Issuu

Contemporary Art/Modern Design DAYl

DAY2

Contemporary Art

Modern & Contemporary Design

Tuesday, 16 Oct 2007, 6.30pm

Wednesday, 17 Oct 2007, 6.30pm

Viewing

Evening Preview 4 Oct Thursday Friday Saturday Sunday Monday Tuesday Wednesday Thursday Friday Saturday Sunday Monday Tuesday

4 Oct 5 Oct 6 Oct 7 Oct

6.00pm - 8.00pm

9.00am - 8.00pm 9.00am - 5.30pm 11.00am - 3.00pm 11 .00am - 3.00pm 8 Oct 9.00am - 5.30pm 9 Oct 9.00am - 1.00pm 10 Oct 10.00am - 5.30pm 11 Oct 9.00am - 5.30pm 9.00am - 5.30pm 12 Oct 13 Oct 11 .00am - 3.00pm 14 Oct 11 .00am - 3.00pm 9.00am - 5.30pm 15 Oct 9.00am - 12noon 16 Oct

Evening Preview 12 Oct

6.00pm - 8.00pm

Friday

12 Oct

9.00am - 8.00pm

Saturday Sunday Monday Tuesday Wednesday

13 Oct 14 Oct 15 Oct 16 Oct 17 Oct

11.00am - 3.00pm 11.00am - 3.00pm 9.00am - 5.30pm 9.00am - 5.30pm 9.00am - 12noon

BUYER'S PREMIUM A buyer's premium of 12.5% will be charged on all items in this catalogue. GST of 12.5% ts payable on the buyer's premium only. CONDITION OF ITEMS The condition of items are not generally detailed in this catalogue. Buyers must satisfy themselves to the condition of lots they bid on and should refer to clause 6 in the Conditions of Sale for Buyers printed at the back of the catalogue. Webb's is pleased to provide intending buyers with condition reports on any lots.

SALE 290 Lecture Series Nathaniel Cheshire & Alisdair Hood discussing Modern Design Saturday 13 October 1 pm Linda Tyler & Peter Shand discussing Contemporary Art Sunday 14th October 1 pm

CONTENTS

Contemporary

r Contemporary is an elusive term. Associated as it is with things that occur or exist at the same time, it has become a handy catch phrase to encompass many different movements and phases of art occurring simultaneously. The term Contemporary is particularly attractive, because it is about what is happening now, more specifically what is happening now that we find pertinent. Of course the instant we try to pin down a time, or attempt to define an issue of importance across generations it becomes elusive. This in a sense gives huge scope for dialogue and opinion about what is and what is not contemporary, it seems to be something that we all become more or less simultaneously aware of as if by osmosis. Like anything new, Contemporary art requires us to approach it with an open mind, and as such we invite you to peruse the catalogue and attend the viewings in order to take a trip through the changing face of contemporary art practice. This catalogue includes many different art genres including artists from all stages of their careers, working in a variety of media. From the established to the up and coming, the October Sale offerings are as varied and dynamic as those who collect Contemporary art. Emma Fox

Lot 28 Miracle of the Fishes, 2003 pigmented inkjet print, 3/3 1490mm x 11 00mm (detail)

Webb"s

Contemporary art is not Modern or Postmodern, even if it came out of the latter. It clumps together, without camps or groups of art, all artists as outsiders included into the definition simply by when something is made. For the purposes of this auction, Contemporary encompasses what has happened since, approximately, the mid-nineties to what is being made now. It is what we still haven't grasped entirely or what we are currently talking about or finding interesting. It makes up what and how we are thinking about in the present - our current climate of thought before the history books have been written. It is what is in front of us as we form opinions and make definitive connections in order to go beyond. Therefore, Contemporary art could be anything. It may surprise, confound, anger and delight those who haven't seen it before. It is likely to make you stare for more than three minutes and reverberate in your brain because you don't know what it is. You 're not going to a museum to see what you already know and love. Later we will see in that special piece what it did to our world and how it still manages to do it, how it still confronts in the same way as the first time we saw it, how important it was that thing was done and how brilliant it is that it happened. Contemporary is primal attraction. It encompasses the vital essence of art - the new, the free, the fresh and the frightening. Buying it is a leap of faith. It is an assertion of what you actually respond to, what pulls you into that auction room to go wild with your magic number. Like a marriage, you will grow to love unbelievably more or hate or become indifferent to that work in all sorts of inexplicable ways, but that new love is always so important whatever becomes of it later. Contemporary, unlike any other classification we herald at this time, is ephemeral, it is flexible, it shifts and you better catch it while you can. It isn 't really about the word, for you can be sure that one day, Contemporary too will settle down like the others and another new generation will want to find their own word for their new era. But for now, it is art as fashion - Andy Warhol 's ultimate dream - blink and it's going going gone. And on the 17th of October you will be too late. Imogen Kerr

PATRICIA PICCININI RECENT WORK 17 NOVEMBER -15 DECEMBER 2007

Sourcing and th~ catalogue team in the art proud of. Toge the gamut of c established cc the next gener text on nearly: catalogue and

Wefeltthatrt , gallenes (the appearing int aguide listing details. Equal country are art relating to thei

Our objectivei work offered o artists not pre catalogue has on~ asan au artists, dealers

ROge1rlw 11 ams

To enquire or register your interest: Melanie Roger/ Guy Williams 61 Randolph Street, Newton, Auckland 1001, New Zealand P+64 9 377 2695 F+64 9 377 2687

enquiries@rogerwilliamscontemporary.com www.rogerwilliamscontemporary.com

•i

cont empor ar y

The Modem D has the marke contemporary fumrtureand ft

Left to Right: Jessica Pearless (JP) Emma Fox (EF) Imogen Kerr (IK) Jonathan Organ (JO) Alex Le Feuvre (ALF) Sophie Coupland (SC) Josh Williams (JW)

Sourcing and researching the works and pieces that make up this catalogue has been a rich and rewarding process. The team in the art and decorative art departments have a lot to be proud of. Together they have produced this catalogue covering the gamut of contemporary practice, including not only established contemporary artists but also strongly supporting the next generation. Our five art department staff have written text on nearly all the works , giving you a taste of what's in the catalogue and introducing artists new to the auction market. We felt that it was critical to acknowledge artist's dealer galleries (these are noted only after the first instance of a work appearing in the catalogue) and you 'll find , on page 140 - 141 , a guide listing the dealer galleries and providing their contact details. Equally important for contemporary practice in this country are artist run spaces and information can be found relating to these initiatives on pages 136 - 137. Our objectives at the outset were to broaden the range of work offered on the secondary market and to support young artists not previously seen at auction. The content of this catalogue has achieved both aims and, I trust, will serve not only as an auction publication but as a tool and guide to art, artists, dealers and artist run spaces. The Modern Design section of the sale is superb. Never before has the market seen such a cross section of modern, retro and contemporary design. In addition to an extensive collection of furniture and furnishings the sale includes modernist design

through other media such as the 1970 T1 20 Bonneville 650 motorbike. This is a modern design classic in its own right and arguably the most renowned motorcycle of its time. The T1 20 celebrates the modernist aesthetic within the context of high performance machinery. We have leading art historians, curators and architects coming in to have a chat about the sales on Saturday 13th and Sunday 14th October. See page 7 for full details and come and hear what they have to say. We hope you can attend one of the evening previews for the sales : Contemporary Art on 3 October 6 - 8pm and Modern Design on 1 2 October 6 - 8pm. The Contemporary art section is on view for two consecutive weekends. Do note that the modern design section of the sale doesn't go on view till 12 October whilst viewing for the Contemporary section runs all the way through from October 4. Sophie Coupland, Managing Director

