Collectors cars, our first multiple

vendor sale which includes Fine Jewels, Paintings,

Period furniture, Silver, Ceramics, Modern Design and

Collectors cars, Limited entries for this sale are invited.

W.T.M Gallery will also exhibit and promote New Zealand artists

from established, through mid career to emerging Artists.

Finally I would like to thank all those that have supported the

team of W.T.M, there are too many to mention individually,

however thank you to all those highly skilled and professional

people. To our clients we thank you for your support and look

forward to bringing you superb sales, exhibitions and events

at New Zealand’s newest gallery and auction house.

W.T.Macalister

1930- 1939

Graduating from Canterbury College School of Art

in 1938, Austen Deans belonged to a generation of

regionalist painters that included Rita Angus, Doris Lusk,

W. A. Sutton and Owen Lee. At Canterbury College,

Deans’ skills as a plein-air painter and water-colourist were

nurtured by Archibald Nicoll, tutor in painting. Nicoll had

gained first-hand experience of impressionist painting,

studying in Britain and Europe at the Glasgow School

in 1913 and visiting Brittany, where he worked with his

former teacher from Christchurch, Sydney Thompson.

Although tutored in oil and life studies by Cecil Kelly, (Female

nude on Green Sheet, Model – Art School 1937-38), Deans’

attention was resolutely focused upon landscape and refining

his skills in watercolour. In Mt Torlesse from Abners Head

(c. 1939), his early confidence and command of the medium

are evident in the tonal and atmospheric relationships

he establishes between land and sky, and in his ability to

render the transient qualities of light in the local landscape.

Deans attended Canterbury College over a period of

five years and made the most of his time, extending his

knowledge of the Canterbury landscape and high country,

not only as a painter, but also as a member of the Canterbury

University Tramping Club, familiarising himself with the

region surrounding Mt Torlesse and the Rakaia Gorge.

Even in his years as a student, his ability to respond to the

land attracted serious attention. Reviewing his work at an

annual exhibition of the Canterbury Society of Arts in the

late 1930s, author and artist Ngaio Marsh commented in the

Christchurch Star that Deans’ painting captured something

of the essence of the New Zealand landscape.

Austen Deans - The Decades by Dr Warren Feeney

W.T.Macalister

1 Rooftops 1938

Watercolour 380 x 280 Signed

$1,000 - $2,000

2 Nude 1938

Oil 300 x 320

$500 - $1,000

3 Torlesse from Abners Head 1939


$2,000 - $3,000

4 Bottey on Laig Ghru Pass 1945


$1,500 - $2,000

1940-1949 Austen Deans enlisted in the 20th Battalion of the 2nd

Expeditionary Force (2NZEF) and entered Burnham Military

Camp on 5th October 1939, arriving in Egypt at Maadi

Camp in February 1940, and taking part in the 2NZEF’s

first European campaign to repel the German invasion

of Crete. It was during this conflict that he received

official notification that he had been appointed assistant

war artist to Peter McIntyre. However, caught under fire,

Deans was treated for his wounds as the Germans took

control of Crete and he was captured and remained a

prisoner of war for the following four years, initially being

confined to the POW hospital at Kokkinia in Piraeus.

Although held captive, Deans met two other artists, Justin

O’Brien and Jesse Martin and his work became increasing

influenced by European Modernism, Post-Impressionism,

the Fauves, and artists such as Gauguin and Matisse. His

description of the landscape of Genshagen POW Camp in

Poland in his paintings during this period revealed his new-

found interest in rhythm, line and pure colour, assuming a

prominence that would have been unfamiliar to the majority

of his contemporaries in New Zealand. In these works, forms

were contained in bold outlines that reduced the illusion

of perspective on the surface of the picture plane, drawing

attention to abstract rhythms and the painted surface.

The spirit and formalism of this modernism was retained in

later works completed following his return to New Zealand

in 1945. In paintings such as Broadstream Bealey Nr

Bealey (1946) and Totara Tree, Peel Forest (1947), Deans’

attention is as much upon the treatment of form and line,

through a series of arabesque rhythms and patterns, as it

is in capturing the changing qualities of light in the land

and forest.

