webb's photography june 2008 catalogue

New Zealand’sPremier Auction House18 Manukau RoadNewmarket, PO Box 99251Auckland, New Zealand0800 22 00 77+649 524 6804+649 524 [email protected]

www.webbs.co.nz

©

CONTEMPORARY/MODERN & HISTORICALPHOTOGRAPHY_

IMPORTANT NOTE: BUYER’S PREMIUM A buyer’s premium of 12.5% will be charged on all lots in this catalogue. GST of 12.5% is payable on the buyer’s premium only.

CONDITION, AGE OF PHOTOGRAPHS AND DESCRIPTIONS OF PRINT TYPES The condition of items is not detailed in this catalogue. Buyers must satisfy themselves as to the condition of lots on which they bid and should refer to clause 6 in the Conditions of Sale for buyers printed at the rear of this catalogue. Webb’s is pleased to provide intending buyers with condition reports on any lots. In most cases, unless noted, the prints in this catalogue are vintage or printed within a few years of the creation of the negative or digital fi le. Webb’s however, provides no guarantee to this effect and buyers must satisfy themselves as to the age of the prints. Webb’s staff members are pleased to provide intending buyers with their opinions and provenance information, if available. The information contained in this publication as to the photographic medium is the opinion of Webb’s experts. Due to the inherent diffi culty in distinguishing some photographic processes, Webb’s is unable to guarantee their accuracy and intending buyers must satisfy themselves as to the exact nature of the print medium.

ILLUSTRATED Cover: Lot 27 YVONNE TODD Crisis #6; Inside front cover: Lot 152 GEORGE PULMAN (1826 - 1871) Te Koata; Inside back cover: Lot 146 GEORGE PULMAN Tatooed Man with White Feather.

DAY 1 WEDNESDAY 23 JULY 2008, 6.30PM Lots 1 – 125: Contemporary/Modern Photography

DAY 2 THURSDAY 24 JULY 2008, 6.30PM Lots 126 – 224: Historical Photography & Utu Film Stills

PREVIEW:WEDNESDAY 16 JULY 6.00PM – 8.00PM

VIEWING:THURSDAY 17 JULY 9.00AM – 5.30PM

FRIDAY 18 JULY 9.00AM – 5.30PM

SATURDAY 19 JULY 11.00AM – 3.00PM

SUNDAY 20 JULY 11.00AM – 3.00PM

MONDAY 21 JULY 9.00AM – 5.30PM

TUESDAY 22 JULY 9.00AM – 5.30PM

WEDNESDAY 23 JULY 9.00AM – NOON

VIEWING (LOTS 126 – 224):THURSDAY 24 JULY 9.00AM – NOON

1IN FOCUS

PHOTOGRAPHY_INFOCUSWebb’s annual photography sale,

technically our 30th anniversary stand-

alone photography sale, comprises

four quite different areas of collecting:

Contemporary New Zealand; a fi ne

selection of historical works; the

complete set of fi lm stills from Utu;

and a selection of foreign images.

Rare to the New Zealand market is

a work by Edward Weston from the

Oceano series (lot 50), as well as

a superb collection of international

works by the likes of Lucien Clergue,

Herb Ritts, Helmut Newton, Josef

Vetrovsky, Guy Bourdin and Mark

Seliger. The beauty of the female

form is celebrated in several works

from the 1930s through to modern

celebrity portraiture.

Portraits by New Zealand photographers

depicting local fi gures include

documentary images by Glenn Jowitt,

Les Cleveland and Marti Friedlander,

whose image of Tony Fomison (lot 26)

is a bitter-sweet aide-mémoir. Richard

Collins’ startlingly domestic image of

Colin McCahon standing on the corner

of Newton Road (lot 98), reminds us of

the artist as the man, and Gil Hanly’s

capturing of the enigmatic Dame

Whina Cooper (lot 99) and the late Roy

Dalgarno (lot 107) are typical examples

of her focus on people and politics.

The unique, large-scale cibachrome

Incubus (lot 29) is by Boyd Webb, an

international expatriate artist, whose

interests in growth and decay, life and

death, are well represented in this

image. Originally trained as a sculptor,

his fantastical creations merge fantasy,

surrealism and reality. In light of recent

debate around genetic engineering,

these images are as relevant today as

they were when fi rst conceived in the

late 1980s.

The sale includes a wealth of vintage

prints by Peter Peryer including Sand Shark (lot 39), St Bathans (lot 38) and

Edward Bullmore’s Launch (lot 13).

Peryer stumbled upon this vessel,

The Honeypot, on the banks of a

Rotorua lake and this is believed to

be the fi rst print in the edition.

Laurence Aberhart’s View (lot 20) is

a collection of ten classic images

collated into a portfolio of which three

of the ten editions are held in public

collections. Purchased directly from

the artist in its year of production,

this is the fi rst example to have been

offered on the auction market as

a complete portfolio.

Yvonne Todd’s work is represented by

two images, the early Crisis #6 (lot 27)

from 1999 and the eerie self-portrait as

Martha or Self Portrait as an Anorectic (sic) (lot 24) (illustrated right). At fi rst

glance, both appear to be sympathetic

depictions of traditionally beautiful

subjects, roses and women. Further

viewing reveals an altogether different

sort of sentiment.

Fiona Pardington has always used the

people closest to her as her subjects:

her partner, her children or herself.

A combination of convenience and

closeness allows her to explore the

intimacy each relationship entails.

The early fetishised images of men

such as Footman (lot 84) and Heavy Penance (lot 32) are overtly sexualised.

She plays with stereotypical gender

politics. The more recent Hei Tiki (lot

4) is an inanimate object imbued with

spirit and personality, and the image of

Akura’s Lips (lot 92) portrays her now-

grown daughter as a powerful sexual

female image of the next generation.

On Day 2, 24 July, a fi ne collection

of early New Zealand images from

a private collection will be offered.

The collection consists of early

scenes of cities including Auckland,

remarkable studio portraits of Maori,

documentary images of people and

places, and special-interest subjects

that make this the most pristine and

complete collection of historical

photographs offered to the market

since the Marshall Seifert collection,

offered by Webb’s in 2005.

Also going under the hammer is a

unique collection of 34 fi lm stills from the

1983 fi lm Utu, directed by Geoff Murphy

and photographed by Victoria Ginn.

The fi lm follows Te Wheke a warrior

scout, who upon discovering the military

blunder that wiped out his village, seeks

utu, or revenge. With a growing band

of rebels, he engages in guerilla warfare

against the white man, who retaliates

with equal savagery.

You can read more about both collections

on page 8 of this catalogue. EMMA FOX

LOT 24 YVONNE TODD Martha or Self Portrait as an Anorectic (sic) • LED print from an edition of three • 220mm x 170mm • $4,500 – $6,500

2

3IN FOCUS

GIOVANNI INTRA ESTATE_

NOV 3

CONTEMPORARYART_Further entries now invited

OCT 21Contact:

Emma Fox +649 529 [email protected]

Jonathan Organ +64 21 503 [email protected]

Works from the

GIOVANNI INTRA With Care • gelatin silver print • 340mm x 300mm • $300 – $500

5IN FOCUS

{ S u i t e }19th – 21st Century Fine Art

69 Owen StreetNewtown, WellingtonThursday–Friday 11am–5pmSaturday 11am–4pmwww.suite.co.nz

Callum Arnold

Bishop & Bagnall

Mike Davison

Desiree Dolron

Arie Hellendoorn

Frits Klein

Fiona Pardington

Neil Pardington

Richard Reddaway

Elspeth Shannon

Anoek Steketee

E Mervyn Taylor

Terence Taylor

Ans Westra

Desiree DolronCerca Animas 2002-3Fuji Crystal Archive print

IMPORTANT WORKS OF ART_

SEPT 22Further entries now invited

Contact:


Jonathan Organ +64 21 503 [email protected]

PETER ROBINSON Big Bang White Heat IV • acrylic on linen • 1600mm x 1600mm • $20,000 – $30,000

7IN FOCUS

HISTORICAL PHOTOGRAPHY & UTU FILM STILLS_A COLLECTION OF IMPORTANT HISTORICAL PHOTOGRAPHS

This important collection of historical

New Zealand images, comprising 89

lots, was assembled over a period

of approximately ten years by an

Australian collector. As he had family

connections going back to the East

India Company, he was fascinated

by the imagery that had come out

of Australasia, the Orient, colonial

India and China. This impulse led his

becoming a highly knowledgeable

collector of oriental antiques, and

spurred an interest in the exotic

from his unique colonial standpoint.

He has, over the past decade, collected

early photographs from Australasia

and the Pacifi c, seeking out the fi nest

and rarest images, revealing portraits

and scenes that can add depth and

detail to the histories of these places

and people. He found New Zealand

imagery compelling because of the

connections to be made with his

Tasmanian colonial background.

UTU FILM STILLS COLLECTION

Victoria Ginn is a photographer and

author. Ginn’s photographs have

been exhibited at the Museum for

the Performing Arts, New York, and

are represented in the permanent

collections of the Centre Pompidou,

Paris, Te Papa Tongarewa, Wellington,

Dunedin Art Gallery, Dunedin and the

Dowse Art Museum, Lower Hutt.

As the Chief fi lm stills photographer

for Utu, Victoria Ginn presents

34 unique vintage prints from the

fi lm Utu. Directed by Geoff Murphy

in 1983, it stars Anzac Wallace, the

late Bruno Lawrence and Wi Kuki

Kaa. Utu captures a turbulent period

in New Zealand’s history, circa 1870,

during the New Zealand Wars.

EMMA FOX

BURTON BROS. ALFRED BURTON (1843

– 1914) WALTER BURTON (1836 – 1880) Maori Hongi or Salutation (detail) • gelatin silver print • title inscribed and numbered 2543 • 310mm x 425mm • $2,000 – $3,000

HENRY WINKELMANN Maori Canoe, Lake Rotorua (detail) • gelatin silver print • title inscribed • 300mm x 380mm • $1,800 – $2,500

VICTORIA GINN Te Wheke Wearing the Feather Cloak (detail) • c-10 print • signed and dated 1983 and inscribed Utu photographer’s print • 240mm x 240mm • $400 – $600

ERNEST DE TOURETT Auckland, Queen Street • gelatin silver print • title inscribed and numbered 1070 • 310mm x 410mm • $2,000 – $3,000

8

PETER PERYEREXHIBITION& BOOK LAUNCH_

SEPT 30 – OCT 5

Contact:

Emma Fox + 649 529 [email protected]

PETER PERYER Whitebait 2007 • gelatin silver print • 300mm x 300mm

OPENING FUNCTION 30 SEPTEMBER 2008, 6 – 8PMIn conjunction with the launch of Peter Peryer’s book, written by Peter Simpson

and published by the Auckland University Press 2008, Webb’s is holding

an exhibition of new and vintage photographs.

9IN FOCUS

David Griggs + Peter Hennessey + Shane Cotton + Jake and Dinos Chapman + Tony Schwensen

Ricky Swallow + Billy Apple + Brook Andrew + Neo Rauch + Janet Laurence + Cy Twombly

ISSUE 4 AUGUST SEPTEMBER 2008 AUSTRALIA $19.90 NEW ZEALAND $19.90/

Melbourne Art Fair 2008

ARTWORLDA NEW ART MAGAZINE FOR AUSTRALIA & NEW ZEALAND

10

LECTURE SERIES_ JUL 21 Contact:


Jessica Pearless +649 529 [email protected]

MONDAY 21 JULY, 6.00PM FOR 6.30PM

RESPONSES TO A DISCUSSION PAPER (REFER TO

PAGES 12 – 13) ON THE EDITIONING AND

COLLECTING OF PHOTOGRAPHS.

