AFTER CHARLES FREDERICK GOLDIE (1870-1947), 'A Warm Day - Wiremu Paturu Te Tuhi- 1901', chromolithograph, signed in the print upper right, from the painting by CF Goldie, in the Possession of the Canterbury Art Society. Printed 1904 as part of a pictorial supplement to the Christmas edition of the Weekly Press, New Zealand Illustrated, 40 x 33 cm, framed 64 x 54 cm.
Property from a Private Collection Charles Frederick Goldie (1870 - 1947), Memories, Rakapa (An Arawa Chieftainess), 1911 Signed and dated to the upper left "C. F. Goldie, 1911." Oil on canvas laid onto board DIMENSIONS The reverse of the frame with an old paper label inscribed in black ink: "Memories [/] Rakapapa., An Arawa Chieftainess [/] by C. F. Goldie [/] Sale price £14-14-0 [/] M6"
CHARLES FREDERICK GOLDIE 1870-1947 Reverie: Ena te Papatahi, a Ngapuhi Chieftainess (Ina Te Papatahi, Nga Puhi) 1916 oil on canvas signed and dated 'C.F. Goldie / 1916.' upper left 45.7 x 40.7 cm frame: original, John Leech, Auckland PROVENANCE Charles Frederick Goldie, Auckland Auckland Society of Arts, Auckland Henry Bruce Morton, Auckland, acquired from the above on 17 June 1916 Private Collection, United Kingdom, by descent from the above Australian Art, Christie's, London, 24 September 2015, lot 24, illustrated £386,500 (A$840,212) EXHIBITED 35th Annual Exhibition, Auckland Society of Arts, Auckland, 1-17 June 1916, no. 138, £26.5.0 Maori Markings: Ta Moko, National Gallery of Australia, Canberra, 23 March - 25 August 2019, no. 45, illustrated LITERATURE 'Art in Auckland. Society's Exhibition', The New Zealand Herald, Auckland, 2 June 1916, p. 4 'Art Exhibition. Successful Closing Day', The New Zealand Herald, Auckland, 19 June 1916, p. 7 Alister Taylor and Jan Glen, C.F. Goldie, 1870-1947: His Life & Painting, Alister Taylor, Martinborough, 1977, p. 241 (illustrated) Crispin Howarth, Maori Markings: Ta Moko, National Gallery of Australia, Canberra, 2019, pp. 67 (illustrated), 92 (illustrated), 93
GOLDIE, Charles Frederick (New Zealand 1870-1947) 'A Good Joke,' 1905. Note: text at bottom is a photocopy of the original text for presentation purposes. Chromolithograph 36.5x29.5cm (oval)
GOLDIE, Charles Frederick (New Zealand 1870-1947) 'A Good Joke,' 1905. Note: text at bottom is a photocopy of the original text for presentation purposes. Chromolithograph 36.5x29.5cm (oval)
A C.F. Goldie (1870-1947) Chromolithograph The incredible art of NZ Artist C.F. Goldie fetches prices in the hundreds of Thousands, and the value of his Chromolithographs is climbing as well. This one is titled "A Warm Day" and it is of Patara Te Hui. This is genuine old Piece, still in beautiful green hues. it is Choromolithograph signed just over the shoulder, and dated 1905, and we also have our vendors original Purchase receipt from Spooners Art in 1975 for $11.40. This is framed and under glare free glass... its a stunner. The actual piece measures 41cm by 33cm (not incl the frame)... this is in very good condition.