E C

I-

IIN FOCUS

MORNINGTON ISLAND NEW ABORIGINAL PAINTING

23 OCT

24 NOV 07 Tl MMELVI LLEGALLERY 2 KITCHENER ST, AUCKLAND PO BOX 6054, WELLESLEY ST AUCKLAND 1141, NZ TEL +64 9 302 4110 MOB +64 21 300 893 TIM@TIMMELVILLE.COM WWW.TIMMELVILLE.COM

Oct 13 -14 20th Century Design Saturday 13th October 1pm Alisdair Hood Interior Architect Jasmax: Architects, Interior Designers, Landscape Architects

Nathaniel Cheshire Delineator Cheshire Architects

Webb's is pleased to announce two informal lectures to be held during viewing for the Contemporary art and Modern Design sales. Come and hear what the experts have to say about Contemporary Art and 20th Century Design. Webb's Fine Art Department staff will be available throughout the viewing offering assistance.

Contemporary Art Sunday 14th October 1pm Linda Tyler Associate Professor Director, Centre for New Zealand Art Research and Discovery National Institute of Creative Arts and Industries The University of Auckland

Peter Shand PHD Head of School Manukau School of Visual Arts

c0 '--

.ill C 0

u ~y ND ST

10 93 M M

Cl)

o<S

C 0)

·-'-Q) V)

·v5 Q)

Q) '-

:::,

::)

u .c:

....I

IN FOCUS

•

v1tra. Ronan & Erwan Bouroullec

Collection Alcove Sofo, 2006

• www.v1tra.com Showroom 18 ~ormonby Rd, M' Eden/ ph: 09 623 9233 / email· vitro@c•teltd.co.nz

Entries are now invited for a sale of important New Zealand and foreign works of art. Already consigned are works by Bill Hammond, Ralph Hotere, Tony Fomison, Colin McCahon, Gretchen Albrecht, Brent Wong, Rita Angus, Don Binney, Milan Mrkusich, Pat Hanly, Peter Siddell, Geoff Thornley and a museum quality portrait by Charles Frederick Goldie. Nationwide, no obligation appraisals are available. Contact Emma Fox efox@webbs.co.nz

+649 529 5601 or Jonathan Organ jorgan@webbs.co.nz

+6421 503 251 Ralph Hotere Untitled (Song Cycle Banner) oil on unstretched canvas '75, 1440mm x 890mm

\;:t?:-=:;.

<c:~)it;

0 ~ I0

"C C

-CC

z.... 5D

(]) ...__

C ~

0 C

(/)

(1.) 0. ·c ...__

E C

IN FOCUS

DEDECE

vitra. ClassiCon

Kartell

porada l~O!;OOl)la'll\:n~

Alias

DeDeCe Design 9 Rose Road Ponsonby, Auckland Ph: 09 376 3732 www.dedecedesign.co .nz

Contacts: Interior design: James Peters Showroom open 7 days Free parking at rear of building

Kozyndan is a husband and wife team, Dan and Kozue Kitchens. This Los Angeles-based duo create work that traverses both the fine art and commercial realms. Hailing respectively from Yamanashi , Japan and Orange County, California, Kozy and Dan 's personal and artistic collaboration began in art school in the late 1990's. Now widely acclaimed for their digitally painted pencil drawings of contemporary urban cityscapes and cleverly re-interpreted Japanese ukiyo-e prints, Kozyndan's work reflects their "unease and love of the modern world :' In their finely rendered urban panoramas, Kozyndan visualise an alternately utopic and dystopic universe, where East meets West, and absurd characters and situations playfully encompass everyday life. Kozyndan will attend the opening and have been brought to New Zealand on the wings of Redbull.

This comprehensive line up consists of over two hundred and seventy items including Uber designers Gerrit Rietveld, Jean Prouve, Le Corbusier, George Nelson, Ron Arad , and Marcel Breuer to name just a few. Pieces like these are more collectable and coveted than ever before. The phenomenon of Architect and Furniture Designer is bought to the fore in this quality offering. Modernist giants such as Ludwig Mies Van der Rohe, an icon of the twentieth century, and creator of the Barcelona Pavilion in 1929, is well represented in the most important twentieth century design auction ever held in New Zealand. A vintage Barcelona Chair, and a set of four Brno chairs in tan leather are going under the hammer on the evening of October the 1 7th. The MR90 Barcelona Chair is Van der Rohe's most enduring classic, with its bent chrome flat steel frame, black leather straps and buttoned leather upholstered cushions. It became available to the general public in 1931 , courtesy of a catalogue from Bamberg Metallwerkstatten, Berlin. The chair in this sale has been dated to 1948. It was around this time that it was introduced onto the US Market, available at Mies 860 880 Lake Shore Drive apartments in Chicago. Legendary New York metal fabricator Treitel-Gratz provided Knoll with only five perfectly chrome-plated steel frames a week. The frames have become the subject of endless scrutiny and examination, almost certainly inspired by the scissor legs of medieval folding stools used by the Romans and Egyptians, post 510 BC. Jean Prouve's lineup includes three 'standard ' chairs with alternately coloured steel legs and a choice of red lacquer or light beech wood seating. One De Stijl gem to keep a close eye on is Gerrit Rietveld 's 'Schroeder Table' by Cassina, in lacquered wood with red base, black and white stand and top, Cassina label affixed to base. This table

Webb!i

was designed for the Schroeder House in Utrecht, 1924. Charles & Ray Eames are also well represented with numerous pieces on offer, the star piece being the 'La Chaise Lounge' in pearlescent white made under license by Vitra. This seminal piece was originally designed in 1948 for a Museum of Modern Art competition. Because of the high costs involved in manufacturing these pieces, it was not until 1991 that Vitra began to produce small quantities of the design in serial production. It's organic shape was inspired by Floating Figure, a sculpture by Gaston Lachaise, hence the pastiche title of La Chaise. This chaise has never been on offer on the secondary market in New Zealand before. Other highlights from the Eames duo are the Dining Side Rod chairs, known as the (DSR) group. These Eames chairs were the first mass produced chair made of fiberglass-reinforced plastic on a wire rod Eiffel Tower base with fitted rubber glides, and were manufactured by Herman Miller and Vitra until 1989. Key Designers also represented in our catalogue include Finn Juhl, Hans Wegner, J.T Ouistgaard and Arne Jacobsen. It is also very exciting to be offering a recent pair of authentic Hans Wegner No.55 Armchairs by P.P Mobler with ash frame and rosewood details inlaid on backrest. This chair was originally designed in 1965, but did not go into production until 1968. The manufacturer's label is affixed to base, which reads : PP Mobler, Design Danmark, Hans J Wegner. Webb's monumental twentieth century design sale offers an enormous depth and range of teak Danish modern lounge furniture as well as Scandinavian glass, retro lighting, credenza's, Keith Murray Wedgewood, Garth Chester classics and of course the Triumph Bonneville T1 20, 650CC, 1970 legendary motorcycle. Jonathan Organ