PAUL MCNAMARA

JOHN B TURNER

FIONA AMUNDSEN

CLAIRE BRUELL

Chaired By Emma Fox

Every photography sale, we get questions and comments

around issues that are specifi c to collecting photography.

In response we asked Paul McNamara to write a paper

on these issues. It was a subject he had already been

researching and we are pleased to have the fi nal result

in its entirety on pages 12 and 13 of this catalogue.

As a current topic of discussion, Photoforum-nz.co.nz is

fi elding comments and opinions around the question of

limiting editions, with compelling arguments on both sides.

The difference between digital and negative is particularly

interesting, as each hand-printed work will be different, in

a million imperceptible ways, to any other. Digital printing,

on the other hand, is often carried out by someone other

than the photographer, so editioning becomes rather more

important. For our more senior practitioners such as Peter

Peryer and Laurence Aberhart, images were hand printed,

so numbering them seemed a moot point. While for

Marti Friedlander, her encyclopedic memory ensures every

instance of the taking and the making of a photograph is

indelibly etched into her memory, and is now entrusted to

the archives at the Auckland Art Gallery for posterity.

Younger photographers are vigilantly sticking to edition

numbers and artist’s proofs so the integrity of an edition

is maintained. The international model around editions

has a rising scale; as each work in the edition is sold, the

price increases with the artist’s proofs being retained or

reaching twice the original price within the primary market.

With higher prices being achieved for photography in this

country and around the world, some surety around these

issues is timely.

Read the paper, attend the viewing and come and take

part in a discussion on Monday 21 July at Webb’s.

DR PAUL LAWRENCE MCNAMARA

After 25 years of medical practice in Wanganui, and collecting art for 30 years,

Paul has, for the last six and a half years, owned and operated McNamara

Gallery, specialising in the medium of photography. He works with many

photographers, conducts original research and produces small publications.

Association of International Photography Art Dealers [AIPAD] member.

JOHN B TURNER

John B Turner (b.1943) is a Senior Lecturer in Photography at the

Elam School of Fine Arts, at The University of Auckland, where he has

taught since 1971. He has conducted numerous workshops throughout

New Zealand, and curated landmark exhibitions including Nineteenth Century New Zealand Photography (1970) and Baigent, Collins, Fields:

Three New Zealand Photographers (1973). He was the founding editor

of PhotoForum magazine, and co-author with William Main of New Zealand Photography from the 1840s to the Present (1993). He edited

PhotoForum’s award-winning photography book, Ink & Silver (1995), and

his book Eric Lee-Johnson: Artist with a Camera was published in 1999.

He has written several articles on aspects of collecting photographs,

including a major feature for PhotoForum No 48, June 1981.

FIONA AMUNDSEN

Fiona Amundsen currently lectures in art theory/history and

photography at AUT University. Her academic background is within

social anthropology and she has recently fi nished a master’s thesis

addressing the relationships between key theorists – Roland Barthes,

Geoffrey Batchen, Jean Baudrillard, Pierre Bourdieu, Susan Sontag – and

their writings on photography. Amundsen’s involvement with the social

sciences is disseminated into her fi ne arts practice using photography.

She has been exhibiting in artist-run spaces, dealer galleries and public

institutions over the past nine years; during this time, her contributions

have included group, collaborative and solo exhibitions. For a more

detailed analysis of her work, please see: http://www.fi onaamundsen.com

CLAIRE BRUELL

Claire Bruell is based in Auckland. She bought a photograph or two

some years ago and inadvertently became a collector. She is interested

in both historical and contemporary works that speak to her.

11IN FOCUS

PAUL MCNAMARA

ASSOCIATION OF INTERNATIONAL

PHOTOGRAPHY ART DEALERS MEMBER

MCNAMARA GALLERY

PHOTOGRAPHY

Advice is given to medical students to

preface medical evidence presented

in court with ‘in my opinion’. The ideas

expressed here are an opinion, and this

should be seen as a discussion paper.

However, one can be categoric about

some points:

1. The multiple nature of photography

should be celebrated, despite

market pressure to limit editions.

2. Each photographic print should

be uniquely identifi able, either

by numbering or editioning of

prints. Absolute clarity is required.

Editions can be closed [indicated

by a fraction] where the number of

prints to be produced is nominated

at the outset, or open, consisting of

sequentially numbered prints.

3. Artistic freedom should be nurtured.

4. The provenance of photographic

prints is particularly important.

5. The photography market in

New Zealand is in a developmental

phase, and we have a small collector

population.

Historically, the monetary value of an

artwork was determined by rarity as well

as aesthetics, which raises interesting

tensions with photography’s innate

capacity for endless reproduction.

Some see editioning as contrary to the

nature of the medium, and purely a

marketing phenomenon. In the USA,

before the period: 1960s – 1980s,

editioning was unnecessary because no

one was buying photographs in large

quantities, and photographers printed

on demand. Frequently actual print

numbers from the era are unknown, but

it is rare to fi nd more than fi ve copies

of any one image. This is also the likely

number in New Zealand. When working

with material from the 1960s – 1980s,

I endeavour to ascertain the actual

number of prints made from

each negative.

New York dealer Lucy Mitchell-

Innes, who ran the contemporary art

department at Sotheby’s in the 1980s,

has recently observed that the multiple

nature of photographic prints no longer

bothers collectors. “People now want

to own pictures that other people

own,” she says. “That’s a major shift….”

However, this is not just a contemporary

observation. Ansel Adams’ Moonrise over Hernandez is notable as a work

that held the highest price paid for a

photographic print in the 1970s for a

very long time. The fact that there were

hundreds of examples of it in existence

didn’t seem to have deterred the price

from being set at the time.

“Photography has become the ‘hot’

medium of the visual arts in the past

decade. Prices have escalated and

buyers seem unfussed that photographs

might be one of many editions. The

Age art critic Robert Nelson said the

fact that there might be multiple copies

of a photograph was no different to

multiple editions of Rodin’s sculptures

or Rembrandt’s prints. Describing [Jeff]

Wall as a ‘very signifi cant artist’, Nelson

said photography was fi nally being

recognised for doing what no other

medium could do” [Raymond Gill The [Melbourne] Age 16.12.06].

With the move to digitally produced

images, the growth in the market, and

the potential for endless identicals, the

desire for artifi cial limitation [ie editions]

has intensifi ed.

“As much contemporary work is now

printed mechanically from digital fi les, it

has been said that in a crude way the act

of editioning is the residual mark of the

artist [Sally Breen, Photofi le #77, 2006].

My policy has always been to leave the

issue of editioning to the artist, as part

of their expressivity – for how long and

how widely they wish a particular image

to be in circulation, prior to releasing

their next work. They thereby maintain

a creative momentum and dialogue with

their audience.

A hand-printed analogue photograph,

crafted one print at a time, may be

better characterised as a ‘multiple

original’. Each print, when viewed

alongside others from the same

negative, is recognisable though subtly

unique in most cases. However, it can

take a very experienced eye to assess

the technical ‘quality’ [and ‘value’] of

a particular print. This notion, of the

‘multiple original’, is reinforced by

identifying each print accurately.

As anyone who has spent time in

the darkroom will know, the ‘infi nite

reproducibility’ of analog photographs

is something of a fi ction; the medium

is self-limiting because of the effort

and time required to produce a fi ne

photographic print. The number of

prints made from a negative is generally

limited by demand for a particular

image. If there is a high level of demand

for an image at the beginning – in

other words, it is popular – then print

numbers will be higher than for another

image. In the case of open editions, the

collecting public does not know when

the artist will actually stop making more

prints of a particular image. With analog

cameras, fi lm and paper presently

becoming something of an endangered

species, print supply can stop abruptly.

However, with closed editions, one will

know in advance just how many prints

are available. Popular images from an

open edition [that eventually closes]

will, of course, remain in demand in the

secondary market and thereby attain

a degree of rarity. Conversely, a less

popular image from a closed edition

may always remain available and be

less rare. In other words, the ‘value’

of a specifi c image is not necessarily

related to the quantity of prints made.

AN INTRODUCTION TO THE EDITIONING OF PHOTOGRAPHS_

12

If the artist does choose to limit the

edition, which has became common

practice since the 1980s, the negative

is retired [but rarely destroyed] once

the nominated edition has been

printed; however, the whole edition is

often not printed all at one time. Some

photographers like to print the edition

in stages so that they can interpret

the negative differently, use different

papers, or take advantage of newer

technologies. Also, if demand is slow,

the whole edition may never be fully

realised. Conversely, with a popular

image, when the fi nite [limited] edition

sells out, interest can be defl ected

toward other images by the artist.

Limited supply can, therefore, drive

interest toward an artist’s entire body

of work.

My recommendation on editions is

to have one sequentially numbered

[as produced] edition of prints for

each image which may be of the same

or different dimensions [dimensions

variable].

Since photographs can be printed in

different sizes, there is potential for

confusion if a photographer prints an

edition in one size but later considers

that a differently sized print can be

produced in an additional edition.

My recommendation is that there

can be only one edition regardless

of size. This is now becoming a more

accepted practice. It is clearer to

collectors and the artist remains free to

vary the image size as the edition sells.

Also, it is my practice to price work with

little or no differential according to size.

I favour a single [image] price with any

required differential based on scale

to be in accord with production costs.

Large works can be more diffi cult to

frame [from a conservation perspective]

and more diffi cult to accommodate in

domestic environs. The scale of image

selected by the artist should be based

only on aesthetic considerations.

My recommendation on titling and

dating photographs is:

title; image/negative year; print year;

edition number*; signature

*eg 3/15, if work is editioned, or

print number [if it is an open edition

of sequentially numbered prints]. I like

to see two dates on all prints, unless

the prints were all made in the same

year as was the negative.

Some artists refi ne this by writing “fi rst

printing” on a work. This is informative

when there is an interval between the

date of negative production and the

date when the fi rst print was made.

One could make a case for a limited

edition when photographs are:

• digitally produced

• large and expensive to produce

• presented as albums or portfolios

• printed by a master printer, under

the artist’s direction.

When actual prints are large, editions

tend to be correspondingly small.

Currently ‘recommended’ edition sizes

are becoming smaller [internationally],

and the range is:

[‘artists’ using photography: 3 - ]

5 –10 [ - 25 ‘traditional’ photographers].

Large editions in this small country

of ours seem naively optimistic in

many cases.

Once a photographic print is fi nally

determined, the prints cease to be

artist’s proofs in the correct sense of

the word in that they are likely to be

identical to the editioned prints. It is

now preferable for the artist to make

an edition and to retain artist’s copies

from the edition [eg one artist’s

copy* and one artist estate copy].

In other words, the edition includes any

designated artist’s copies, the stated

edition is fi nite and purchasers know

just how many prints are produced and

how many are for sale.

*Artists occasionally reserve one

[or more] works in an edition for

public institutions.

It has been said that it is important for

public collections to be developed

with a longer view and curators don’t

want to feel pushed to buy a work at its

inception. They might consider buying

a work long after it has been made as

they believe this is the appropriate time

to collect it.

A vintage print is one made ‘close to

the aesthetic moment’, and is thus an

object made not only by the artist [or

under their supervision] but produced,

contemporaneously with the taking of

the image – say within fi ve years.