CHARLES FREDERICK GOLDIE (1870 - 1947, New Zealand) MEMORIES, ENA TE PAPATAHI, A CHIEFTAINESS OF THE NGAPUHI TRIBE, 1910 oil on panel 20.5 x 14.5 cm signed and dated lower right: – C F Goldie. / 1910 inscribed with title on handwritten label attached verso: Memories. / Ena Te Papatahi. / a chieftainess of the Ngapuhi Tribe / by C. F. Goldie. original artist's frame PROVENANCE Private collection Leonard Joel, Melbourne, 16 November 1972, lot 169 Private collection, Adelaide Thence by descent Private collection, Adelaide EXHIBITED Thirtieth Annual Exhibition, Canterbury Society of Arts, Christchurch, 17 March 1910, cat. 191 Thirty-fourth Annual Exhibition, Auckland Society of Arts, Auckland, 20 - 29 May 1915, cat. 148 RELATED WORK The memory of what has been and never more will be [Ina Te Papatahi, Ngã Puhi], 1905, oil on canvas, 115.0 x 90.0 cm, in the collection of the Dunedin Public Art Gallery, Dunedin, New Zealand Forty Winks, 1915, oil on canvas, 62.5 x 75.5cm, private collection ESSAY Memories: Ena Te Papatahi, 1910, is a fine example of the paintings by Auckland artist Charles Frederick Goldie (1870 – 1947) who specialised in the detailed portrayal of sitters chosen to represent what he called the ‘old Maori who in a very short time will be a thing of the past.’1 Goldie began painting these works on his return to Auckland after four years study in Paris where he attended Julian’s Academy from 1893 until 1898. There he studied under famous academic artists like William Bouguereau from whom he learnt a style of oil painting that involved a high degree of skill in drawing and painting the human figure in a naturalistic way with an emphasis on modelling, and illusionistic texture. It was a studio-based practice requiring the use of posed models and controlled lighting. Detail and verisimilitude were essential so that the close-up view was favoured. With Goldie, as in Memories, it is almost always a one-on-one encounter with the sitter. We experience the intimacy of being able to almost reach out and touch his subjects, for the tactile is the essence of his art. He had a passionate involvement with his artistic mission and was remarkable for his single-minded focus on one type of work. He painted almost nothing else for his entire career but portraits of old-time Maori. At an early stage of his career, it was remarked how he returned again and again to the same sitters. This was especially true of Ena Te Papatahi who sat for Memories. A critic for The Auckland Star in 1905 remarked that ‘...the well-known chieftainess ... sat for two pictures this year, as well as two the year before and two before that.’2 Undeterred he continued to paint her, even showing her controversially as if in death in The Last Sleep (location unknown). In all, he painted her some twenty times. The pragmatic reason for her popularity with Goldie was given by the Auckland Star critic as her ready availability. Although Goldie presents her in Memories as seemingly living in a traditional Maori village, she did in fact live in the Waipapa Maori Hostel in Mechanics Bay, Auckland, a short walk from Goldie’s Hobson Street studio. The Hostel was a facility in Auckland where Maori who had difficulty finding accommodation in town could stay for free with their own people. Ena stayed there for years with a friend who also posed for Goldie. Ena was able to go to Goldie’s studio and get regular work for which he paid her. This was exactly the arrangement painters living in Rome or Paris had when hiring exotic models to pose for their compositions. Goldie was not interested in Ena simply as a subject for a portrait. She could be a vehicle for projecting the melancholic mood he wanted to show at the passing of traditional Maori lifestyle and values. Her age, her chin tattoo ( moko kauae) and her dignified bearing as a chieftainess matched his requirements. Also, she was willing to pose and to be dressed by the artist, as in this case, in a cloak ( korowai) with black tassels, with a tiki carved in greenstone ( pounamu) hung around her neck and an ear pendant, also of greenstone, visible on her shoulder. The inclusion of carved Maori figures in the whare (house) behind her and the paddle evoke a traditional setting, not that of urban Auckland. What Goldie has done is transform Ena into his symbolic image of an old Maori chieftainess lost in recollections of earlier pre-colonial times. The title Memories captures that idea succinctly. In another, larger painting of Ena in the Dunedin Art Gallery the title is expanded to ‘The memory of what has been and never more will be.’ Ena appears to have been a likeable character with a keen sense of humour who wore European dress and smoked a pipe. On occasion Goldie showed her this way. While Goldie did not have great imaginative ability, he did have a commitment to conveying ideas and feelings through the mood of his paintings. At times he could be humorous as well as sad and nostalgic. He was not just a literal recorder of what was before him but an interpreter of the Maori at a time of great change. There is nothing to suggest that he had a deep knowledge of Maori language and culture. He did not speak Te Reo, Maori language, nor did he have engagement with their society. He was in many respects an outsider, but he took his art seriously and captured much of the dignity (mana) of his sitters in his paintings which are prized today by modern Maori as a treasure ( taonga) to be handed down to future generations. He painted both male and female sitters favouring those who were older and had the traditional tattoo or moko. He rarely painted young women or young men. Memories is an excellent example of Goldie’s smaller works on a wooden panel rather than canvas. It dates to 1910, a time which is regarded as his finest period as a painter. The wood support gave a firm surface for him to build up his textures as seen in the treatment of the grey hair of Ena with heavy impasto to give it a tactile quality. He also evokes the depth of the incisions of her moko, cut by chisel, into the flesh in a painful process. In this instance the painting has a pronounced chiaroscuro in the face with fully half the image in shadow. Ena’s eyes are downcast, and half closed to convey the idea of introversion and thought rather than awareness of or engagement with the viewer. In another work called Forty Winks, 1915 (private collection) he shows Ena asleep in her own dream world. Goldie was an admirer of Rembrandt whose studies of elderly sitters such as his Woman in Prayer, known in various versions, use the same effects of chiaroscuro and self-absorption to convey a mood that leads from the literal to the spiritual. This dimension sets Goldie apart from his most well-known rival in the depiction of Maori, Gottfried Lindauer (1839 – 1926).3 Lindauer made extensive use of photographs and gives a wooden, objective recording of features and artefacts suitable for a museum display. Goldie aims at a more human recording of feeling and gives a greater sense of reality to his portraits by his technical skill and illusionism. For example, the way he shows the tiki half hidden by the cloak gives an informality to the item and does not emphasize its ethnographic value. Although small, Memories bestows a dignity and grandeur to Ena Te Papatahi that befits the subject who was descended from prominent Nga Puhi rangatira (chiefs). 1. Goldie to Alfred Hill, 23 Oct. 1916. Hill Correspondence, vol. 2, pp. 285 – 87, Mitchell Library, Sydney. 2. See Blackley, R., Goldie, Auckland Art Gallery, Auckland, 1997, pp. 22 – 25, with full bibliography. 3. See Gottfried Lindauer’s New Zealand: The Maori Portraits, Auckland Art Gallery, Auckland, 2016. MICHAEL DUNN EMERITUS PROFESSOR OF FINE ARTS, UNIVERSITY OF AUCKLAND
Charles Frederick Goldie Head of a Nubian 1896 oil on canvas signed C. F. Goldie and inscribed Study/PARIS in brushpoint lower right 385 x 330mm PROVENANCE Private collection, Hawkes Bay. Gifted by bequest 1985; Private Collection, Hawkes Bay. Gifted by bequest c1970s; Private Collection, Hawkes Bay. EXHIBITIONS Goldie, Christchurch Art Gallery, 12 December 1998 - 7 March 1999; Goldie, Auckland City Art Gallery, 28 June - 28 October 1997. LITERATURE Alister Taylor and Jan Glen, C F Goldie: Prints, Drawings & Criticism (Publication Graphics: Martinborough, 1979), 251. Charles Frederick Goldie – Head of a Nubian Essay by NEIL TALBOT Charles Frederick Goldie is an artist whose work has captured the public imagination like no other. The painter is one of New Zealand’s most famous and renowned, with a fascinating catalogue of work made between the 1890s and the 1940s. He is perhaps best known for his distinctive portraits of MÄori elders, which have been the subject of both theft and forgery, acclaim and disdain.¹ His work is instantly recognisable; it was made with a level of technical finesse that is unmatched in contemporary painting. While he was born in Auckland, and first developed his artistic talents there, 22-year-old Goldie travelled to Europe to further his studies in 1893.² The introduction to Alister Taylor’s 1979 tome C.F. Goldie: Prints, Drawings & Criticism begins as follows. “In the 1890s, when C. F. Goldie was a student and painter in Paris, France was in a cultural and artistic ferment. The masters of the Impressionist movement were at work; there were exhibitions of Monet, Manet and Renoir; the reputation of Degas was at its height. In England, where Goldie studied under Sir James Guthrie, the names of Oscar Wilde and Whistler were legend […]. How could any young student except perhaps the most insensitive escape the excitement and effect of all these influences?”