5 Bealey Broadstream, nr Bealey 1946

Oil 530 x 690 Signed

$4,000 - $6,000

6 From Mt Potts, D’Archiac 1947


$2000 - $3000

7 Totara Tree, Peel Forest 1947


$3,000 - $5,000

8 Upper Waitaha 1948


$1,000 - $2,000

9 Swiss Houses, Evolene 1950


$3,000 - $4,000

1950-1959Like many returned servicemen to New Zealand, Deans

initially found it challenging to resettle in his homeland. He

set up a studio in Morven at Peel Forest and instinctively

felt that his engagement with European Modernism seemed

inappropriate to interpreting the New Zealand landscape.

He did however, wish to establish a new life back in

Canterbury and in January 1947 he married Elizabeth

Hutton, the daughter of a family in a neighbouring farm. Yet,

Deans also felt that he needed to gain further study in the

fine arts and the couple decided to live in London, arriving

early in 1948. He enrolled at the London Metropolitan

University and studied under Nicholas Egon at the Sir John

Cass College, acquiring greater knowledge of the European

Old Masters. Fundamental to Egon’s tuition was a belief

in traditional methods of representation and that the true

artist must respond intuitively to the world in which they live.

For Deans such sentiment ensured that when he returned to

New Zealand in 1950, he came home with a deep affection

for the local landscape. Like many of his countrymen,

Deans appears to have discovered a new-found curiosity

in his country. Former editor of publishing company A. H.

& A. W. Reed in the 1950s, Ray Richards claimed that ‘New

Zealanders at peace were deeply in love with their own land,’

and Deans’ painting throughout this period, communicated

such a response. In Campsite, Whitcombe Pass (1956),

Deans captures the grandeur of the high country, locating

the shelter of camp in the immediate foreground as a

reassuring gesture of comfort and security. The notion of

a shared and empathetic relationship between humankind

and the natural world that this watercolour reveals, would

become a predominant theme in his work throughout the

1960s, at a time when painting and the visual arts acquired

a greater popularity in New Zealand.

11 Rakaia Hills 1951


$2,000 - $3,000

10 Inverary 1950


$2,000 - $3,000

12 Mt Peel and Bush 1952


$2,000 - $3,000

13 Figures at Peel Forest Dog Trials 1956


$3,000 - $5,000

14 Campsite, Whitcombe Pass 1956


$2,500 - $3,500

15 Wanaka Nor’wester Over 1957


$4,000 - $6,000

16 Mills Bush, Peel Forest 1959


$3,000 - $5,000

17 Two Thumbs and Mt Sinclair 1960

Watercolour 405 x 450

$2,000 - $3,000

1960-1969 Purchasing land in the early 1950s at Peel Forest, Deans

contracted architect Paul Pascoe to design his home and

by 1960s he had extended the house with an additional

storey to accommodate his growing family of seven

children. As one of the country’s few fulltime professional

artists, Deans found a welcome audience for his work as

New Zealanders began to purchase original works of art.

Within this environment, Sir Henry Kelliher, entrepreneur

and businessman, established the Kelliher Landscape

Competition. As the country’s leading art award the annual

competition and exhibition gave national prominence to

artists such as Peter McIntyre, Owen Lee and Deans. In

both 1962 and 1963, Deans won first prize and alongside

his representation in the increasing number of dealer

galleries and arts publications on New Zealand painting, he

became one of the country’s best-known artists. In 1967,

his reputation was consolidated as his life and art became

the subject of a book. Pictures was published by A. H &

A W. Reed and further increased the artist’s public profile,

putting his art into the homes of numerous New Zealanders.

Deans’ reputation during this period resided in his acute

response to the detail of light and the landscape, his skill as

a water-colourist and his ability to work within well-known

traditions of landscape painting. Lake Sarah Mounts

Green (1969) is typical of his work. Deans encourages

the gallery visitor to seemingly take possession of an

expansive landscape, (one that is entirely untouched by

the presence of humanity), through the act of looking and

by the convincing way in which his composition takes the

viewer to the middle distance of the painting and to its

dramatic record of Canterbury hills in deepening shadows.

18 From the Remarkables 1960


$1500 - $2500

19 Moonlight on Stag Flat 1968


$700 - $1200

20 Lake Sarah, Waimak 1969


$1500 - $2500

22 Mount’s Green & Walter from Tasman Glacier 1969


$1,000 - $2,000

21 Rata, Peel Forest 1969


$3,000 - $4,000

1970-1979 By the 1970s Deans’ family was growing up and leaving

home and his career as a popular professional New

Zealand artist continued to flourish. However, the

success of his painting resided, not merely in his ability

to observe and record the natural world, it was equally

and implicitly concerned with a profound response to

Nature. Informed by his religious faith, he revealed an

understated comprehension of Nature as evidence of

a divine presence. He commented about his painting:

‘Seeing something in Nature that intensifies my joy in

being alive, I want to try to reproduce it in such a form that

when I see it again I re-live my joy at that divine moment.