Vintage photographs can be indicated

with either a single date, or two dates:

the second date being no greater

than fi ve years after the fi rst. However,

improved clarity is provided by the

notation of negative year/print year

outlined above.

A vintage print tends to fetch a higher

price because it best refl ects the

intentions and thinking of the artist

at the time the negative was made,

as well as the aesthetic of that

period generally.

More recent prints from an older

negative are referred to as

modern prints.

A photograph may be printed

differently at various stages of an

artist’s career due to a change in the

artist’s interpretation of the negative,

a refi nement in printing style, changes

in available materials and improved

technology. Also, another printer may

be able to produce a better result

than the photographer themselves

can [I always acknowledge both the

photographer and printer in such

cases]. Therefore it follows that a

vintage print is not implicitly superior.

DISCUSSION PAPER

13IN FOCUS

CONTEM-PORARY/MODERN PHOTO-GRAPHY

DAY 1 WEDNESDAY 23 JULY 2008, 6.30PM Lots 1-125: Contemporary/Modern Photography

PREVIEW:WEDNESDAY 16 JULY 6PM – 8PM

VIEWING:THURSDAY 17 JULY 9AM – 5.30PM

FRIDAY 18 JULY 9AM – 5.30PM

SATURDAY 19 JULY 11AM – 3PM

SUNDAY 20 JULY 11AM – 3PM

MONDAY 21 JULY 9AM – 5.30PM

TUESDAY 22 JULY 9AM – 5.30PM

WEDNESDAY 23 JULY 9AM – NOON


ILLUSTRATED Lot 29, BOYD WEBB Incubus 1989

15CONTEMPORARY/MODERN + HISTORICAL PHOTOGRAPHY

1 THEO SCHOON Carved Gourds

gelatin silver print

160mm x 195mm

$1,000 - $2,000

2 PETER PERYER Erika Sunbathing at the Bach, Dec ‘75

or The Bracelet


title inscribed and inscribed Merry Christmas from Peter and Erika 1975 verso

230mm x 230mm

$2,500 - $3,500

Theo Schoon’s interest in Maori and Javanese cultures is now relatively well documented. His experience of culture and life was inextricable from his art. Schoon photographed, drew and elaborated on its ebbs, fl ows and fl uctuations through his studies of the patterns of nature. Gourds, which he grew himself from the mid 1950s, featured strongly, as well as geo-thermal activity which he fastidiously documented in Rotorua during the 1960s.

His engagement with these phenomena was recognition of the ultimate beauty, transience and wonder of nature. Its absurdities prevail despite attempts to censor and homogenise it. His concern was not necessarily ecological but more an obsessive engagement with subject matter that he found compelling. This suite of three images Portraits with Gourds, (lot 106) exemplifi es this. The artist as proud gardener, father and observer of nature’s capacity to produce infi nitely fascinating, almost obscenely sensual, forms of beauty. IMOGEN KERR

16

3 ANN SHELTON Untitled (Sushi Barfl y Series)

fi ve cibachrome prints

275mm x 195mm each

Provenance: originally commissioned

for Sushi Barfl y

$1,000 - $2,000

CONTEMPORARY/MODERN + HISTORICAL PHOTOGRAPHY 17

4 FIONA PARDINGTON Hei Tiki


signed and dated 2002 verso

550mm x 420mm

$4,000 - $6,000

18

5 ROSS T. SMITH Your Mouth is Stained with Sun

fuji colour photographic print 1/10

title inscribed, signed and dated 2000

on original artist’s label affi xed verso

1150mm x 1430mm

$2,000 - $2,500

6 KATE WOODS Iceberg at Clearwater

colour photograph

285mm x 370mm

$500 - $700

7 RICHARD MALOY White Rose #1

digital print

title inscribed, signed and dated 2000 verso

755mm x 1005mm

$2,500 - $3,500


10 JOHN REYNOLDS There is No China

colour photograph

title inscribed and signed

487mm x 490mm

$600 - $800

8 SHIGURO TAKATO Auckland Bowling Club, 2001

colour photograph

360mm x 465mm

$1,000 - $1,500

9 SHIGURO TAKATO Port Ahuriri Bowling Club,

Napier, 2001

colour photograph 1/7 from

the Bowling Green Series

360mm x 465mm

$1,000 - $1,500

Shiguro Takato’s photographic practice aligns with the sort of non-declamatory practice made well-known by photographers such as Andreas Gursky, Thomas Struth and Candida Hoffer (German) The question of whether photography is or is not an art form is a moot point for practitioners such as these. Their work clearly affords the level of conscious refi nement, precise focus on visual acuity and emphasis on the affect of the work that are normative expectations of high art practice. Although photographs such as lots 8 and 9 provide a concentrated representation of the two bowling greens, these are not documentary-oriented works. Rather, the attention is given to the formal interplay of the elements of their environments and the exactitude of the composition of the work. What is interesting about where they sit in relation to Takato’s practice in New Zealand is that they play with attitudes of the natural and the fake or at least the carefully constructed. The greens here are maintained spaces rather than naturally occurring fi elds and each work plays this state off against the surroundings (the Auckland Domain and Napier tank farm). This interest in highly constructed and regulated environments was somthing Takato pursued in subjects that included empty television studios or new subdivisions without residents appearing on the street. Since completing his BFA and undertaking postgraduate work at Elam School of Fine Arts, Takato undertook Meisterschule study in Dusseldorf, Germany, where he now lives.

PETER SHAND

20

11 FIONA PARDINGTON Tertea 1982

three gelatin silver prints

290mm x 430mm each

$2,000 - $3,000

12 WAYNE BARRAR Tubed Fish Section (DNA Analysis)

Christchurch (from An Immortal Double series 1996)

gold toned gelatin silver print


with the artist’s stamp applied verso

145mm x 225mm

$1,500 - $2,000


13 PETER PERYER Edward Bullmore’s Launch


410mm x 275mm

Illustrated: Burke, Greg and Weiermair,

Peter, Second Nature, Peter Peryer, Photographer, New Zealand (City

Gallery, Wellington, 1995) plate 55

$6,000 - $9,000

There is an uncanny comedy in much of Peter Peryer’s work. It is a kind of black humour which relates to all subjects but, most obviously, those subjects which are not human. In works such as Sandshark, Mother in Law’s Tongue and the portrait of Edward Bullmore’s Launch, Peryer presents an almost surreal cross between the factual photographic representation of his subject and a dramatic contextualisation that adds mystery, hides clues and manipulates our comprehension. The titles, combined with the dramatic, high-contrast light, imbue these inanimate subjects with character and a kind of ironic intrigue in a way that personifi es them. Peryer treats his subjects as models of curious beauty, worthy of our compassion, despite the fact that they are often not cognisant of it in any possible way.

Peryer’s more recent work plays even more heavily with fakes and forgeries – plastic babies or penises (lot 114) that appear at fi rst to be real and plastic dogs in coloured jumpers. A new book, published by the Auckland University Press, and set to launch at Webb’s in September will provide insights into these aspects. Peter Simpson, co author of the publication, calls it Peryerland. As he comments: “Peryer has over the past three decades and more constructed a world — call it Peryerland — which has its own distinctive typography, climate and features. Only the best photographers are capable of such a feat”. IMOGEN KERR

22

14 MICHAEL PAREKOWHAI Elmer Keith (from the ‘Beverly

Hills Gun Club’ series)

c-type colour photograph

from an edition of 10

980mm x 1175mm

$8,000 - $12,000


15 PAUL JOHNS Little Histories (Jerusalem 2005)

LED photograph 2/3


on original artist’s label affi xed verso

500mm x 500mm

$2,500 - $3,500

16 HARVEY BENGE BL Medici

digital photographic print on fuji

crystal archival paper 1/5

title inscribed, signed and dated

2003 verso

830mm x 635mm

$3,000 - $5,000

17 NATASHA CANTWELL Boxer

c-type photograph

385mm x 255mm

$600 - $800

24

18 PATRICK REYNOLDS Two Bodies 01


from an edition of 5

827mm x 1195mm

$3,000 - $5,000

19 PETER PERYER Denise Naked 1975

vintage gelatin silver print

title inscribed and dated 1975

on mount verso

175mm x 175mm

$2,000 - $3,000


1. HALL INTERIOR. SOUTH SPRINGSTON,

NEAR LEESTON

2. SHED. RURU ROAD MEMORIAL CEMETARY,

CHRISTCHURCH

3. HEADSTONE. LINWOOD CEMETARY,

CHRISTCHURCH

4. OBJECT. RIVERTON 5. SIGHT. NEAR BALCLUTHA 6. WAR MEMORIAL. BALCLUTHA

7. DENTAL TECHNICIAN’S BUILDING. RIVERTON 8. PAUA ROOM. BLUFF 9. HARWOOD’S HOLE. CANAAN, TAKAKA HILL

26

20 LAURENCE ABERHART View

ten 10” x 8”gold toned contact prints

mounted in a limited edition

artist’s book 2/10

signed

250mm x 200mm each

Provenance: Purchased directly from the

artist in 1980

Published: Laurence Aberhart, Lyttleton,

New Zealand, 1980

Edition Note: Two editions of this book are

held by Te Papa Tongarewa, Wellington and

one by the Christchurch Art Gallery, Te Puna

o Waiwhetu

$30,000 - $40,000

The book includes

1. Hall Interior. South Springston, near Leeston

2. Shed. Ruru Road Memorial Cemetery,

Christchurch

3. Headstone. Linwood Cemetary, Christchurch

4. Object. Riverton

5. Sight. Near Balclutha

6. War Memorial. Balclutha

7. Dental Technician’s Building. Riverton

8. Paua Room. Bluff

9. Harwood’s Hole. Canaan, Takaka Hill

10. Lyttleton Heads. Lyttleton

10. LYTTLETON HEADS. LYTTLETON


21 SOFIA TEKELA-SMITH Savage Island with the Pure (Red) 2003

digital print 2/8

1700mm x 1300mm

$4,000 - $5,000

28

22 PETER PERYER Mother in Law’s Tongue


title inscribed, signed and

dated 1982 verso

200mm x 300mm

Illustrated: Peter Peryer, Photographs, (Sarjeant Gallery,

Wanganui, 1985) P.20 & 31

$6,500 - $8,500

23 PETER PERYER Pima Air Museum, Tuscon Arizona



14th September, 1985 verso

354mm x 350mm

Note: A print from this edition is held

in the collection of Te Papa Tongarewa,

Wellington.