³ Needless to say, directly experiencing Europe in such heady times had an effect on Goldie's painting. Head of a Nubian, an oil painting from 1896 was painted by Goldie in Paris and is inscribed accordingly. It is a remarkable work for a number of reasons. Firstly, though its subject is not a MÄori elder, it is immediately recognisable as a Goldie; the artists’ characteristic flair in portraiture shines through. Secondly, the work was created by the artist at the age of twenty six, when he was developing his craft in the intoxicating environment of Impressionist Paris. That lends the work a particular romantic flair – the young, idealistic artist testing his metal in the cultural crossroads of the Earth. Finally, for all the obvious finesse of the portraiture, the treatment of paint in the background is loose, gestural, expressive. In this one can detect the environmental influence, the painterly flourish of Renoir or Degas, and sense the thrill of the young artist mastering his abilities. What is most impressive about this painting is how it brings together the youthful exuberance of a young artist abroad with the distinctive mastery of portraiture which has made Goldie a household name. One might then see this painting as sitting at a developmental crossroads – the step where the precocious youth moved into his power as a master artist. These are but a handful of the reasons why this work is an extraordinary painting. As all great paintings do, it invites the viewer to look, engage, and wonder. 1 Te Ara – The Encyclopedia of New Zealand. 2 Ibid. 3 Alister Taylor, C.F. Goldie: Prints, Drawings & Criticism, 1979. Page 1.
Follower of Charles Frederick Goldie (Kiwi, 1870-1947), Maori Chieftain, oil on canvas, unsigned, canvas: 18"h x 16"w, overall (with frame): 24"h x 22"w
CHARLES FREDERICK GOLDIE (NEW ZEALAND 1870-1947) A Good Joke (1905) (Allee Same Te Pakeha, Te Aho Te Rangi Wharepu (1811–1910) in European Costume) signed and dated C.F. Goldie/Auckland, N.Z./1905 within the plate Chromolithograph 38 x 31.2 cm, (oval) Te Aho Rangi Wharepu was a veteran of the Battle of Rangiriri (1863) and chief of the Ngati Mahuta tribe. He had a substantial reputation as a canoe carver and tattoo specialist. He was also an authority on Maori mythology and history. The original painting is in the collection of Dunedin Public Art Gallery, New Zealand.
Oil on canvas - Signed & dated 1922 - Te Aitu Te Irikau 1831 - 1914 was a high ranking Arawa Chieftainess from Maketu, Bay of Plenty. The historic fall of Te Tumu Pa in May, 1836 took place during her childhood. Te Aitu Te Irikau travelled to Auckland to sit for Charles F Goldie in 1911. He painted up to five further posthumous versions of her. The earlier versions dated 1911 and 1916 Goldie titled Memories whilst a 1918 work he titled A Woman of High Lineage. This work is the last known portrait of Te Aitu Te Irikau and Goldie aptly titled it A Happy Thought. - In Polynesian portraiture Mr C F Goldie stands pre-eminent in the world today, and New Zealand has every reason to be proud of him Governor General Lord Bledisloe
CHARLES FREDERICK GOLDIE 1870-1947 Pokai (The Strategist) 1921 oil on canvas signed and dated 'C.F. Goldie / 1921' upper left 26.5 x 22 cm frame: original, John Leech, Auckland PROVENANCE Private Collection Dunbar Sloane, Wellington Mrs Patricia Colemore-Williams International Art Centre, Auckland, acquired from the above in February 1989 Private Collection, Sydney, acquired from the above in April 1989 LITERATURE The Herald, Auckland, 7 March 1989, (illustrated) Don Hayward, 'The C.F. Goldie Portraits of Hori Pokai: A Brief Study of the Portraits and of the Sitter Himself', Auckland War Memorial Museum - T?maki Paenga Hira, 2007 (MS-2008-24), n.p. (illustrated)
chromolithograph, signed and dated in the image, 40.5 x 32.5 cm (16 x 12.75 ins) mount aperture, with printed title in separate aperture below, contemporary gilt frame, glazed - Quantity (1)
CHARLES FREDERICK GOLDIE O.B.E. (NEW ZEALAND 1870-1947) KA PAI TE KAI PAIPA, PORTRAIT OF TE HEI, A MAORI CHIEFTAINESS Signed and dated 1941, inscribed with title verso, oil on canvas 40.5cm x 51cm (16in x 20in)
CHARLES FREDERICK GOLDIE (ATTRIBUTED TO) Portrait of a Young Man After Bailly, Louvre Gallery, Paris oil on board title inscribed and signed verso 350mm x 267mm EXHIBITED Evidence suggests that this work was loaned to Auckland Art Gallery by Charles Goldie, June 1920. NOTE This work carries a title inscription which is considered by Roger Blackley, leading scholar on Goldie's work, to be in Goldie's hand. The title and subject are listed on an Auckland Art Gallery inventory of works that were borrowed from Goldie in 1920. A copy of this inventory is available.