Contemporary Art

Sale 290 Tuesday 16 October 2007 6.30pm

Lot 94 David Thomas Waiata Whakiri-Tahi 2004 (detail) 16mm archival New Zealand film, gel, lightbox, viewing loupe 1300mm x 600mm x 85mm $2,800 - $3,800 (detail)

Viewing Evening Preview Wednesday 30ct

6.00pm - 8.00pm

Thursday Friday Saturday Sunday Monday Tuesday Wednesday Thursday Friday Saturday Sunday Monday Tuesday

9.00am - 5.30pm 9.00am - 5.30pm 11 .00am - 3.00pm 11 .00am - 3.00pm 9.00am - 5.30pm 9.00am - 1.00pm 10.00am - 5.30pm 9.00am - 5.30pm 9.00am - 5.30pm 11 .00am - 3.00pm 11 .00am - 3.00pm 9.00am - 5.30pm 9.00am - 12noon

4 Oct 5 Oct 6 Oct 7 Oct 8Oct 9Oct 10 Oct 11 Oct 12 Oct 13 Oct 14 Oct 15 Oct 16 Oct

Ronnie Van Hout Dead Artists Pegasus Print 3/20 signed circa 1992 and dated 1993 and inscribed Angus, McCahon (sic), Lusk 475mm x 705mm Illustrated : Ronnie Van Hout, I've Abandoned Me Catalogue, Dunedin Public Art Gallery p.26 $1 ,800 - $2,500

Ronnie van Hout is the self- proclaimed Elvis of the Artworld. This makes him a performer. It also makes him an impersonator - or an impostor. No stranger to the disillusionment of humanity's impulse to fame, the artist concerns himself with his navel as he regurgitates iconography from the art-world and other realms of celebrity into a bumbling jumble of name dropping and self-abasement. Hollywood is calling in Dead Artists with the gigantean letters that amble over the familiar New Zealand hillsides. This time, however, the letters spell out ghostly heavyweights of New Zealand landscape painting - risen from the dead like tombstones. It is a creepy, pu rply, blurred image which merges in and out of focus with the names figh ting in the smal l space to mark their turf on the ridge. Gloomy, depressed, confused, hilarious, this scene is a parody of the macabre-New Zealand-artist topograph. As Anthony Byrt mentions in his article about van Hout's show, I've Abandoned Me: " ... van Hout rightly proclaims that identity is fluid, fictional and above all, funny. And the reason identity is funny is because people are funny, except, somewhat paradoxically, a lot of identity artists ... " 1 Ronnie Van Hout is represented by Ivan Anthony, Auckland and Hamish McKay, Wellington.

Jhepilo 5omethnt

Wa'ch ng one of ~mec~u ~IJea!US

,an<1outof ,:,:'IO(Jgh:was

,.,crtreca ,-cofariwo _. 'ormemto -;~oed i.. -e P•n-ilJ's pla P01SCOIIDOSriJ

,sprearead

n!)Xl~ebcals oi,~parts.Th suoematural, ca aboorrr

.w1,-wnat -~ng mbs. ·-a: .. eencoui

:ra~:;J Auckl~

I Anthony Byrt, Who's There? Ronnie van Hout and the Anti-Hero Aesthetic, Art New Zealand No. I 08, Spring 2003.

Fiona Pardington Cay gelatin silver print title inscribed, signed and dated 1996 verso 140mm x 150mm $800 - $1 ,200

Cay is part of Fiona Pardington's 2002 exhibition One Night of Love, originally exhibited at the Waikato Museum of Art and H istory. A group of images found in a skip and reshot by Pardington, they are a continuation of her interest in subjects considered 'not good enough'. Originally shot as soft porn, these slightly grubby, amateurish models are given renewed representation in a gallery context. Fiona Pardi ngton is represented by Two Rooms, Auckland; McNamara, Wanganui and Nadene Milne, Arrowtown. EF

Tony De Lautour Heat Seeking oil and mixed media on can vas

title inscribed, signed and dated 1992 Original Claybrook Gallery label affixed verso 135mm x 200mm $1 ,000 - $ 2, 0 00

Painting is like intellectual Rock'n'roll. What do you mean? I'm not entirely sure. 1 Tony de Lautour's artistic contribution is a myriad of lurid tragicomedies; kiwis on junk, skulls, rubbish, sex, drugs and decomposition. The artist takes as his subject matter the low-art and kitsch icons of teenage pencil -case art in his predominantly small-scale works that are delicate, cute, naughty, grungy and utterly attractive. These scenarios reveal the underlying tradition of the artist as martyr to excess, not unlike the rock'n'rol l heroes of the 1970s, with a legacy of cutoff ears, drug induced subliminal exploration, drunken truck tragedies and anti-hero status throughout. Tony De Lautour is represented by Ivan Anthony, Auckland; Hamish McKay, Wellington and B rooke Gifford, Christchurch. IK 1 Tony de Lautour in conversation with Gwyneth Porter, Hangover ed. Robert

Leonard, Priscilla Pitts and Lara Strongman, 1995

Webbs

~·e·Roonson stot · ",<~a1ng.Mo1er '•ocmegrav~this :sc,s5€11Marker,s •~ Rob nson famit "'~nghistradema; "I · orporatesab ':!.·'lseena1som1<i :,;e a•o vaned Ine 1h '.'. :s-·eeou1drefert, ,;; ~~emarkerbu ··,,- :•asama.rk

-: ..,... ,

<.:'.eronernto~ • si: Oeroihuma lle:e·Robnson Auckland

:armeoEvso'··, )rmer. It ~so m~~ ostor.Nostrange,·: •1mpuise 10 'a>c ., 1a~e1 as l:e rec.~•;•:

ll1d other rea:. :. ' ., o_, name dro~-~ .-: 1l11ng mDeadk,·, overthefarn1fil'N; ever,theletterss; i Zeaana '•'!11>".t:

ie tombs1ooe, • • ch merges n nthesma so;ce· 1my, depressed.cc... if the macabre-~e, ~ony Syn men·:·: 10w, I've Aba,cc-e.: 1sthat1den,:i s .Andi/iereasc: 1leare funny,exce;; idennfyarls:s ..

a;,::

by Ivan An

engton

Seraphine Pick The pillow stabbed with needles tells me this has something to do with a dream.. no - a nightmare. Watching one of Picks paintings is like watching objects in the clouds - you have to look carefully and keep looking because those fragments, figments, ghosts slip in and out of the familiar - constantly unsettling what you thought was there. Hers is the kind of painting that you can't recall properly when it's not in front of you, the kind of artwork you'd describe to someone all excited, only for them to tell you later that it's not at all how you described it. .. you wonder if you're going mad ... or if the painting's playing tricks on you ... Fading in and out, Pick's compositions, like dreamscapes and nightmares inspire a reading that is more a bodily reaction to the hypothetical situations she creates than a literal sum of its parts. They represent often the half beings, the supernatural, the meta-human and what the normal call abnormal. It is what some people describe as uncanny - what is familiar but somehow bizarre - deja vu, missing limbs, the of-this-world-but-not-of-this-world that we encounter in fictions derived from the real by literature, art and the mind in imagination and belief.