$6,500 - $8,500


24 YVONNE TODD Martha or Self Portrait as an

Anorectic (sic)

LED print 1/3


7 July 2003 verso

220mm x 170mm

$4,500 - $6,500

25 LAURENCE ABERHART Mt Victoria



7 July 2003 verso

190mm x 470mm

$10,000 - $15,000

Laurence Aberhart is a documentarian and investigator of New Zealand’s collective unconscious. From his expansive, panoramic views of the landscape to the pokey interiors and bland exteriors of New Zealand, Aberhart has captured a sense of this country’s heartland. Nostalgia is a word that becomes unavoidable, with scenes where lights glow quietly, soft, misty horizons swell and monuments point heroically, tragically to the temporality of the landscape and the people with their customs, loves and losses of yesteryear. There is something funereal about much of his imagery, featuring churches, monuments, gravestones, taxidermy and tags bourne of the desire to mark and name things for posterity. Portraits do feature in Aberhart’s oeuvre, often with faces concealed or blurred in the throes of some form of activity. It is largely people’s absence, however, which sets his photography so much in the realm of meditation, memory and theatrical romanticism. For there is an undeniable sense of the romantic sublime wherever such tumultuous, stretching, skies are concerned, wherever the transience of life is presented. To many, this is our Aotearoa – the land of the long white cloud, middle earth, middle class, the bottom of the world, but not for long. IMOGEN KERR


26 MARTI FRIEDLANDER Tony Fomison in front of his

painting Omai in 1979


410mm x 390mm

$7,500 - $9,500

32

27 YVONNE TODD Crisis # 6

LED print from an edition of 3


1999 verso

480mm x 550mm

$5,500 - $7,500

28 LAURENCE ABERHART Pines Beach Island Motel -

Kaipoi 1977/1981

gelatin silver print, agfa brouira,

selenium toned, 81


dated 1977 verso

185mm x 275mm

$3,000 - $5,000

Yvonne Todd’s highly composed, pristine photographs highlight her background as a commercial photographer. Whilst retaining an immaculate fi nish, second glances reveal subversion throughout her work. Instead of presenting perfect portraits, her pictures reveal un-glamourous women and girls with bottle-thick glasses, crooked teeth, badly applied make-up and totally dysfunctional, over-manicured nails. Her surreal compositions of strange, dislocated paraphernalia such as asthma inhalers, twigs or pipes act like a series of clues toward an unknown meaning, setting empty stages much the same way as a dust jacket gives entrée to a book.

Clues given in the pseudo-Hallmark card The Crisis #6 and Martha or Self Portrait as Anorectic (sic), evoke thoughts of love or sentiment. Yet looking more closely, this sentiment is grossly misplaced. In Martha or Self Portrait as Anorectic (sic), from The Book of Martha (2003) Todd presents herself as an anorexic. Typical of her fi gures with ailments wearing homely clothes, they are composed and essentially anonymous; they could be anyone, anywhere... JESSICA PEARLESS


29 BOYD WEBB Incubus 1989

cibachrome 1/1

signed verso

1550mm x 1250mm

$25,000 - $35,000

Boyd Webb is a New Zealand photographer who studied at London’s prestigious Royal College of Art in 1972 and came to prominence alongside contemporaries such as Richard Wentworth and Richard Deacon.

His work often involves the creation of humorous visual scenes in which men, women and plastic animals adopt Monty Pythonesque poses in fantastical environments. Figures are staged in surreal scenarios and photographed as large scale cibachromes. He creates a parallel universe where familiar objects no longer have their usual properties or functions and gravity is reversed. Reoccurring themes in his work have expressed his concern with ecological issues such as pollution, nuclear waste and the effects of technology. A genetically engineered designer baby hovers seemingly serene inside a Portuguese Man o War’s air bladder or sail. A creature that drifts at the mercy of the oceans current’s, directionless, its tentacles hang up to ten metres below fi lled with venom that causes excruciating pain. The work functions as an apocalyptic warning for humanity.

Webb has four works in the Tate Collection, London and has exhibited widely in New Zealand, Europe and America since 1976. Highlights in his career include many major survey exhibitions such as; Whitechapel Art Gallery, London, 1978 and 1987; Hirschhorn Museum, Washington DC, 1990; and the Auckland Art Gallery touring exhibition, 1997. He was also included in Toi Toi Toi curated by the Auckland Art Gallery Toi o Tamaki, Auckland in1999 and toured to the Museum Fredericianum, Kassel. He represented New Zealand in the Sydney Biennale in 1995 and was shortlisted for the Turner Prize in 1988. JONATHAN ORGAN

34

30 GREG SEMU Rain

digital print and oil pastel on

canvas


dated 2007

895mm x 755mm

$3,500 - $4,500

31 FRANK HABICHT Incomparable

gelatin silver print 1/5

title inscribed and signed verso

700mm x 1055mm

$4,000 - $6,000

32 FIONA PARDINGTON Heavy Penance


title inscribed verso

450mm x 350mm

$3,500 - $5,500

33 HARVEY BENGE Tokyo Girl 3

digital print on archival plastic 1/3

title inscribed signed and dated verso

1800mm x 1200mm

$4,000 - $6,000

36

34 RYUZO NISHIDA Portrait of a Young Family

c-type print

1200mm x 915mm

$700 - $900

35 NATASHA CANTWELL Cobra

c-type photograph

385mm x 255mm

$600 - $800

36 PAUL HARTIGAN Golden Warrior

ultrachrome print Artist’s

Proof II


dated 2007

600mm x 330mm

$1,800 - $2,500

37 PAUL HARTIGAN Mr Red and Mrs Green

ultrachrome print Artist’s Proof II


dated 2007

600mm x 485mm

$1,800 - $2,500

38

38 PETER PERYER St Bathans



dated 1988 verso

270mm x 410mm

Illustrated: Burke, Greg and

Weiermair, Peter, Second Nature, Peter Peryer, Photographer, New Zealand (City Gallery, Wellington,

1995) plate 29

$8,000 - $12,000

39 PETER PERYER Sandshark



1/191 verso

274mm x 414mm

Illustrated: Burke, Greg and

Weiermair, Peter, Second Nature, Peter Peryer, Photographer, New Zealand (City Gallery, Wellington,

1995) plate 44

Note: A print from this edition is

held in the collection of Te Papa

Tongarewa, Wellington

$8,000 - $12,000


FOREIGN PHOTOGRAPHY

40 HERB RITTS AMERICAN (1952 - 2002)

Jacqui Agyepong, Miami


original photographer’s stamp

applied verso

190mm x 140mm

$3,000 - $4,000

41 HELMUT NEWTON GERMAN (1920 - 2004)

Fetish Figure


original photographer’s stamp

applied verso

175mm x 120mm

$1,000 - $1,500


42 HERBERT PONTING ENGLISH (1870 - 1935) The Terra Nova Icebound in

the Pack (during Capt. Scott’s Expedition to the South Pole 1911)


original Paul Popper’s Photographic

Agency label of authenticity

affi xed verso

230mm x 180mm

Illustrated: Scott’s Last Voyage: Through the Antarctic Camera of Herbert Ponting

cover image and p45; David Mountfi eld

A History of Polar Exploration p169

$1,000 - $1,500

43 FRANCESCO SCAVULLO ITALIAN (1921 - 2004)

Dali 1972


original photographer’s studio

stamp applied verso

140mm x 195mm

$1,000 - $2,000

44 SOICHI SUNAMI JAPANESE (1885 - 1971)

Dancer, Helen Tamiris


signed with the photographer’s blind

stamp; studio and copyright stamps

applied verso

225mm x 185mm

$1,000 - $2,000

45 WILLIAM MORTENSON AMERICAN (1897 - 1965)

Preparation for the Sabbot c. 1935

bromoil print


180mm x 140mm

Exhibited: A print from this edition was

exhibited in The Photographic Magic of William Mortenson at The Center for

Creative Photography, University

of Arizona, USA.

$1,000 - $2,000

42

43

44

45

42

47 JOSEF VETROVSKY CZECH (1897 - 1944)

Reclining Woman 1930s/1950s

gelatin silver print (printed 1950s)

signed with the photographer’s blind stamp

Copyright Josef Vetrovsky Prague

265mm x 260mm

$1,000 - $2,000

48 JOSEF VETROVSKY CZECH (1897 - 1944)

Etude de nu


signed and dated 1932

920mm x 380mm

$1,000 - $1,500

49 DON MCCULLIN ATTRIBUTED ENGLISH (b. 1935)

Untitled


300mm x 200mm

$1,000 - $2,000

46 GUY BOURDIN (FRANCE 1928 - 1991)

Two Nudes 1969 (Paris Vogue December 1969)


signed with the photographer’s

stamp and credit stamp verso

170mm x 120mm

$2,000 - $3,000


50 EDWARD WESTON AMERICAN (1886 - 1958)

Oceano, 1936


title inscribed and inscribed 4750, Negative by Edward Weston, Print by Cole Weston and signed by Cole Weston

195mm x 245mm

$5,000 - $8,000

Edward Weston is arguably one of the most infl uential American photographers of the twentieth century working with the natural form, including the nude, seashells plants and landscapes.

Weston was one of the founding members of group f/64 in 1932 with Ansel Adams and Imogen Cunningham. The f/64 is a style of camera that secured a greater depth of fi eld, allowing the photograph to appear sharp from the foreground through to the background, as seen in this example.

Weston was the fi rst photographer to be awarded the Guggenheim Fellowship for experimental work in 1936, and had creative working partnerships with artist Tina Modotti, and poet Walt Whitman. In 1946 he began

experiencing symptoms of Parkinson’s disease, and over the next ten years this incapacitating illness became progressively worse. Because of this illness, Weston supervised the printing of his prints by his two sons, Brett and Cole.

The fi ne example illustrated is from his sand dune series. It is made directly from the original negative and printed by Cole Weston. It is a contact print made from a 10 x 8 inch negative, therefore creating a crystal sharp image.

Weston is held in the most prestigious Museums and Public Art Galleries in the world, including the Metropolitan Museum of Art in New York, the Museum of Modern Art, NYC and the J Paul Getty Museum in Los Angeles.

44

51 ARNOLD NEWMAN AMERICAN (1918 - 2006)

Portrait of Man Ray


photographer’s stamp © Arnold Newman applied verso

170mm x 120mm

$2,000 - $3,000

52 ARNOLD NEWMAN AMERICAN (1918 - 2006)

Picasso in his Studio, Vallauris, France 1954

gelatin silver print (printed 1976)


stamp © Arnold Newman and

inscribed Pablo Picasso - 1954 Reprinted - 1976

195mm x 140mm

$2,000 - $3,000


53 MARK SELIGER AMERICAN (b. 1959)

Gisele, Cross Eyed Studio NYC 2000

colour photograph from an

edition of 20


stamp verso

534mm x 420mm

$2,500 - $3,000

54 BERT STERN AMERICAN (b. 1929)

Marilyn Monroe - The Last Sitting 1962

pigment print 105/250

signed

500mm x 470mm

$1,000 - $2,000

55 JEREMY PARK AUSTRALIAN (b. 1973)

Lovers from Homage to Magritte Series

LED colour photograph

735mm x 540mm

$2,000 - $2,500

53

55

54

46

56 FRANTISEK DRTIKOL CZECH (1883 - 1961)

Reclining Nude



stamp Copyright Drtikol Prague

255mm x 310mm

$4,000 - $5,000

57 FRANTISEK DRTIKOL CZECH (1883 - 1961)

Broken Arc 1925-26

gelatin silver print (printed 1950s)


stamp Copyright Drtikol Prague

210mm x 280mm

Provenance: Purchased from the

family of one of the artist’s models

in Prague

Illustrated: Drtikol (Rudolph Kicken

Galerie, Cologne, 1983) p19

$2,000 - $3.000

58 JOSEF VETROVSKY CZECH (1897 - 1944) Nude with Dagger


(printed 1930s/1950s)


blind stamp Copyright Josef Vetrovsky Prague

265mm x 265mm

$1,000 - $2,000


59 CHESTER HIGGINS JR. AMERICAN (b. 1946)

Virgin, Ghana


photographer’s stamp and printing stamp

applied verso

385mm x 570mm

$1,000 - $2,000

61 HAROLD BATTER AMERICAN Anatomy 1952


title inscribed and signed; title inscribed and

signed and exhibition stamps applied verso

330mm x 260mm

$750 - $950

60 RALPH SNYDER AMERICAN (1902 - 1971)

Nude with Gears


268mm x 335mm

$500 - $1,000

62 JOSEF VETROVSKY CZECH (1897 - 1944) Nude Lying on Her Front

gelatin silver print (printed 1930s and 1950s)

signed with the photographer’s blind stamp

Copyright Josef Vetrovsky Prague

225mm x 325mm

$1,000 - $1,500

59

60

61

62

48

63 WILLIAM MORTENSON (AMERICAN 1897 - 1965)

Caprice Viennois

bromoil print c. 1935


175mm x 130mm

$1,000 - $1,500

64 JOSEF VETROVSKY (CZECH 1897 - 1944) Female Nude



blind stamp Copyright Josef Vetrovsky Prague

535mm x 355mm

$1,000 - $1,500

65 PAUL HEISSMAN AMERICAN (b.1912)

Nude Double Exposure


photographer’s stamp

applied verso

290mm x 245mm

$1,000 - $1,500

66 LUCIEN CLERGUE (FRENCH b. 1934)

Fiddler

gelatin silver print inscribed Lucien Clergue Violinist Arles 1954 and © 1983 Printed by Lucien Clergue verso