(lot of 2) C.F.Goldie, His Life and Painting 1870 - 1947, Taylor, Alister, together with C.F.Goldie, Prints, Drawings, and Criticism, both in presentation sleeves with quarter Morocco & cloth boards, each limited first edition
Charles Frederick Goldie 1870-1947-Rakapa-An Arawa Chieftainess Oil on panel 20.2x15.1 Signed & dated 1910 PROVENANCE Private Collection, England until mid 1940s Acquired by V E Donald, Masterton Same New Zealand family collection since EXHIBITED Royal Academy, London 1927 Originally of Otaki, Rakapa married into Arawa and her waiata were and remain the songs of Rotorua Maori elders as well as those of the Ngati-Toa and Ngati-Raukawa Rakapas's family by marriage, fought for the colonial government in the North Island Land Wars of the mid-19th century c F Goldie chose to paint Rakapa on at least five occasions Immaculately portrayed, the artist's masterful treatment of wrinkled skin and greying hair encourages closer scrutiny This favoured subject bears traditional moko, pounamu/greenstone earings and talisman tiki A newspaper article dated 1927 and affixed verso reads: London, May 24, 1927 Another of Mr C F Goldie's three Academy pictures has been sold The purchaser is a lady who lives in the South of England She has chosen Memories, a Chieftainess of the Arawa Maori Even before the Royal Academy opened to the public, Mr Goldie's An Aristrocrat-Atama Paparangi A Chieftain of the Rarawas-bore the distinctive red seal which indicates 'Sold' Memories was priced on the official chart at ú262.10 In Polynesian portraiture Mr C F Goldie stands pre-eminent in the world today New Zealand has every reason to be proud of him: Governor General Lord Bledisloe Quote from C F Goldie: His Life & Painting, Alister Taylor & Jan Glen, 1979
Charles Frederick Goldie Ngatirea (Day Dreams), Natarua Hangapa - Arawa Tribe signed C. F. Goldie, inscribed N. Z., and dated 1938 in brushpoint upper left; original John Leech Gallery label affixed verso 300mm x 245mm
Charles Frederick Goldie The Whitening Snows of Venerable Elder Atama Paparangi signed C.F. Goldie and dated 1913 in brushpoint lower right 297mm x 215mm (oval)
Charles Frederick Goldie A Sturdy Stubborn Chief Pokai, A Warrior Chieftain Of The Ngati Maru Tribe signed C.F. Goldie and dated 1920 in brushpoint upper left; signed C.F. Goldie and inscribed A Sturdy Stubborn Chief Pokai. A Warrior Chieftain of the Ngati Maru Tribe in ink on artistsl label affixed verso; inscribed (illegible) Family in graphite on canvas upper edge verso; original H. Fisher & Son Gallery label affixed verso 260mm x 210mm
Art Work by : Charles Frederick Goldie Relics of a Bygone Age, Mere Werohia, A Chieftainess of the Ngati te Rori te Rangi Hapu of the Ngatiwhakane Tribe, Rotorua
Charles Frederick Goldie Portrait of Ena Te Papatani, a Ngapuhi Chieftianess signed C F Goldie and inscribed Kia Ora in conté lower right 188mm x 155mm
Photograph of one of Goldie's Maori portraits, gelatin silver print, 8 x 10 inches, 1938, in period window-mount, the mount inscribed in pencil "To Dr. E.B. Gunson, 'Keep Happy,' C.F. Goldie, Dec. 1938," framed. New Zealander Dr. Gunson was likely a patron of Goldie's, since a Whistler from his collection is in the Auckland Art Gallery.