Untitled (Wolfman) acrylic and graphite on board signed and dated '93 original Claybrook Gallery label affixed verso 200mm x 200mm

$800 - $1 ,200

Seraphine Pick is represented by Michael Lett, Auckland and Hamish McKay, Wellington. IK

Jacqueline Fraser Nerve Agent Sarin

2002e.xhb:io, 1ted at the Wai,,-; Kipofimages dngmn,tneyfilea ljec!S C(){1S1derec assofipil!l\ modelsaregr,e• rycontext

oil pastel on upholstery fabric title inscribed, signed and dated 22. 11 .2002 300mm x 300mm

$2 ,000 - $3,000

iy Two Room,A '.:· eMlne,Arrow1()11":·

Peter Robinson ·oil.

nisamynad ,~skulls,rubb1sh , artisttakesashs .ch icons of teerage srn~•scaell«'S Jngy and urte~/ ~e undenf"9 .., :xcess,notun ,e • :ha legacy of cu: , ploratio~ drunke' sthroughout

ivan ,We ngtoi

Peter Robinson is totally obsessed with what he likes to call mark making. More recently with painting's resurrection from the grave, this concept has become more widely discussed. Marker is a delightfully rough little brother of the Robinson family. It is an exploration of materials employing his trademark oilstick with enamel, shellac and ink. It incorporates abstract tribal forms of the triangular tooth (seen also in Killeen's comb series), the repeated lozenge and varied line that resembles a sideways vision of Pe'a. It's title could refer to the aforementioned, suggesting a tool as the marker but it could also refer to the artist as marker, both as a mark maker and - historically speaking as the marker of territory, the map-maker; tracer of events and the inscriber of humanity's significance in the universe.

Marker mixed media on paper title inscribed and dated 1992 210mm x 290mm

$ 2,500 - $4,500

Peter Robinson is represented by Sue Crockford, Auckland; Peter Mcleavey, Wellington and Brooke Gifford, Christchurch. IK

CONTEMPORARY ART

Haru

Sameshima Forest hand painted, gold toned gelatin silver print from a 5/4 negative signed and dated '98 verso 590mm x 490mm

$2 ,500 - $3,500

When Haru Sameshima emig rated to New Zealand in his early teens, New Zealand was a 9 to 5, Monday to Friday society. In the perfect position to monitor the arrival of post-modern and its influences, he has been accumulating images which tend to emphasise the artificial and the constructed, when compared to the natural in the New Zealand landscape. Haru Sameshima is represented by McNamara Gallery in Wanganui. EF

Jacqueline Fraser Jacqueline Fraser's works, be they wire constructions, photo montages or fabric drawings, are an undeniable combination of elegance and unease. These Parisian fabric drawings with their stylized fetishised feet and their confrontational and warring titles, set up a disturbing parallel between the feminine and the masculine. There is a tension between the beauty of the fabrics, the form of the shoes and the harsh subject matter. On the one hand they suggest feminine allure but the threat of violence is very real and the stiletto is the weapon!

Rebel Attack From the Parisian Fabric Drawings Series oil stick on blue water stained taffeta original Roslyn Oxley9 Gallery Sydney label affixed verso title inscribed; signed and dated 14/7/2002; 320mm x 320mm Exhibited: Roslyn Oxley9 Gallery, 2002

$1,500 - $2,500

Jacqueline Fraser is represented by Michael Lett, Auckland and Roslyn Oxley 9, Sydney. EF

Tony De Lautour Chain Skull oil and mixed media on canvas 200mm x 135mm

$1 ,000 - $2,000

De Lautour's gutsy touch oozes a deliciously rough and very tactile sensibility for paint which seems to have lived a life of its own. It is not a clean, tube packaged material, but some revolting paste scraped from a pulsating back street corner, shreds of hairy canvas ripped of Into the Voids recording room couch. There is something incredibly covetable about them and their delicacy - like bittersweet little cupcakes for the eye. I K

Greg Semu This work is the study for a major twelve section, photographic print on canvas with hand colour which was sold at Webb's in May this year. The work was commissioned in 1999 for the 5th Biennale d'Arts Contemporian de Lyon, Lyon, France by Jean Hubert Martin, guest curator. Crucifixion is a considerably smaller but powerful and beautiful image, a self portrait of the artist as a distinctly Polynesian Christ.

Crucifixion gelatin silver print 465mm x 335mm

$2,500 - $ 3,500

Greg Semu is currently undertaking a three month residency at the Musee du quai Branly in Paris, France. EF

Jacqueline Fraser Controlling Supply of Arms From the Parisian Fabric Drawings series oil stick on pink water stained taffeta title inscribed, signed and dated 14/7/2002; original Roslyn Oxley Gallery Sydney label affixed verso 320mm x 320mm Exhibited : Roslyn Oxley9 Gallery, 2002

$1 ,500 - $ 2,500

Fiona Pardington Fiona Pardingtons image of an Anthirium is strange and unsettling. Ironically known for their brilliant colours and their long life after being cut, neither of these factors have much bearing in this situation. Stripped of colour and stilled by the photographer's lens, this image has much to thank Robert Mapplethorpe for. Like the American photographer, Pardington arranges the plant as carefully as a human subject, a sensual depiction of flowers that is intimate, erotic, and technically accomplished. EF

Anthirium gelatin silver print title inscribed, signed and dated 1993 300mm x 225mm

$ 2,500 - $3,000

CONTEMPORARY ART

Ill Vevetena lithograph, printers proof title inscribed signed and dated '94 530mm x 750mm

$1,200 - $1,800

John Pule Incorporating both lithography and woodcut techniques, these prints of John Pule's continue his familiar themes of the effects of colonisation on traditional myth and storytelling. His rapid style of drawing often incorporating text and poetry, is ideal for the medium of print making. John Pule is represented by Gow Langsford, Auckland and Jonathan Smart, Christchurch. EF

$n0fke/Boy1s

Joanna Br ,g9:1;Threeove were com s•~e'cornP1 re'erencing sie ,ed a! ·e•.10ikhas o''antasocal J nNe~

Al Be

Marissa Bradley Marissa Bradley is an Auckland based artist. Bradley is a painter, and has recently been working on small scale recycled Kauri and Rimu panels (reminiscent of ancient writing tablets). Subjects she explores are knowledge, values and growth. She has created a pictorial language for knowledge, virtue, beauty and truth. In Wisdom, surrealist, pictorial imagery continues as the shiny, enamel surface is enriched with associations of a mystical realm, a dreamlike landscape where mundane objects ascend to gain symbolic status. The lucid quality of the monochromatic painted surface combined with the primeval landscape and gothic text, creates nostalgia and sense of gracefulness.