265mm x 185mm

$700 - $1,000

63

64

65

66


67 XIE HAILONG CHINESE Child in the Rain, Gui Zhou,

Liu Pan Shui Province


500mm x 335mm

$600 - $900

68 XIE HAILONG CHINESE Two Children


330mm x 490mm

$600 - $900

69 TOM MILLEA AMERICAN Victoria

platinum photograph


300mm x 200mm

$1,500 - $2,000

70 ROBERT MACFARLANE AUSTRALIAN (b. 1944)

Beau Nude


title inscribed and signed;


370mm x 250mm

$1,500 - $2,000

6768

69

70

50

71 NEIL ARMSTRONG AMERICAN (b. 1930) Buzz Aldrin on the Moon

(Apollo XI 1969)

vintage colour photograph

original NASA vintage red stamp

applied verso

175mm x 170mm

$2,000 - $2,500

72 NEIL ARMSTRONG Buzz Aldrin on the Moon

(Apollo XI 1969)



applied verso

175mm x 175mm

$1,000 - $1,500

73 NEIL ARMSTRONG Charles Duke on the Moon

(Apollo XVI)



applied verso

166mm x 175mm

$1,000 - $2,0000

74 NEIL ARMSTRONG Ed White, First Space Walk

(Gemini IV)



applied verso

178mm x 175mm

$2,000 - $3,000

75 NEIL ARMSTRONG Buzz Aldrin on the Moon (Apollo XI 1969)



applied verso

175mm x 170mm

$1,000 - $1,500

76 NEIL ARMSTRONG Edward White on Gemini 4


180mm x 175mm

$1,000 - $1,500

A COLLECTION OF VINTAGE COLOUR PHOTOGRAPHS BY NEIL ARMSTRONG


78 GERALD JENKINS Going Back to the Nation

digital print 5/50


dated ‘96

915mm x 1880mm

$1,500 - $2,500

79 GERALD JENKINS Makara

digital print A/P

title inscribed, signed

and dated ‘97

840mm x 600mm

$1,000 - $1,500

77 ERIC TAYLOR Port Waikato Cliff Face

epson colour print

380mm x 1140mm

$1,800 - $2,200

80 ERIC TAYLOR Castle Hill

epson colour print

400mm x 600mm

$1,000 - $1,500

77

78

79

80

52

FURTHER NEW ZEALAND WORKS

81 GLENN JOWITT The Devil and Baldie, Canterbury

Plains, 1979

selenium toned bromide 6/7

signed and dated 1979 (printed 2008)

405mm x 510mm

Exhibited: Black Power, Christchurch, Robert McDougall Art Gallery,

Christchurch 1980

$1,800 - $2,200

82 GREG SEMU Crucifi xion


605mm x 505mm

$2,500 - $3,500

83 PETER PERYER Grave Stone from the Gone Home Series


original Photo Forum Print Auction, November 1977 stamp applied verso

170mm x 170mm

$3,000 - $3,500

84 FIONA PARDINGTON Footman


375mm x 475mm

$2,500 - $3,500

81

82 83

84


85 CAROLIN CASEY Girdles

archival digital print on lustre

paper with sandtex laminate

1100mm x 1100mm

$500 - $700

86 CHRISTINE WEBSTER Passing Through 2

cibachrome

560mm x 730mm

$700 - $900

88 JOHN TURNER Peppermint Twist 2005

digital print title inscribed and

dated 2005 and inscribed Te Atatu Peninsula verso

375mm x 570mm

$1,000 - $1,500

87 MATHESON BEAUMONT The Marker

giclee 2/25

380mm x 247mm

$450 - $650

85

86

87

88

54

89 JOHN TURNER Te Atatu Pony Club 2006

digital print


Te Atatu Peninsula, Auckland, Sunday 8 January 2006 verso

380mm x 560mm

$1,000 - $1,500

90 GLENN JOWITT Atiuan Dancers, Green Room,

Gluepot Hotel, Ponsonby, Auckland

p3 cibachrome 7/7

signed and dated 1992

510mm x 405mm

Illustrated; ine/konei: The Pacifi c in Photo Art, Australian Centre for Photography,

Sydney; Feasts and Festivals, New Holland

Publishers

$1,800 - $2,200

91 CHRISTINE WEBSTER Nutcracker - Liz Kirk ‘84

cibachrome photograph

500mm x 505mm

$700 - $900

92 FIONA PARDINGTON Akura’s Lips

inkjet print 9/15


2000/2004 verso

60mm x 73mm

$500 - $700

89

90

91

92


93 THEO SCHOON Mudpool


150mm x 205mm

$1,000 - $2,000

94 ANNE NOBLE Untitled (Water Study)



From the Untitled sequence

published in Photoforum 32, June/

July 1976

203mm x 254mm

$1,000 - $2,000

95 GIL HANLY Barry Brickell Driving Creek

Railway c. 1980s


265mm x 375mm

$600 - $800

56

96 RICHARD COLLINS Auckland 1967


title inscribed and dated 1967 on

original label affi xed verso

130mm x 200mm

Exhibited: Three New Zealand Photographers, Auckland City Art

Gallery. 1973

Illustrated: ibid., plate 26

$800 - $1,200

97 RICHARD COLLINS Washing, Freemans Bay,

Auckland, 1970



and dated 1970 verso

203mm x 255mm


Gallery. 1973


$1,000 - $2,000

98 RICHARD COLLINS Colin McCahon on

Newton Road c. 1975


200mm x 300mm

$600 - $800

99 GIL HANLY Dame Whina Cooper

Speaking at the Lower Marae, Waitangi, 1985


280mm x 395mm

$600 - $800


101 FIONA PARDINGTON Bird in Fist

inkjet print 9/15


2000/2004 verso

76mm x 60mm

$500 - $700

102 ROBIN MORRISON Plumbershed


165mm x 130mm

$2,000 - $2,500

103 ALAN MILLER Ohinemutu


300mm x 200mm

$1,500 - $2,500

100 FIONA PARDINGTON Reuben

gold toned photograph

title inscribed and dated 1990 and

original City Gallery, Wellington

stamp applied verso

220mm x 160mm

$2,500 - $4,500

58

104 VICTORIA GINN Hanuman, Kerala, India

cibachrome

405mm x 510mm

Published: In 1990 by Rizzoli International

New York, as the lead image to the

4th chapter - The Journey - in the the

book “The Spirited Earth” , Dance, Myth and Ritual from South Asia to the South Pacifi c (Rizzoli International New

York, 1990). Published in international

magazines in Italy, Canada, China,

Australia, and elsewhere.

Exhibited: in 1985 at the Lincoln Centre

for the Performing Arts Exhibition Gallery,

New York.

Note: As one of the major characters in

the Hindu epic story, the Ramayana

(a religious poem about the battle

between good and evil written between

200BC - 200 AD), the Hindu monkey

hero Hanuman possesses the power of

fl ight, the ability to disappear, to uplift

mountains, and to heal.

$2,800 - $3,500

105 RICHARD COLLINS Auckland, 1969

gelatin silver print inscribed Photo by Richard Collins ‘Auckland, 1969’ on original label affi xed verso

200mm x 125mm


Gallery. 1973


$1,000 - $2,000

107 GIL HANLY Portrait of Roy Dalgarno

colour photograph c.1980s

390mm x 280mm

$600 - $800

106 THEO SCHOON Portraits with Gourds


110mm x 70mm each

$750 - $1,250


108 PADDY O’ROURKE This Brave Woman Was

Queen of a British Tribe together with Queen of a British Tribe

photogram on fi bre based

paper (unique print) complete

with original drawings


dated August 2007 and

inscribed photogram on fi bre based paper verso

440mm x 310mm each

$700 - $1,000

109 FIONA PARDINGTON Hostess



and dated 1993 verso

320mm x 260mm

$2,500 - $3,500

110 FIONA PARDINGTON Anthirium



and dated 1993

300mm x 225mm

$2,500 - $3,000

111 FIONA PARDINGTON Tears


520mm x 400mm

$3,500 - $5,500

108

110

109

110

60

112 PAUL THOMPSON Niu Tireni #2

lambda print

300mm x 450mm

$900 - $1,200

113 ROBIN MORRISON Mr Moriarty Glenbervie

Terrace, Wellington


185mm x 230mm

$2,000 - $3,000

114 PETER PERYER Untitled (Penis)



1997 verso

120mm x 165mm

$2,500 - $3,500

115 HENRY JEN Untitled (Carpark)

metallic LED print

1000mm x 1000mm

$1,000 - $1,500

116 LES CLEVELAND Raceday c.1950s


signed verso

170mm x 280mm

$300 - $500

113

112

114

115

116


117 LES CLEVELAND Bank of New Zealand,

Greytown, August 1957



dated August 1957 (printed

2005) and stamped Les Cleveland Photographer verso

197mm x 245mm

$400 - $600

118 LES CLEVELAND Man and Waterfall


signed verso

245mm x 185mm

$300 - $500

119 LES CLEVELAND Trotman Bros Building

digital print from the

original negative


4 August 1957 (printed 2005)

and stamped Les Cleveland Photographer verso

187mm x 233mm

$400 - $600

120 RICHARD COLLINS Auckland Roofs 1973


title inscribed and dated 1973

on original label affi xed verso

285mm x 405mm

$800 - $1,200

117

119

118

120

62

121 PAUL THOMPSON Niu Tireni #9

lambda print

300mm x 450mm

$900 - $1,200

122 GREG WILSONCabbage Tree

digital photograph 1/1


255mm x 255mm

$550 - $750

125 MATHESON BEAUMONT Ready To Wear

giclee 3/10

335mm x 250mm

$450 - $650

123 HENRY JEN Untitled (Tunnel)

metallic LED print

1000mm x 1000mm

$1,000 - $1,500

124 GREG WILSONTired and Lonely

digital photograph


175mm x 280mm

$550 - $750

121

122

123

124

125


HISTORICAL PHOTO-GRAPHY& UTU FILM STILLS

DAY 2 THURSDAY 24 JULY 2008, 6.30PM Lots 126-289: Historical Photography & UTU Film Stills

PREVIEW:WEDNESDAY 16 JULY 6PM – 8PM

VIEWING:THURSDAY 17 JULY 9AM – 5.30PM

FRIDAY 18 JULY 9AM – 5.30PM

SATURDAY 19 JULY 11AM – 3.00PM

SUNDAY 20 JULY 11AM – 3.00PM

MONDAY 21 JULY 9AM – 5.30PM

TUESDAY 22 JULY 9AM – 5.30PM

WEDNESDAY 23 JULY 9AM – NOON

THURSDAY 24 JULY 9AM – NOON


ILLUSTRATED Lot 128, ELIZABETH PULMAN King Tawhiao


126 BURTON BROS. ALFRED BURTON (1834-1914) WALTER BURTON (1836-1880)

Maori Hongi or Salutation


title inscribed and numbered 2543

310mm x 425mm

Reference: A print from this edition is held

by Te Papa Tongarewa and is credited

to Burton Bros. A Hongi (with Sophia)

Whakarewarewa. 1887. Registration

Number 0.000837/02

$2,000 - $3,000

127 HENRY WINKELMANN (1861-1931) Maori Canoe, Lake Rotorua


title inscribed

300mm x 380mm

Reference: A print from this edition is held by

the Rotorua Museum of Art and History. Title:

Part of a Regatta (1903 or 1904). Accession

No: OP-699 System ID: 6174

Note: Winkelmann often used the waterfront

as a subject because of his love of the sea.