By so painting I hope to share my own delight with other

people.’ Certainly, the attention to light and the evocative

luminosity in watercolours like Near Mt Hutt (1972), reveals

such sentiments and this response is similarly evident

in his attention to the detail and variety of his record of

the natural world. Moreover, his love of Nature was not

just confined to his painting. In 1974 at the age of 59 he

climbed to the top of Aoraki/Mt Cook, and followed this

achievement five years later, ascending to the peak of Mt

D’Archiac at the head of the Rangitata Gorge.

Deans continued to exhibit locally and nationally throughout

the 1970s, gaining second place in the Kelliher Landscape

Competition in 1970 and at the end of the decade, holding

an exhibition with his sons, Paul, Nick, Peter Deans and

sister-in-law Eva at the Canterbury Society of Arts Gallery

in Christchurch. Deans commented on his work in this

exhibition: ‘My aims, artistic or not, are simple and limited.

If I can use tone, colour, proportion, to bring back the magic

of existence in Canterbury’s clear, luminous atmosphere,

particularly back country, I am happy.’

23 Wellington from The Crescent 1971


$2,000 - $3,000

24 Te Mata Peak, Hawkes Bay 1971


$2,000 - $3,000

25 Near Mt Hutt 1972


$2,000 - $3,000

26 Mt Tasman from Pioneer Hut 1973


$700 - $1,200

27 Totara 1974


$500 - $700

28 Untitled / Artists Studio Verso 1974


$4,000 - $5,000

29 Old Man Range from Mt Peel Station 1976


$2,000 - $3,000

30 Hut by Mt Cook Station 1976


$1,000 - $2,000

31 Tarn Cass, Mt Hutton 1978


$1,500 - $2,500

32 Rotten Tommy, Mt Cook c1980


$2,000 - $3,000

33 Rangitata from Mt Peel track c1980


$500 - $700

1980-1989In 1981, Deans visited Antarctica, following –as he later

admitted - in the footsteps of landscape painter and war

artist Peter McIntyre who had been to the region in 1958.

Over the next two years, Deans completed a series of

studies of the Antarctica region, working in oil on a scale

that remains among the largest works he completed.

The exhibition of Deans’ paintings opened in Wellington at

the Beehive, but attracted limited interest. Predominated

by a range of cool blues and ochres, Deans rated this

series among his best work, but it failed to attract the

immediate admiration of his more popular landscapes,

with belated attention only accorded to these paintings in

2008 when they were exhibited in the Christchurch Art

Gallery’s Antarctica Gallery for a period of four months.

Deans was challenged by the weather conditions

of Antarctica and relied on his skills as a seasoned

topographer and rapid note-taker, working in pencil and

completing quick watercolour sketches. Indeed, the

demands of painting this series in a hostile landscape

served to again reveal that Deans’ sensitivity to observation

remained as astute and skilful as it had always been.

In his more familiar choice of subjects from this period

such as Breast Hill Station Otago (1986), Deans captured

the experience of watching the light and colours of the

South Island landscape. In contrast, the watercolour,

Ti Point Northland (1989) completed in a part of

New Zealand less well known to the artist, Deans adopts

an entirely different palette, yet it represents an equally

sensitive and acute observation of the land, its flora and

fauna and transient light.