Wisdom oil on board title inscribed and signed with the artist's initials MB 235mm x 283mm

$ 1,000 - $1,500

Marissa Bradley is represented by Milford Galleries. LH

II God Send Grace graphite on paper 280mm x 360mm

$300 - $ 500

Susan Jowsey Susan Jowsey was the recipient of the now defunct Visa Gold Art Award in 1996 with a work utilising stained blankets found in the old Carrington Mental Hospital, which she embroidered. This work and the other drawing by Jowsey in this catalogue, lot 132, reference the work which won the Visa Gold Art Award with their cross motifs and compositional layout. Susan Jowsey lives in Wanganui, and exhibits regularly mainly with installation based work, often in collaboration with artist Marcus Williams. EF

10 Lee'spre~ ·ea:ionshohehas

<:s; NOrkJng ir

,ac,nen;yNe ·ea10nshpbe!w ·,· eaixlmobrlfyver :;eiiand(~roughfil

torexpell€ncesof1 by'adapiingai

c~nJes'.leehasdc , =!!Oileoperabng 1n

' -' 18'Mketanu,

,::(_a'(l1yupholst1 ,,ec~aos~as

'e:e~1r~sp ,. __:; a'.eda1dsa1r ~, ea:,resaie 'a

S''~•~

, •• • 5descent1s

-,~: 9Ues!on b ,orssuesof desi, JaeHo:inLee rs re

\Nebbs

Joanna Braithwaite

iographyarrj 1ft.·

its of JohnPJ~-5•••

Snorkel Boy is part of a large series of works

emesoftne,'.--, , onal mt~ and',:·:. ~mg often · Ipoetry, s11'..a lmaJ<ig.

ite<f by Gow and Jona~an :F

Joanna Braithwaite exhibited in the early 1ggos. Three over life sized paintings of bathers were complimented with an installation of smaller compositions, of which this was one, referencing the Hanmer Springs near were she lived at that time. Now living in Sydney, her work has included large scale paintings of fantastical figuration with a surreal twist.

Snorkel Boy oil on canvas title inscribed, signed and dated '96 verso 200mm x 305mm

$1 ,5 00 - $ 2, 000

Joanna Braithwaite is represented in New Zealand by Milford Galleries, Auckland and Queenstown and Bowen Galleries, Wellington. EF

Kate Woods Lightning lambda digital print 250mm x 420mm

$ 5 00- $700

Kate Woods is a Wel lington based artist working in photography, painting and mixed media and is a graduate of Elam School of Fine Arts, Auckland University. Kate has exhibited nationally including projects at High St Project, Christchurch; Rm 103, Maheke Exhibition Galleries and George Fraser Gallery, Auckland and Enjoy, Bartley Nees and Michael Hirschfeld Gallery, Wellington. Kate is currently working towards a show at Blue Oyster, Dunedin. Woods has an "interest in the photographic documentation of 1970s land art sculptures by the likes of Robert Smithson, particularly the concept of a non-site. A non-site is a space that can never be physical ly accessed, as it may not exist except in photographs, plans or, more abstractly, perhaps a reflection in a mirror". Kate Woods creates painted constructions within found images with the end product being a photographic image. JP 1 The New Zealand Listener, Review by Andrew Paul Wood (Vol 204, No 3453, July 15-21 2006)

Jae Hoon Lee

erec1piemol··e'· Award ,n 19961. a olankets found n;, Hospital, whdi 5he k and the other C', ogue, lot I32 re:e-:

e~saGoldk- 0 and compos tu, Wanganu,a~ ywithinslallatiJII

ollaboralon 'ams.EF

In Lee's previous video art, he has explored the binary relationship he has experienced and traversed as a Korean artist working in foreign environments (notably Australia and currently New Zealand). Themes associated with the relationship between foreigner versus local, tourist versus native and mobility versus immobility are explored. Lee's aim is to expand (through film and photographic documentation) his own experiences of dislocation and the realities experienced by "adapting and corresponding between two different countries". Lee has documented the experiences of 'typecast' people operating in the local and or foreign environment. In Girl on a Blanket, a nude woman lies across the picture plane, atop a richly upholstered feminine fabric. Spatial dimensions have collapsed as her body descends or is absorbed into the textured space beneath her. The surface is heavily pixilated and saturated in the blotchy colour of skin. Her facial features are fading into the surface beneath her, what stops this descent is the solid mass of hair and overt staring eyes which question the viewer's own gaze. The work relates to issues of desire and freedom, hostility and surrender.

Girl on a Blanket digital photograph on vinyl 420mm x 560mm

$1 ,000 - $1,500

Jae Hoon Lee is represented by Starkwhite, Auckland. LH

CONTEMPORARY ART

Stephen Bambury

And

Mele

"In a Certain Space" copper, silver and 23k gold on two aluminium panels title inscribed, signed and dated 200 1 verso 170mm x 340mm

$5,500 - $6,500

Stephen Bambury has been committed to abstraction for his entire career, one that now stretches over thirty years. Within apparently restricted confines Bambury has negotiated an extensive and diverse space for his practice. A central element is the dissolution of the multiple dualities that appear in his work. They might be geometric, compositional, material and indeed conceptual. The architecture of the object and its interaction with physical space as opposed to a framed painterly or illusionistic space is a fundamental quality that has set Bambury aside. The work's capacity to radiate both at a material and an architectonic level

gives these small paintings a presence that belies their scale. Bambury's work has emerged as one of the most diligent and relentless expressions of the possibility of painting freed from the noose of formalist dogma. The work's capacity to carry metaphorical and narrative meaning, the diversity and individuality of his material culture, allied to his capacity to have the painting interact in the viewers physical and psychological space makes him a special figure within our visual culture. Stephen Bambury is represented by Jensen, Auckland and Jonathan Smart, Christchurch. EF

•

Peter Robinson

Untitled

unique screenprint on unstretched canvas signed and dated 1999 1050 x 1300mm

$ 6,500 - $8,500 ........

,-.1

.... w.,, .. ,...

~ ~

4 ..,_

.,-...

a .... . . . ..a.

·i , .. u

~jj

IJfO\o,y I ~

\Nebbs

STOP MAKING CENTS$$$$$! Characteristic of the artist's oeuvre at the time, this collection of objects on a clean white ground repeats a selection of motifs and phrases from his own Robinsonian shorthand. Bad puns, bad advertisements, kitschified kiwiana and lame attempts to hypnotise the public, mock our climate of high capitalism and its spawning of cheap and bad rip-off attempts to gain a piece of the pie. Everpresent is an ignorant New Zealand patriot who screams slogans like "Britain not so great" and "Raw meat for breakfast in Germany and France and you call me primitive!" Somebody's trying to compete with the internationals here ... Above all, this work is beautifully humourous - and if you saw his installation for the Walters Prize last year, you would probably agree with me. IK

Juli

Dash1

II Step~~

ti] Bamoo~ Space' 23kgold

Andrew Mcleod .. ~ . ..___ _ __ Drawing for Grafton

mpane~

gouache on archival inkjet print

900dand l ve!SO

title inscribed, signed and dated 2005

340mm

320 x 440mm

6,500

$ 2,000 - $3,000

Study for Grafton incorporates familiar everyday objects, kitchen chairs, sofas, tractor tyre sandpits, pumpkins and ladybirds. A pea green coffin contains vegetables, and lit tapers hover across the surface of the composition. Realistically yet naively rendered, the objects are backed by a complex kowhaiwhai pattern, appropriated directly from Theo Schoon, who had in turn appropriated it from the Maori. Andrew McLeod's work draws upon seemingly familiar and accessible visual language that is not overtly disturbing with their

bright colour and quirky compositions; yet the combination creates a warped environment. Study for Grafton is a preliminary work for the large painting Grafton which was featured in this years Prospect exhibition at City Gallery, Wellington and is illustrated in the Venice Biennale New Zealand publication Speculation. Andrew McLeod is represented by Ivan Anthony, Auckland; Peter McLeavey, Wellington and Brooke Gifford, Christchurch. EF