For Winkelmann photography represented

a positive force, an active and healthy

pursuit. His athleticism and fl air with portable

cameras allowed him to get photos from

interesting vantage points, such as this

superb image, obviuosly taken from

another vessel.

$1,800 - $2,500

66

128 ELIZABETH PULMAN King Tawhiao


130mm x 92mm

Reference: A carte de visite of this photograph is held at the

Auckland Art Gallery Toi o Tamaki purchased 1998. (88 x 57mm.)

Illustrated: David Eggleton, Into the light, A History of New Zealand Photography, (First Published 2006 by Craig Potton

Publishing, Nelson) P. 17.

Illustrated: John Turner and William Main, New Zealand Photography from the 1840’s to the present, (First Published 1993

by PhotoForum Inc, Auckland) P.12.

$1,000 - $2,000

129 ELIZABETH PULMAN Rewi Manga Maniapoto


numbered 45

137mm x 93mm

Reference: A print from this edition is held by the

Alexander Turnbull Library

Illustrated: Michael King, New Zealanders at War, (Heinemann Publishers 1981) P.37.

Illustrated J.E. Gorse, The Maori King, (Oxford University

Press, 1959)

Illustrated: James Cowan, Hero Stories of New Zealand,

(Harry H. Tombs, 1935) P99 - 110

Illustrated: James Cowan, The New Zealand Wars: A History of the Maori Campaigns and the Pioneering Period: Volume I: 1845 - 1864, (R.E Owen, Wellington, 1955)

$900 - $1,500


130 ERNEST DE TOURETT Auckland, Queen Street



310mm x 410mm

$2,000 - $3,000

131 ERNEST DE TOURETT Auckland, Queen Street



310mm x 420mm

$2,000 - $3,000

68

132 ERNEST DE TOURETT Grafton Bridge, Auckland



310mm x 420mm

$2,000 - $3,000

133 ERNEST DE TOURRET Auckland from Albert Park



310mm x 420mm

$1,800 - $2,500

134 ERNEST DE TOURETT Auckland, Grafton Road

and Hospital



310mm x 425mm

$1,500 - $2,500

135 FRANK ARNOLD COXHEAD Queen Street, Auckland


title inscribed

135mm x 186mm

$500 - $700


136 ERNEST DE TOURETT Auckland, Mt Eden from top of

Symonds Street



330mm x 420mm

$1,500 - $2,500

137 ERNEST DE TOURETT The Waterfront, Auckland Harbour



330mm x 420mm

$1,800 - $2,500

138 ERNEST DE TOURETT Takapuna Beach



315mm x 425mm

$1,500 - $2,500

139 HENRY WINKELMANN (1861-1931) ATTRIBUTED

Golf Links, One Tree Hill


title inscribed

275mm x 370mm

$1,500 - $2,500

70

140 HENRY WINKELMANN Wairua Falls, Whangarei


title inscribed

300mm x 380mm

$1,800 - $2,500

141 HENRY WINKELMANN Russell


title, inscribed and signed

280mm x 350mm

$1,000 - $1,500

142 ERNEST DE TOURETT Auckland, One Tree Hill



310mm x 420mm

$600 - $900

143 GEORGE VALENTINE (1852-1890) Auckland Harbour from Mt Eden


title inscribed, signed with initials and

numbered 97

133mm x 212mm

$800 - $1,200


144 GEORGE PULMAN (1826-1871) Paora Tuhaere



134mm x 96mm

Note: Paora Tuhaere was painted by

Gottfried Lindauer.

Illustrated: Gottfried Lindauer, Maori Paintings, From the Partridge Collection, (A.H

and A.W. Reed, Wellington, 1965) P.64

$500 - $700

145 GEORGE PULMAN Untitled (Woman with Moko

and White Feather)



136mm x 96mm

$500 - $700

146 GEORGE PULMAN Tattooed Man with White Feather



140mm x 93mm

$500 - $700

147 GEORGE PULMAN Hera



130mm x 91mm

$500 - $700

148 GEORGE PULMAN Moi Torihua



135mm x 95mm

$500 - $1,000

149 GEORGE PULMAN Akirikiri



137mm x 98mm

$350 - $450

72

150 BURTON BROS. Taipari’s Carved House Parawai



153mm x 200mm

Reference: A print from this edition is held

by the Alexander Turnbull Library. (PA7-05019)

Note: This whare has been in the collection

of the Auckland Museum since 1925, placed

by the son of Te Hotereni Taipari and the

Ngati Maru people. The exterior consists of

corrugated iron roof and milled timber has

been reconstructed with the help of historical

photographs. This whare was named Hotuni,

after an ancestor of the Tainui tribes of Thames

and Coromandel. It was a wedding gift from

the Ngati Awa experts at Whakatane between

1875 - 1878. On May 1878, carvings were

taken by ship to Parawia where the house was

erected. Source: Auckland Museum

$600 - $900

151 GEORGE PULMAN ATTRIBUTED

Hau Mai, Tawhiti, Maketu



130mm x 190mm

$500 - $700

152 GEORGE PULMAN Te Koata



135mm x 95mm

$600 - $900

153 UNKNOWN PHOTOGRAPHER New Zealand Native Football Club

1888-1889


title inscribed

128mm x 200mm

Reference: The New Zealand Native

Football Representatives’ tour of Britain

is relatively unknown. It was a private

endeavour rather than an offi cial

representative team. The fi rst New

Zealand representative rugby team to

tour beyond Australia, they played a

staggering 107 rugby matches in New

Zealand, Australia and Great Britain,

winning 78 of them. They played their

fi rst game in Britain on 3 October 1888.

Greg Ryan, Forerunners of the All Blacks

(Canterbury University Press, 1993),

$2,000 - $3,000


157 GEORGE PULMAN ATTRIBUTED Peahaua, Ngarawha


title inscribed

130mm x 96mm

$500 - $700

158 GEORGE PULMAN Untitled (Cloaked Women

Performing Hongi)



136mm x 95mm

$350 - $450

159 UNKNOWN PHOTOGRAPHER Ripeka Rotorua



134mm x 97mm

$350 - $450

154 GEORGE PULMAN Rangi Tatara



134mm x 89mm

$500 - $700

155 UNKNOWN PHOTOGRAPHER No Terauoriwa Potatau



134mm x 99mm

Note: Three white feathers worn in the

hair as illustrated in this imaged are called

Parihaka Te Whiti and signifi es peace.

Te Whiti was the fi rst ever Pacifi st in New

Zealand’s history and the leader of Parihaka,

a Maori village in Taranaki.

$350 - $450

156 GEORGE PULMAN Moa (Mohi Te Ngu)



134mm x 93mm

$450 - $650

74

164

163 ERNEST DE TOURETT Ohinemutu, Rotorua



310mm x 420mm

$900 - $1,200162 ERNEST DE TOURETT Rotorua Sanatorium Grounds



300mm x 425mm

Note: This image shows Bath House buildings in Rotorua.

These were New Zealand government’s fi rst commitment to

the fl edging tourist industry. Once offering spa and therapeutic

treatments, and today the building houses the Rotorua Museum

of Art and History.

$600 - $900

161 ERNEST DE TOURETT Rotorua, The “Malfoy” Geyser,

Sanatorium



270mm x 420mm

$600 - $900

164 ERNEST DE TOURETT Rotorua, The Angry Pohetu Geyser


title inscribed

310mm x 420mm

$600 - $900

162

163

161160

160 HENRY WINKELMANN ATTRIBUTED

Waimungu


title inscribed

295mm x 370mm

$600 - $900


165 166

167

168

165 FRANK ARNOLD COXHEAD Road to Waiaro together with

Buggy on the Hokitika Road

two gelatin silver prints

titles inscribed and numbered 297

and title inscribed

188mm x 136mm, 139mm x 202mm

Reference: A print from this edition is

held at the Christchurch City Library.

Ca 1888 File Reference CCL Photo

CD13, IMG0055.

$300 - $500

166 JOSIAH MARTIN (1843-1916) ATTRIBUTED

New Zealand Tree Ferns and Creek Scene together with Bush Scene, Auckland together with Nikau and Tree Ferns


titles inscribed

198mm x 142mm, 200mm x 140mm,

198mm x 140mm

$800 - $1,100

167 UNKNOWN PHOTOGRAPHER Waiwera together with Waiwera



133mm x 197mm each

$300 - $500

168 HENRY WINKELMANN (1861-1931)

Port Fitzroy and Great Barrier together with Whangaruatwo gelatin silver prints

titles inscribed

290mm x 375mm,

285mm x 370mm

$1,200 - $2,000


Waiwera


title inscribed

300mm x 380mm

$800 - $1,500

169

76

170 UNKNOWN PHOTOGRAPHER Opening of a Gold Mine

at Thames together with Caledonian Gold Mine, Thames and Opening of a Gold Mine, Thames


titles inscribed

146mm x 207mm, 203mm x 256mm, 146mm x 207mm

$1,000 - $1,200

171 HENRY WINKELMANN (1861-1931) ATTRIBUTED

Kauri Bush


title inscribed

380mm x 300mm

$400 - $600

173 ERNEST DE TOURETT The Green Lake



300mm x 420mm

$600 - $900

174 ERNEST DE TOURETT The Beautiful Blue Lake, Tikitere



300mm x 425mm

$600 - $900

172 UNKNOWN PHOTOGRAPHER Logs at Mercury Bay Sawmill together

with Mercury Bay Sawmill


titles inscribed and numbered 324 and 32

134mm x 200mm each

$300 - $500

170

172

174

171

173


176 UNKNOWN PHOTOGRAPHER Salon Hall, SS Mariposa together

with Mariposa


title inscribed and title inscribed and numbered

4083; inscribed Taber Photography San Francisco

140mm x 197mm, 190mm x 237mm

$300 - $500

175 UNKNOWN PHOTOGRAPHER Auckland Harbour from Campbells Point

together with Auckland Harbour from Albert Park together with Potters Paddock, Epsom, Auckland


titles inscribed and numbered 606 and 18

133mm x 200mm,156mm x 190mm,

99mm x 130mm

$500 - $800

178 UNKNOWN PHOTOGRAPHER Sugar Works, Auckland together with

Sugar Works, Northcote, Auckland


titles inscribed

144mm x 198mm each

$400 - $600

177 UNKNOWN PHOTOGRAPHER Union SS “Rotomahana” together with Orient

SS Uzalea, Sandbridge Pier, Melbourne together with Mariposa at San Francisco


titles inscribed

130mm x 200mm ,132mm x 195mm,

118mm x 182mm

$400 - $600

179 UNKNOWN PHOTOGRAPHER Railway Station and Firth’s Mill, Auckland

together with Orakei Creek, Auckland


title inscribed

135mm x 198mm , 98mm x 146mm

$400 - $600

176175

177 178

179

78

181 UNKNOWN PHOTOGRAPHER H.M.S Nelson together with H.M.S.

Egenia together with SS Doric together with Untitled Ship

four gelatin silver prints

titles inscribed

93 x 142mm,120mm x 88mm,

97mm x 136mm, 97mm x 136mm

$400 - $800

180 HENRY WINKELMANN ATTRIBUTED AND JOSIAH MARTIN ATTRIBUTED

Kawau together with Kawau


titles inscribed and title inscribed,

signed and numbered 606

285mm x 380mm,146mm x 200mm

182 HENRY WINKELMANN ATTRIBUTED Lake Waitakere


title inscribed

300mm x 380mm

Note: The title of this photograph is

incorrectly inscribed as Bethells Lagoon

$800 - $1,500

183 UNKNOWN PHOTOGRAPHER Shop on Mariposa together with

Calliope Dock, Auckland H.M.S. Diamond and H.M.S Calliope


titles inscribed

189mm x 230mm , 148mm x 200mm

$600 - $900


Okahumoko Bay, Whangaroa


title inscribed

310mm x 380mm

$400 - $600

180 181

182

183

184


185 BURTON BROS Cave Rock, Sumner together

with Shag Rock, Sumner


titles inscribed and signed

140mm x 190mm each

Reference: A print from this edition

is held at Te Papa Tongarewa.