Charles Frederick Goldie - Self Portrait Oil on canvas 53.5 x 43.0 Signed, inscribed A mon cher Roland, & dated Paris, 1896 Presented in original C. F. Goldie frame Provenance: George Walker Ltd, Art & Antiques, 27 June, 1963 Lot 124, George Walker Ltd, Art & Antiques, 19 March, 1964 Stanley & Kitty Tong Estate, Parnell, Auckland, Lot 1020 Jewellery, Decorative Arts & Fine Paintings, Webb's, 31 March, 1998. Private Collection, Auckland Illustrated p 12 and p 166 C. F. Goldie Prints, Drawings & Criticism Alister Taylor & Jan Glen. First Published 1979 by Alister Taylor, Wairua, Martinborough, New Zealand. Charles F. Goldie His Life & Painting Alister Taylor & Jan Glen records the two sales of the painting at George Walker Ltd and curiously states that the painting was 'destroyed by fire while held in a private collection. '
Charles Frederick Goldie - The Aristocrat Te Kamaka, Ngati Maniapoto Tribe, Aged 90 Years Oil on canvas 26.5 x 21.8 Signed & dated 1921 Inscription in artist's hand on stretcher verso reads: Fought at Pukerangiora 'An Aristocrat' A noted Chieftain of the Ngatimakata Tribe, Aged 90 Years Whilst Goldie's inscription reads Ngatimakata Tribe, it is known that Te Kamaka was from the Ngati Maniapoto Tribe, King Country Provenance: Private Collection, Wellington. Held in Wellington bank vault since 1974. Released for exhibition Goldie, The Exhibition, Auckland Art Gallery, 1999 Exhibited: Goldie, The Exhibition, Auckland Art Gallery, 1999, curated by Roger Blackley. Ex collection of F. R. Strange, Sydney, Australia. Subsequently sold by private sale August 1974 to the current owner's father References/ Publications: F. R. Strange Catalogue, July 1974 Illustrated p. 261 C. F. Goldie, His Life & Painting Alister Taylor & Jan Glen, Martinborough 1977 Goldie painted at least four other portraits of Te Kamaka. They are catalogued in C. F. Goldie, His Life & Painting Alister Taylor & Jan Glen, Martinborough 1977, as follows: Te Kamaka, 1916, Private Collection, The Diplomatist, Te Kamaka - a chieftain of the Ngati Maniopoto, Tribe, King Country, 1918, Private Collection, The Whitening Snows of a Venerable End - Te Kamaka, 1918, An Aristocrat, Te Kamaka, 1921 The Diplomatist, The Whitening Snows of a Venerable End & The Aristocrat were titles Goldie used for other Chieftain subjects at the time. The Aristocrat is presented in a Goldie frame, commissioned by Auckland Art Gallery for the exhibition, Goldie, 1999. Te Kamaka fought in the historical battle of Pukerangiora on the shores of the Waitara River, Taranaki. It is understood that on arrival at Pukerangiora, the Ngati Maniatopo tribe embarked on a siege of such savagery that the land ran red with blood and Pukerangiora was forever changed.
Charles Frederick Goldie (1870-1947) "Memories" -- Tamaiti Tukino, a Chieftainess of the Ngatituwharetoa tribe (aged 95 years) signed 'C.F. Goldie' (upper left) oil on panel 7 7/8 x 5 7/8in. (20.1 x 15cm.)