• Peter

~ Robinson

on ~

99 1m

Julian. Dashper .. _..,..__ _ _ __ Untitled lithograph signed and dated 1989

$$$S$!Cr~ac:e-r.· :hebmat/lSCO :C 11tegroundreiez:.s j phrasesfromhs

580 x 830mm

$ 1,200 - $1, 800

rand.Badpun, bac ed kiwianaand '1'.'. . ,e publ1c. moc; zy;.: sspawnngo r>_ l •re~~ pin ap,ece o ,:: Newzeaaod;,o ll1t 'Bnwnnotso,o·er <e a-,

CONTEMPORARY ART

Gavin Hurley Love Sydney II oil on jute canvas signed with the artist's initials GJ H and dated '07 verso 460mm x 355mm $3,500 - $4,500

Pictured here, Sydney Parkinson was hired by Joseph Banks to be the artist for Captain Cook's first great voyage of discovery on the Endeavour. Sydney was a botanist and a documenter, a studious type (as the hair suggests). He was a young and talented but fragi le character and having trawled his brush around the Pacific, he did not survive the return journey to his native England. Thus, Sydney was a martyr to art and discovery. It is a gentle portrait. Sydney's little rosebud lips and rouged cheeks whisper of his youth whilst his piercing stare makes him appear less of the grand young virile prototype of the historical portrait genre than a boy stunned, a Dorian Gray frozen in time. Hipkins presents cleanly moulded, airbrushed paintings of subjects derived from images throughout history. They are simplified into cut-out forms that reference his use of collage as a drawing tool with his attention to surface and texture referencing the cubist masters of the early 20th century. He highlights flat areas in emphasising the weave of his hessian ground and introducing a woodgrain pattern to the background. His are simply drool-worthy surfaces. It's like different layers of wallpaper or fabric samples in a collage of texture, layered flat to stand in for skin, hair and eye so'ckets, but all so immaculate, even and smooth. It is indeed hard not to love Sydney. Gavin H urley is represented by Anna Bibby, Auckland and Mary Newton, Wellington. IK

webb'S

The

John Reynolds

r--SydneyParlmsor hBankslooerr,. ook'sfrstgrea: .."tne Endea,'Oi; s 1andadoa,•n· as me har s,!l,~gand talen:ec ;,: er and hawnp ~ Ind the Pacif no• iretum1 m; .:· and. Thus, S,;:;, oan and o,sc:,e· ortralSyoney's ·, nd rouged cheeis youth wh,lsi h,s ir· 'mappear.esso--·, leprOl01freO'"' aitgenre ''n .. ianGray'•oze· ..., its clean~ '!IOI.:,: nnngs of suo,er5 nagesthrougnOL: resimp 1fied n'o that reference nst, drawing too i .. 1surtaceand;ex; ., icubistmasterso··, ry. Heh~n gr:;·•· isismgthewea,ec· llJnd and ,ntroc.c ·; a :emtotneoao:g-: drool·wor~r sn:e: 1t layers of ~a :;;.:e· es ·naco'agec· I;lattos:and~ ·o· o/esockets, but a. , evenand smoo , not to love Sydnei

The Pathology of Sorrowful Songs VI (Einstein sings NIRVANA) oil paint marker on metallic acrylic and acrylic enamel paint on stretched cotton duck canvas title inscribed

1980mm x 1360mm

$14,000 · $ 18,000

The Pathology of Sorrowful Songs VI (Einstein sings NIRVANA) is a deceptively simple but effective composition. Oil paint marker is drawn freehand on the immaculate shimmering metallic surface creating dizzying spatial effects. The title draws reference to Nirvana and Einstein, one a doomed grunge band who exploded onto the music scene in the nineties before imploding into suicide and mayhem, the other a world renowned physicist responsible for the theory of relativity and the law of photoelectrical effect. Of course for one to sing to the other would appeal to Reynolds' playful buffoonery. John Reynolds is represented by Sue Crockford, Auckland and Peter Mcleavey, Wellington. EF

represen:ed Auckland and fie' ngto~IK

CONTEMPORARY ART

Julian Dashper Untitled 1996 vinyl on drumskin, edition of three 525mm diameter

$12,000 - $16,000 In the late 1950s, colour-field exponent Kenneth Noland discovered his ultimate vehicle for the dissemination of hi s visual ideas. The circle-withina-circle motif has been widely appropriated since. Jasper Johns took hold of it in the 1960s in a work entitled Target which applied the previously high-art model into a low-art context. Now it's Dashper's turn. He loves to play with the icons of New Zealand art, to offer works both in jest and tribute to the masters hailed before him. With this Untitled candycoloured drumskin, and seen in other work of his utilising the long-play record, he aligns the loaded symbol with the tools of music - loud and proud are the banging of drums in particular. In applying vinyl directly onto a drumskin, Dashper physically introduces the readymade into his composition, defying the appropriation of its visual appearance alone in favour of literally using the real thing. This makes him more pop than pop - this makes him bang! IK

Webb's

wil/\

Ra beng and

se lende Ro ~

rel

Peter

Robinson And They Call Me Primitive oil on linen canvas ti tle inscribed ; signed and inscribed Rejected verso 510mm x 610mm

$10,000 - $15,000 And they call me Primitive with its carved mouth plays with conventions of hierarchy. Rather than the term primitive being seen as closer to nature and therefore divine, the tone is indignant that we may see a backhanded insult or tendency to inflict a racial slur. Robinson always questions the who and the what and relishes our discomfort. EF

CONTEMPORARY ART

Richard Killeen The Politics of Geometry acrylic and collage on 25 aluminium pieces title inscribed, signed and dated 1991 ; inscribed Catalogue No. 12 77 on original artist's label affixed on each piece verso 111 0mm x 1520mm (variable) Illustrated : Francis Pound, Stories We Tell Ourselves: The Paintings of Richard Killeen, Auckland Art Gallery, 1999, p. 109 Exhibited: Sue Crockford, The Politics of Geometry, June 199 1

$18,000 - $26 ,000

Th e Politics of Geometry comes from an exhibition of the same name from 1991. In a document written for the occasion, Rick Killeen wrote, "the subject matter of these paintings is a story without a narrative, that revolves around the separation of the organic from the geometric". What folds so neatly into the idea of a story without a narrative is that Killeen sets us up to interact directly with his work in order to decipher that story. As with all the cut-outs, they are designed to be pinned up in a completely random fashion in a rough shape on the wall. Sometimes he instructs the installer to allow each piece to touch, or overlap, but there is nothing ordered about his intent. It is up to the individual how it eventually looks. They are of course bound by a finite number of pieces, but the configurations of placement are infinite. By dealing with the pieces directly the viewer/installer is able to move the pieces of the puzzle to get to their own narrative. And of course every time the work is moved, we get to create a new one. Richard Killeen is represented Ivan Anthony, Auckland; Peter Mcleavey, Wellington and Brooke Gifford, Christchurch. EF

Webbs

CONTEMPORARY ART

Anlh

Andrew McLeod Miracle of the Fishes, 2003 pigmented inkjet print, 3/3 1490mm x 11 00mm

$5,500 - $6 ,500 And rew McLeod : Agent 000, Visual Epistemologist. Licence to speculate. Miracle of the Fishes takes its title from one of the belief systems referenced in this collection of potentially symbol ic, kaleidoscopic, phantasmagoria that floats without gravity in nothingness - or space - depending on what you believe. And what you believe is significant here. How did the universe come about? Which of these objects hold significance for you? Do you believe that the universe can be charted back logically to its origins in molecular terms? Or does th is continuing maze of science wind itself further and further away from a definitive conclusion, a joke played by God on those who attempt to climb Babel? Does it all look to you like unnecessary speculation that results in a heap of inconclusive nothingness? Fish flying through space is a hell of a laugh and, together, this ensemble could equally resemble a wall of plastic crap in the $2 shop. McLeod presents these thi ngs as an artist revealing - or perhaps parodying his role as a purveyor of mystic truths, to make Nauman proud. IK