(Registration Number C.011681)

$200 - $400

186 BURTON BROS. Lake Taupo from Motutere



and numbered 3757

140mm x 190mm

$150 - $250

187 HARDING AND BILLING ATTRIBUTED AND JOSIAH MARTIN

Calliope Dock, Auckland H.M.S Calliope and Diamond together with Queen Street Wharf, S.S. Rimutaka - Bismark, Auckland



202mm x 150mm, 142mm x 198mm

$500 - $700

189 BURTON BROS. TOGETHER WITH FRANK A. COXHEAD

Railway Station, Christchurch together with Dunedin Gardens


title inscribed and numbered 2909 and numbered 335

138mm x 188mm each

Reference: A print from this edition

is held by Te Papa Tongarewa.

(Registration Number: C.011556)

$500 - $700

190 UNKNOWN PHOTOGRAPHER

Photograph of a Painting


131mm x 94mm

$50 - $100

188 UNKNOWN PHOTOGRAPHER Boiling Lake, White Island

together with Rotomahana and Tarawera


titles inscribed

130mm x 200mm each

$200 - $400

80

191 VICTORIA GINN Early Morning Calm in

Te Wheke’s Village

$400 - $600

192 VICTORIA GINN The Assault and Burning of

Te Wheke’s Village

$400 - $600

193 VICTORIA GINN Te Wheke Cries ‘UTU’

$400 - $600

194 VICTORIA GINN Portrait of ‘Matu’

$400 - $600

195 VICTORIA GINN Te Wheke Undergoing the Ritual

of the Warrior, the Moko

$400 - $600

196 VICTORIA GINN Portrait of Te Wheke Upon

his Transformation

$400 - $600

197 VICTORIA GINN An Exodus of European Settlers Flee,

As Word Spreads of Te Wheke’s Intent to Avenge the Murder of his People

$400 - $600

198 VICTORIA GINN Emily’s Fate

$400 - $600

199 VICTORIA GINN Emily’s Killer

$400 - $600

200 VICTORIA GINN Emily’s Shoes

$400 - $600

201 VICTORIA GINN Te wheke Clutching the Severed Head

of the Vicar

$400 - $600

202 VICTORIA GINN NZ British Army Drummers on Parade

$400 - $600

203 VICTORIA GINN Williamson Returns After Hunting for

Te Wheke

$400 - $600

204 VICTORIA GINN Williamson

$400 - $600

205 VICTORIA GINN Young Lieutenant Scott

$400 - $600

206 VICTORIA GINN Lieutenant Scott and Kura Fall in Love

$400 - $600

207 VICTORIA GINN Kura Running Away with Lieutenant

Scott’s Gun

$400 - $600

208 VICTORIA GINN Te Wheke’s Whanau Hiding

in their Bushcamp

$400 - $600

209 VICTORIA GINN Te Wheke Berating his Woman, Matu

$400 - $600

210 VICTORIA GINN Matu Folded in Sorrow

$400 - $600

211 VICTORIA GINN Matu Sitting at the Edge of a River

$400 - $600

212 VICTORIA GINN Colonel Elliot Aiming to Shoot

at One of Te Wheke’s Whanau

$400 - $600

213 VICTORIA GINN Puni After a Shoot Out

$400 - $600

214 VICTORIA GINN Wiremu, the Brother of Te Wheke

$400 - $600

215 VICTORIA GINN High Country Landscape with a

Member of Te Wheke’s Whanau

$400 - $600

216 VICTORIA GINN NZ British Army to Battle with

Te Wheke and his Band of Warriors

$400 - $600

C-10 FILM STILLS FROM UTUBY VICTORIA GINN

193

194

192

191


203201

204

198

195

199

196

200

197

202

205 208

82

217 VICTORIA GINN Drummer Burnt by the Remains

of Virgin Forest

$400 - $600

218 VICTORIA GINN Colonel Elliot Playing Chess with

his Scout Wiremu

$400 - $600

219 VICTORIA GINN One of Te Wheke’s Warriors Opens

Fire Inside the Te Puna Hotel

$400 - $600

220 VICTORIA GINN NZ British Army Wagon Blown Up

by Te Wheke’s Men

$400 - $600

221 VICTORIA GINN Atmpospheric in Camera

Montage of Puni

$400 - $600

222 VICTORIA GINN Te Wheke and his Men After their

Assault on the Te Puna Hotel

$400 - $600

223 VICTORIA GINN Portrait of Te Wheke and Matu

$400 - $600

224 VICTORIA GINN Te Wheke Wearing

the Feather Cloak

$400 - $600

Note:All of Utu fi lm stills (lot 191 - 224) listed are:

signed and dated 1983 and inscribed UTU photographers print240mm x 240mm, except for lot 212 and lot 239, which is 160mm x 240mm each

212

215

210

211

214

209

208207

213


224222

223

219

216

220

217

221

218

84

CONDITIONS OF SALE FOR BUYERS1. BIDDING: The highest bidder shall be the purchaser subject to the auctioneer having the right to refuse the bid of any person. Should any dispute arise as to the bidding the lot in dispute will be immediately put up for sale again at the preceding bid or the auctioneer may declare the purchaser which declaration shall be conclusive. No person shall advance less at a bid than the sum nominated by the auctioneer and no bid may be retracted.

2. RESERVES. All lots are sold subject to the right of the seller or his agent to impose a reserve.

3. REGISTRATION. Purchasers shall complete a bidding card before the sale giving their own correct name address and telephone number. It is accepted by bidders that the supply of false information on a bidding card shall be interpreted as deliberate fraud.

4. BUYERS’ PREMIUM. The purchaser accepts that in addition to the hammer or selling price Webb’s will apply a buyer’s premium of 12.5% of the hammer price for works in the Contemporary Art sale and 15% on items in the Beatles memorabilia & Modern Design sections of the sale, together with GST on such premium, which combined sum shall be the total purchase price.

5. PAYMENT. Payment for all items purchased is due on the day of sale immediately following completion of the sale. If full payment cannot be made on the day of sale a deposit of 10% of the total sum due must be made on the day of sale and the balance must be paid within 5 working days.Payment is by cash, bank (cashiers) cheque or Eftpos. Personal and private bank cheques will be accepted but must be cleared before delivery of goods will be given. Credit cards are not accepted.

6. LOTS SOLD AS VIEWED. All lots are sold as viewed and with all errors to description faults and imperfections whether visible or not. Neither Webb’s nor its vendor are responsible for errors of description or for the genuineness or authenticity of any lot or for any fault or defect in it and make no warranty whatever. Buyers proceed upon their own judgement. Buyers shall be deemed to have inspected the lots or to have made enquiries to their complete satisfaction prior to sale and by the act of bidding shall be deemed to be satisfi ed with the lots in all respects. 7. WEBB’S ACT AS AGENTS. They have full discretion to conduct all aspects of the sale and to withdraw any lot from the sale without giving any reason.

8. COLLECTION. Purchases are to be taken away at the buyer’s expense immediately after the sale except where a cheque remains uncleared. If this is not done Webb’s will not be responsible if the lot is lost stolen damaged or destroyed. Any items not collected within seven days of the auction may be subject to a storage and insurance fee. A receipted invoice must be produced prior to delivery of any lot.

9. LICENCES. Buyers who purchase an item which falls within the provisions of the Antiquities Act 1975 or the Arms Act 1958 cannot take possession of that item until they have shown to Webb’s a license under the appropriate Act.

10. FAILURE TO MAKE PAYMENT. If a purchaser fails either to pay for or take away any lot Webb’s shall without further notice to the purchaser at its absolute discretion and without prejudice to any other rights or

remedies it may have be entitled to exercise one or more of the following rights or remedies:a. To issue proceeding against the purchaser for damages for breach of contract.b. To rescind the sale of that or any other lot sold to the purchaser at the same or any other auction.c. To resell the lot by public or private sale. Any defi ciency resulting from such resale after giving credit to the purchaser for any part payment together with all costs incurred in connection with the lot shall be paid to Webb’s by the purchaser. Any surplus over the proceeds of sale shall belong to the seller and in this condition the expression “proceeds of sale” shall have the same meaning in relation to a sale by private treaty as it has in relation to a sale by auction. d. To store the lot whether at Webb’s own premises or elsewhere at the sole expense of the purchaser and to release the lot only after the purchase price has been paid in full plus the accrued cost of removal storage and all other costs connected to the lot.e. To charge interest on the purchase price at a rate 2% above Webb’s bankers’ then current rate for commercial overdraft facilities to the extent that the price or any part of it remains unpaid for more than seven days from the date of the sale.f. To retain possession of that or any other lot purchased by the purchaser at that or any other auction and to release the same only after payment of money due.g. To apply the proceeds of sale of any lot then or subsequently due to the purchaser towards settlement of money due to Webb’s or it’s vendor. Webb’s shall be entitled to a possessory lien on any property of the purchaser for any purpose while any money remains unpaid under this contract.h. To apply any payment made by the purchaser to Webb’s towards any money owing to Webb’s in respect of any thing whatsoever irrespective of any directive given in respect of or restriction placed upon such payment by the purchaser whether expressed or implied.i. Title and right of disposal of the goods shall not pass to the purchaser until payment has been made in full by cleared funds. Where any lot purchased in held by Webb’s pending i. clearance of funds by the purchaser or ii. completion of payment after receipt of a deposit the lot will be held by Webb’s as bailee for the vendor risk and title passing to the purchaser immediately upon notifi cation of clearance of funds or upon completion of purchase. In the event that a lot is lost stolen damaged or destroyed before title is transferred to the purchaser the purchaser shall be entitled to a refund of all monies paid to Webb’s in respect of that lot but shall not be entitled to any compensation for any consequent losses howsoever arising.

11. BIDDERS DEEMED PRINCIPALS. All bidders shall be held personally and solely liable for all obligations arising from any bid including both telephone”and absentee bids”. Any person wishing to bid as agent for a third party must obtain written authority to do so from Webb’s prior to bidding.