34 Mt Peel from Arundel 1980


$10,000 - $15,000

35 Breast Hill Station, Otago 1986


$2,000 - $3,000

36 Ti point Northland 1989


$2,000 - $3,000

37 Rural Oz, near Orange NSW 1990


$2,000 - $3,000

1990-1999 In the 1990s, Deans received recognition for his life-

long commitment to landscape painting. In 1995 he was

awarded the Order of the British Empire for services to

the arts and his work also formed the subject of a survey

exhibition, encompassing 60 years of painting, at the

Canterbury Society of Arts Gallery. This comprehensive

show, featured 130 works by the artist from his graduate

years in the late 1930s to his war paintings and Antarctica

series in the 1980s. Interviewed in The Press, he reaffirmed

his commitment to painting, noting that at 79 years of age

he was currently looking forward to painting in the Copland

Pass, but he might ‘have left it too late. I’ll get the boys to

carry some of my gear. It’s a three day trip.’ Director of

the CSA Gallery, Nigel Buxton praised Deans as an artist

who excelled in watercolour; ‘a superb draftsman with an

excellent eye.’ The exhibition highlighted his skills as one

of New Zealand’s most accomplished water-colourists and

landscape painters and was complemented in December

1996 by a further survey exhibition of paintings sourced

from private collections throughout the South Island,

held at the Aigantighe Art Gallery. Deans continued to

demonstrate that Peel Forest and South Canterbury

remained a favourite subject. In an untitled watercolour

of the Geraldine district from 1995 he acutely renders the

reflections of light, permeating the sky and lake in the

foreground of the painting, capturing not only the detail of

the landscape, but equally a sense of the artist’s presence

and personal history and connection to this environment.

38 Mt Canabolos, Orange, NSW 1991


$3,000 - $5,000

39 Lake Hawea 1995


$2,000 - $3,000

2000-2011 The death of his wife in 2004, after 57 years of marriage

was a shock to Deans and in 2005, he immersed himself in

travelling to the United Kingdom and watching the centenary

of the All Blacks-Wales Rugby match. During this decade

however, he also continued to paint, exhibiting regularly with

the South Canterbury Art Society in its annual exhibitions.

Although claiming that he now preferred to focus on his

home in Peel Forest, in April 2007 he attended the opening

of the National Collection of War Art in Wellington held

by National Archives. Deans was an important guest,

representing New Zealand’s last living war artist from the

Second World War. Memories of the war remained a part of

his life, and in 2009 following his second marriage, this time

to his long-time friend Margaret Alpers, with his son Paul

he revisited Greece and Crete, returning to the site where

he had fought the German invasion and been captured.

Like Peel Forest and Geraldine, the Rangitata River had

also been a favourite subject of Deans’ watercolours and it

remained so in his later years. The Rangitata had been the

subject of his entry in the Kelliher Landscape Competition in

1970 in which he had received second prize. It was ideally

suited to Deans for such an award exhibition, allowing the

artist to take advantage of its panoramic views and the

accompanying drama of such a scene. It was a subject

ideally suited to a competition. Certainly, the grandeur of

nature, evident in the scale of Deans’ Rangitata paintings

remains evident in this late work by the artist, Rangitata

Gorge Looking to Mesapotamia from White Rock Station

(2011), completed in the year of his death.

40 Near Athabraska Glacier, Canada 2001


$700 - $1,200

41 Loch Lomond, Scotland 2005


$1,000 - $1,500

42 Swingbridge by Lake Heron 2005


$1,000 - $1,500

43 From St Winnifred’s Hut 2006


$500 - $1,000

44 Mills Bush, Peel Forest 2007


$2,000 - $3,000

45 Rangitata Gorge in Snow 2011


$4,000- $6,000

37

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Silver SaleSunday 3rd November 11amA lifetime collection from a Canterbury Gentleman

The

A real sense of valueAs one of New Zealand’s oldest commercial property services firm, Jones Lang LaSalle prides itself on delivering exceptional value to all its clients; whether its owners, investors or occupiers. With our in-depth, property knowledge and insight we achieve the best possible solutions with the best possible results. Find out what real value in real estate means to us at: joneslanglasalle.co.nzValuations ▪ Corporate Finance ▪ Leasing ▪ Management ▪ Sales ▪ Project Management ▪ Research ▪ Consulting

JLLad_watsonauctions_chch.indd 1 1/10/2013 12:31:09 p.m.

A real sense of valueAs one of New Zealand’s oldest commercial property services firm, Jones Lang LaSalle prides itself on delivering exceptional value to all its clients; whether its owners, investors or occupiers. With our in-depth, property knowledge and insight we achieve the best possible solutions with the best possible results. Find out what real value in real estate means to us at: joneslanglasalle.co.nzValuations ▪ Corporate Finance ▪ Leasing ▪ Management ▪ Sales ▪ Project Management ▪ Research ▪ Consulting

JLLad_watsonauctions_chch.indd 1 1/10/2013 12:31:09 p.m.

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W.T.Macalister A A Deans Art Trust Collection

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