Webb~

e into sub Aware

Rohan~ Wealleans .. ~.._..__ _ _ __ Anthropologist, paint-geologist and gyno-primologist extraordinaire, Rohan Wealleans' paintings delve into a carnal and mysterious world of the feminine sublime. The artist erupted onto the scene in 2003, with his winning entry in the Trust Waikato Art Award, a controversial portrayal of a bright yellow ... womanly area ... and since then, he has never stopped to be prudent. Painting on One Surface with No Tricks, No.4 reveals itself as distinct from his more sculptural works, as the artist opts for a single layer of paint on canvas - playing it straight as the title would suggest. The connection between the items presented is unclear, but it reads like some kind of ancient, primordial instruction, presenting bizarre scenario of orgasmic sirens, red eyed cats and multiplying foliage in true Wealleans style. Rohan Wealleans is represented in many significant public and private collections throughout the country.

Painting on One Surface with No Tricks, No.4 oil on canvas title inscribed, signed and dated 2003 verso 1040mm x 745mm

$7,000 - $9,000

Rohan Wealleans is represented by Ivan Anthony, Auckland; Hamish McKay, Wellington; and Roslyn Oxley9 Gallery, Sydney and has exhibited at the Frieze Art Fair, London. IK

Heather Straka Warrior oil on linen on board title inscribed, sig ned and dated 2004 verso 520mm x 305mm

$3,500 - $5,500

At Elam School of Fine Arts, Auckland University, Heather Straka specialised in scu lpture, moving into painting during 1997-99, when she assisted artist Julia Morison. Straka's blend of European, Asian and Pacific people and cultures is cheeky and brazen, raising valuable questions about appropriation. Maori chiefs and anonymous Maori sitters, issues of conflicting cultures and origins are a reoccuring theme in her recent works. Straka paints with a masterly and exquisitely crafted skill, the early examples dating back to the 1990s. Porcelain series works, with their crackle varnish finishes. She sees a sim ilar mix of cross-cultural influences she references on her works layering our society today. Heather Straka is represented by Anna Bibby, Auckland; Janne Land, Wellington; Jonathan Smart, Christchurch, Nadene Milne, Arrowtown and Milford Galleries, Queenstown and Dunedin. JO

CONTEMPORARY ART

Peter Robinson Necessary Protection oil stick on linen canvas title inscribed; signed and dated 5.00pm 1 Dec '96 verso

Em~ite AnthooY

450mm x 600mm $ 10,000 · $15,000

Peter Robi nson uses language and symbol as a battering ram. Intensely local and socio political in-jokes for the in-crowd, they often deal with racism and prejudice, sometimes completely over the top, but always amusing. The three examples in this catalogue from this series require us to derive meaning from the incongruous pairings of phrase and image. Colin McCahon's Necessary Protection referenced in this work, succeeded in combining two strands of practice, the landscape and the visualisation of the spiritual. The series was concerned primarily with environmental issues both global and local, practical protection of the local gannet colony at Muriwai and a focus by everyday

Webb's

New Zealanders on the wider global environment. The threat of nuclear engagement was very real, for McCahon they had "to do with days and nights in the wilderness and our constant need for help and protection" ' The need for protection is very real. For us in the dawning of the twenty first century, threats on our population come from pleasure as well as pain. The stylised and deceptively simple condom, with its promise of protection packs a pertinent punch. EF

1. Bany Lett Galleries, Auckland 1971. Catalogue introduction by Colin McCahon.

Yvonne Todd Simone Hartley 2001 LED print 1/3 630mm x 480mm Exhibited: Asthma & Eczma, Ivan Anthony Gal lery, November 200 1; The Walters Prize Inaugural Exhibition, 2002 (winner), Auckland Art Gallery

$3,500 - $4,500

ronment 1eryreal.for

nghts I 1hepard eryreal. forLs y. threa:s

re as P~' T,e wJth,;iprone

Yvonne Todd has made a name for herself with would-be 80s beauty queens, asthmatics, eczmatics and the drugs they take. They are people trying to appear pretty and normal and who, unfortunately, don't quite make it. There's something in the water. They appear more like zombies, all bizarre teeth, strange hairlines, pal id skin, and, as can be seen in this fine example, long lustrous nails that are either broken and about to fall off, (probably a ridgy side effect of some horrific medicine) or they're prosthetic and really, really badly stuck on. There is absolutely no way to talk about the work without the words 'creepy', 'wei rd', 'strange' or 'eerie'. You could defend these people and talk about how we incriminate the other or those unlike ourselves, but this is no proud fashion statement of difference. This is disease hiding itself in the human body with medicine manipulating its functions and bad cover-ups in the form of wigs and nailpolish. The photographs are beautifully taken in soft focu s, poised and groomed these women are trying to fit the mould driven by crazed once-was-beautyqueen mothers, or hick-fathers trying to pawn them off, or maybe try and be normal ... to try to be human .. Whatever the case, Simone Hartley is one broad I sti ll wouldn't like to meet in a dark alley. Simone Hartley is from the body of work entitled As thma and Eczma which won the artist the prestigious Walters Prize in 2002. Yvonne Todd is represented by Ivan Anthony, Auckland and Peter Mcleavey, Wellington. IK

CONTEMPORARY ART

Chris Charteris Pounamu Wha iora

pounamu from Big Bay, South Westland, South Island, New Zealand and 23 carat gold leaf 315mm x 255mm x 140mm

$ 20,000 - $ 30,000

Ann Re Schoo

Originally trained as a carver, Chris Charteris creates sculpted forms and body adornment. This freestanding pounamu piece, with its richly leafed gold cross, plays with the inherent differences pertaining to value in culture. Pounamu long considered by Maori to denote status and authority, is teamed with gold leaf, the metallic luster is offset by both the polished and the raw surface of the stone.

Un~~ ea1 mrough omer, roEc s:Joes nspre< techn

Chris Charteris is represented by FHE, Auckland and Janne Land, Wellington. EF

,essesar

Ann I

glass.f 1ndeep crys

emeral1 mena~

mml scu las~

aid~ eauc

awaro NZ Ore Ann Rob b>

\Nebb's

Ann Robinson Emerald Green Vessel cast glass

230mm x 365mm $10,000 - $15,000 Ann Robinson attended Elam School of Fine Art, Auckland University, in the late 1960s leaving the school mid way through her degree to explore other avenues. Ann returned to Elam and completed her studies after a 15 year break, inspired to learn and develop techniques in casting glass. Ann captures light through glass. Her pure, simple forms in deep rich red hues to pure, crystalline amethysts and emerald greens encapsulate the natural environment. The vessels are constantly evolving, transcending concepts of sculpture and craft. She has travelled internationally and nationally to teach and educate others about her craft. In 2001 Ann was awarded the Officer of the NZ Order of Merit (ONZM). Ann Robinson is represented by FH E, Auckland. JP