12.”SUBJECT BIDS”Where the highest bid is below the reserve and the auctioneer declares a sale to be “subject to vendor’s consent” or words to that effect the highest bid remains binding upon the bidder until the vendor accepts or rejects it. If the bid is accepted there is a contractual obligation upon the bidder to pay for the lot.

13. SALES POST AUCTION OR BY PRIVATE TREATYThe above conditions shall apply to all buyers of goods from Webb’s irrespective of the circumstances under wheich the sale is negotiated.


A GUIDE FOR BUYERSWebb’s have set out the following information for the benefi t of fi rst time buyers and those who are unfamiliar with auction procedures. Important note: Please refer to full conditions of sale for buyers printed in the reverse of this catalogue and displayed in the saleroom.

Registration: All intending buyers must complete a bidding form available from the reception desk

BUYING AT AUCTION

1. Floor BiddersEnsure that you have registered and obtained a buyer number before bidding on the lot or lots you have chosenBe aware that a buyer’s premium of 12.5%+GST on the premium or 15%+GST is payable by all buyers in addition to the hammer price. Please make sure that you are aware of the amount of the buyer’s premium. Make your bids clear preferably by holding up your buyer number card. If you make a mistake e.g. the auctioneer takes a bid from you at a higher level than you had intended or you realise that you had bid on the wrong lot call out to the auctioneer immediately so that the bidding can be adjusted. Waiting until after the hammer falls is too late. If your bid is the highest and the lot is knocked down to you then you have entered a binding obligation to pay for that lot.

2. Sales Subject to Vendor’s ConsentWhere your bid is the highest but still below the reserve the Auctioneer may declare you to be the “buyer subject to Vendor’s consent”. This means that your bid is held as binding and will be communicated to the Vendor at the earliest opportunity. If the vendor accepts then there is a contractual obligation for you to pay for the lot. If the vendor does not accept you are released from any obligation however you will have fi rst right to negotiate with the vendor through Webb’s until an agreement is reached and Webb’s will not present other offers to the vendor until your negotiations are ended.

3. Absentee BidsWebb’s will endeavour to ensure that your bidding instructions are executed but accept no responsibility or liability for failure to do so. Lots will be bought as favourably as is allowed by bidding in the sale room and any reserve imposed by the vendor. Please note that Webb’s cannot guarantee that another bidder will not be successful at your limit if in the course of competitive bidding someone else bids your limit fi rst. Absentee bids are accepted by written instruction which can be sent by fax (e-mailed absentee bids are not accepted) up to l hour before the commencement of the sale.

Absentee bids will be executed on the following basis:If your bid limit is equal to or above a reserve the Auctioneer may open the bidding at reserve on your behalf and will bid thereafter only in response to competition for the lot.If your bid limit is below a reserve the Auctioneer may open the bidding at your limit and if there are no further bids in the room may sell to you “subject to vendor’s consent”. In the absence of a reserve the Auctioneer

may exercise your bid in advance of any opening bid or may open the bidding on your behalf at the Auctioneers estimate at the Auctioneer’s sole discretion.

Telephone BidsThe same conditions as above apply to telephone bidders.Webb’s will telephone the number you have given several minutes before the lot you have request comes up for sale. If your phone is engaged or we are unable to make contact the auction will proceed without your bidding.Our staff will ask you to hold when we have made contact. They will then tell you that your lot is about to come up. The bids will be relayed to you and you can enter the bidding at any time by making your call. Please note that the bidding at many auctions can be fast and furious. The auctioneer will not favour a phone bidder over and above buyers who are attending the auction by giving them more time to bid. You will need to establish your limit and make sure that you bid clearly and promptly. Telephone bids are only accepted for catalogued sales and on items with estimates over 500.

Pre-Sale EstimatesEstimates printed in the catalogue or given verbally are intended as a guide only and can be subject to revision nearer to the time of a sale. Webb’s staff are available during pre-sale viewing times and by appointment to assist prospective bidders with estimates and any aspect of the auction procedure.

Condition ReportsWebb’s staff will provide condition reports for out of Auckland buyers. However please note that no 6 in the Conditions of Sale for Buyers will still apply despite the obtaining of a condition report.

PaymentPayment for all items purchased is due on the day of sale immediately following completion of the sale. If full payment cannot be made on the day of sale a deposit of 10% of the total sum due must be made on the day of sale and the balance must be paid within 5 working days. Payment is by cash bank cheque or Eftpos. Cheques will be accepted but must be cleared before delivery of goods will be given. Credit cards are not accepted.

Packing and FreightWebb’s do not pack goods in house. However we will arrange for your items to be packed insured and shipped by a professional agent. All costs associated with packing and freight are payable by the purchaser.

Valuation ServiceWebb’s provide free market appraisals on Monday mornings from 9am-1pm or at other times by appointment. Webb’s appraisers will come to your home to view and appraise larger items. Webb’s will provide valuations for insurance matrimonial division family division etc. Please enquire at reception for charges. Valuation charges are refundable on occasion when goods are subsequently offered for sale within a reasonable period.

BANK ACCOUNT DETAILS PAYMENT BY DEPOSITImportant: Fax this form to Webb’s: +64 9 524 7048 so payment can be confi rmed and purchases released.

BUYER NAME: ........................................................... BUYER NUMBER: ................................................................

SALE NUMBER: .......................................................... Balance owing for purchase/s: NZ

*Please include a sale number and buyer number as reference for on direct credits to enable us to dispatch your items effi ciently.

BANK ACCOUNT DETAILS: BANK: WESTPAC 79 QUEEN ST AUCKLAND NAME: PETER WEBB GALLERIES LTDACCOUNT NUMBER: 03-0104-0448184-03 FOR INTERNATIONAL DEPOSITS SWIFT CODE: WPACNZ2W

Amount transferred (including freight if applicable): NZ

DATE TRANSFERRED: ............................................... SIGNED: ..............................................................................

CONFIDENTIALITY: The information contained in this facsimile is legally privileged and/or confi dential. If you are not the addressee listed below you are notifi ed that except as authorised agent to the addressee any use disclosure copying or distribution of any of the contents of this facsimile by you is prohibited. Recipients other than the addressee listed below are asked to notify us immediately and return the original facsimile to us.

86

BIDDING SLIP

Please bid on my behalf at the above sale for the following lots up to prices recorded below. These bids are to be executed as cheaply as is permitted by other bids or reserves if any. * I agree to comply with the Conditions of Sale as printed in the catalogue. I understand that in the case of a successful bid on items in the Photography 2008 sale a buyer’s premium of twelve and a half percent (12.5%) will be added to the hammer price and that G.S.T is charged on the premium. On major lots customers may prefer to bid by telephone. Please enquire regarding this service which Webb’s carry out at no charge.

* Webb’s will do its upmost to carry out bidding instructions for absentee bidders. It will not be responsible however if circumstances prevent it doing so.

ARRANGEMENTS FOR PAYMENT: I agree to pay immediately on receipt of notice from Webb’s of my successful bid. Payment will be by cash cheque or bank transfer. I will arrange for collection of my purchases or I agree to pay for packing and freight costs incurred by Webb’s in having any purchases forwarded to me. In order to avoid delay in clearing purchases Buyers who are unknown to us are advised to make arrangements for payment before the sale or for references to be supplied. If such arrangements are not made cheques will be cleared before purchases are delivered.

SIGNED & DATED

SURNAME/COMPANY

EMAIL ADDRESSFACSIMILIEHOME PHONE

18 Manukau Rd NewmarketPO Box 99251 Auckland New Zealand

Ph: 09 524 6804 / Fax: 09 524 [email protected] / www.webbs.co.nz

BUSINESS PHONE MOBILE

MR/MRS/MS INITIALS

POSTAL ADDRESS

CONTACT NAME

LOT NO. CATALOGUE DESCRIPTION BID*

FOR ABSENTEE BIDDERS ON LOTS IN THE PHOTOGRAPHY 2008 SALE: 23 - 24 JULY 2008


INDEX OF ARTISTS

ABERHART, LAURENCE 20, 25, 28

ARMSTRONG, NEIL 71–76

BARRAR, WAYNE 12

BATTER, HAROLD 61

BEAUMONT, MATHESON 87, 125

BENGE, HARVEY 16, 33

BOURDIN, GUY 46

BURTON BROS 150, 185–186, 189

CANTWELL, NATASHA 17, 35

CASEY, CAROLIN 85

CLERGUE, LUCIEN 66

CLEVELAND, LES 116-119

COLLINS, RICHARD 96–98,

105, 120

COXHEAD, FRANK ARNOLD 135, 165,

189

DE TOURETT, ERNEST 130–134,

136–138,

142,

161–164,

173–174

DRTIKOL, FRANTISEK 56-57

FRIEDLANDER, MARTI 26

GINN, VICTORIA 104, 191–224

HABICHT, FRANK 31

HAILONG, XIE 67-68

HANLY, GIL 95, 99, 107

HARDING AND BILLING

(ATTRIBUTED TO) 187

HARTIGAN, PAUL 36-37

HEISSMAN, PAUL 65

HIGGINS JR., CHESTER 59

JEN, HENRY 115, 123

JENKINS, GERALD 78-79

JOHNS, PAUL 15

JOWITT, GLENN 81, 90

MACFARLANE, ROBERT 70

MALOY, RICHARD 7

MARTIN, JOSIAH 166, 180, 187

MCCULLIN, DON (ATTRIBUTED TO) 49

MILLEA, TOM 69

MILLER, ALAN 103

MORRISON, ROBIN 102, 113

MORTENSON, WILLIAM 45, 63

NEWMAN, ARNOLD 51–52

NEWTON, HELMUT 41

NISHIDA, RYUZO 34

NOBLE, ANNE 94

O’ROURKE, PADDY 108

PARDINGTON, FIONA 4, 11, 32,

84, 92, 100–101,

109–111

PAREKOWHAI, MICHAEL 14

PARK, JEREMY 55

PERYER, PETER 2, 13, 19, 22,

23, 38, 39, 83, 114

PHOTOGRAPHER, UNKNOWN 153,

155, 159, 167, 170, 172, 175,

176-179, 181, 183, 188, 190

PONTING, HERBERT 42

PULMAN, GEORGE 126, 144-149,

152, 154, 156, 158

PULMAN, GEORGE

(ATTRIBUTED TO) 151, 157

PULMAN, ELIZABETH 128-129

REYNOLDS, JOHN 10

REYNOLDS, PATRICK 18

RITTS, HERB 40

SCAVULLO, FRANCESCO 43

SCHOON, THEO 1, 93, 106

SELIGER, MARK 53

SEMU, GREG 30, 82

SHELTON, ANN 3

SMITH, ROSS T. 5

SNYDER, RALPH 60

STERN, BERT 54

SUNAMI, SOICHI 44

TAKATO, SHIGURO 8–9

TAYLOR, ERIC 77, 80

TEKELA-SMITH, SOFIA 21

THOMPSON, PAUL 112, 121

TODD, YVONNE 24, 27

TURNER, JOHN 88–89

VALENTINE, GEORGE 143

VETROVSKY, JOSEF 47–48, 58, 62, 64

WEBB, BOYD 29

WEBSTER, CHRISTINE 86, 91

WESTON, EDWARD 50

WILSON, GREG 122, 124

WINKELMANN, HENRY 127,

140–141, 168

WINKELMANN, HENRY

(ATTRIBUTED TO) 139, 160, 168,

169, 171, 180, 182, 184

WOODS, KATE 6

88

webb's photography june 2008 catalogue

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