CONTEMPORARY ART

Peter

Robinson There Ain't Noth· ing Like a Dame oil stick on linen canvas signed and dated; inscribed 5:00pm 1 Dec '96 verso

gesso,

650mm x 500mm

$10,000 · $15,000

Th ere ain't nothing like a dame, is the name of a song in the musical South Pacific, where the characters lament they have everything except dames. Robinson's coy offering of the Gothic cathedral as substitute requires firstly our recognition of the object and some level of education and extraneous knowledge in order to 'get the joke'. In translation Notre Dame, literally means our lady.

faifufuls1

succum

O-OnO

~eSo onaques E ess romanucis "IOSlai1's

'e•a1<a 10.tn

Re1nol<ls

o~ofsucl' h1spair

ira.eler

aoofonhj ottem Polarop1 onebla ;neo~er

~sc,bed.1 oool<,ef ;,e reaoe ONnmo

Webbs

John Reynolds Knight of the Mirrors (Quixote) Knight of the Mournful Countenance (Quixote)

•

gesso, acrylic and graphite on two wooden doors title inscribed , signed and dated 1992; title inscribed signed and dated 1992 verso 2300mm x 81 0mm

•

$25,000 - $35,000 Don Quixote, written in the 1600s by Cervantes, is the first modern novel. Trailing the Sorrowful Knight and his faithfu l sidekick, Sancho Panza, on a quest to destroy injustice. Endless valor and chivalry are romanticised in the face of the most artistic cruelty. Quixote is remarkably resilient and able to withstand suffering, before succumbing to that most final of injustices - death. Reynolds is sure to get a kick out of such rich subject matter; his pair of doors mimics the travelers, who converse back and forth throughout the novel, offering quarrel or insight. Polar opposites in treatment, one black and regal purple, the other white and delicately inscribed, the titles refer to the book itself, a mirror held up for the reader, only to reflect our own mournful countenance.

CONTEMPORARY ART

Marco Fusinato Red Block True

collage 420mm x 300mm

$1,500 - $2,500

Marco Fusinato was born in Melbourne in 1965. His practice is based on conceptual ideas which dictate his process of making. His work is generally constructed under certain constraints, such as a period of time, or the length of a song. Fusinato has collaborated with Thurston Moore of Sonic Youth on a project that saw Fusinato create works to songs composed by Thurston, specifically for the project. Fusinato is interested in the creation of works from pure ideas and elements visually translated through his use of pure colour and form, such as in Red Block True.

Rcli

Ora

Marco Fusinato is represented in New Zealand by Starkwhite, Auckland and Hamish McKay, Wellington. JP

Rc'~alewer1s Mai'KHut

o•"

Giovanni~ Intra ...... ~ .__ _ __ Robert Leonard remarks of Giovanni Intra for the Nine Lives exhibition at the Auckland Art Gallery: "His big idea was that subculture - exemplified by surrealism, situationism and punk - introduced a healthy dose of disorder into the system." You could say that th is work exemplifies that statement. It's definitely an attempt to sock it to the system - or at least to the medical profession which attempts to aid or, to some, control the health of the populus. It mocks the shrinks jargon as cheap text and plays with the notion of the little child - which is supposed to symbolise one's inner joy and freedom ... but I don't think I want lntra's little child lurking around my innards ... Primal Scream demands disorder - "Break the Law", "Just for the Fucking Sake of It" - and primal they are, these demands, screaming they are too. It reminds me of Figh t Club - one's punk-given right to batter oneself - one's right to be abnormal and bad - society's need for abnormality, some would say diversity ... some might also say that diversity is normal.. Somehow I don't think Giovanni would. The Estate of Giovanni Intra is represented by Hamish McKay, Wellington. IK

Primal Scream

acrylic on eleven book pages

PRIMAL sc~tAN TIIEI\APY

•

Jnun

EDGE \

CAlM

~J:' ~ ... r,,'o,

THERE IS

~~~

~JP

LITTLE

CH IL D IVISIDE. YOU

200mm x 1 20mm each

$2,000 - $3,000

:ruST

FOR TIil FUCl<l~G

S'-KE

OF IT

LAW

Andy

Tolhurst Pastiche 1

vinyl on aluminium title inscribed, signed and dated 2007 verso 1 800mm x 630mm

1111 111111

@]@]@]@]

$1,800 - $2,500

We are constantly being reminded to drink Coke, eat chocolate and sleep Colgate through the marketing and advertising that permeates our everyday life, be it on television, billboards, litter or in mail drops, so much so that the wrapper of our favorite snack may be as familiar to us as the view that we see everyday. Andy Tolhurst's current work draws on this modern phenomenon of our advertisingsaturated existence through his compelling artworks. He reduces familiar brands or scenes to pixilated impressions of vivid colour and simplified lines. Although they may appear deceptively digital and ambiguous, these carefully handcrafted images are an assemblage of colour and shape combinations that may already exist within the viewer's mind. Tolhurst likes to think that each viewer finds something intriguing about his work whether they recognise that he is tugging at their subconscious through the abstraction of everyday things or not. Andy Tolhurst is represented by Fisher Fine Art, Auckland and Backspace, Christchurch.

Webb's

&€e•s O.n;s wjh K s~nage an<I ai :·sooli1siJcatonand :· '.s~'agea;n19hl ti -~ 0

•

'O~drigsor

,.,.'<'.. Ne. Zeaan<1

~:cecomesdrectl ~•• SSOne(I for . :·.;e l'·~ ana am .. ::::·sootafbr ar

.,.;ceg~reieas ..''illes oi canoy 1 ,.aa: Dasedw1 Ji

:es ~~-

·stm

lt1on roug-

Richard Lewer Lewer's guileless execution has a charm that brings out a strangely appealing beauty of the macabre situations and events toi led over in the work. Yet we find his images and drive are not one of a morbid nature, but one that we all share, in the experience upon witnessing an accident or the reading of a murder in a paper, more specifically the "Truth". What Lewer shares with the tabloids is a demographic, the suburban and the sub cultural groups therein, though in a reversal of the later providing for the former. Richard Lewer was the winner of the National Drawing Exhibition 2004, joint winner of the Norsewear Art Awards 2006 and the Waikato National Painting and Printmaking Award 2006.

No More Monsters mixed media on steel title inscribed 500mm x 500mm Exhibited: O edipus Rex G allery

$5,000 - $ 8 ,000

Richard Lewer is represented by Oedipus Rex, Auckland; Mark Hutchins, Well ington and Legge, Sydney. ALF

l'I

Butterfly Shoe

pigment inkjet on stretched canvas 3/3 title inscribed, signed and dated 2003 880mm x 89 5mm

$6 ,000 - $9 ,000

Richard Killeen Killeens work Butterfly Shoe is a very complex computer generated composition of shoes and Fijian Masi geometrical abstractions in the form of a butterfly. The silhouette of the butterfly references his trademark cut outs, where he rejected the normal conventions of painting and the image only appears in si lhouette. J O

Jim Speers ilate hat itte1011n 1c1<may Tolhu~fs iert1s1ng· ~uces :olourand

ta:and emolage h1ntne somethng ; tugging at gsornol

Jim Speers paints with light, utilising materials more commonly used in signage and advertising and elevates them to a level of sophisticat ion and mystery. He is attracted to the beauty of lit signage at night, their welcoming warmth as advertising hoardings or illuminated restaurant sig ns. Chosen to represent New Zealand at the Sydney Biennale in 1998, Red Lattice comes directly out of that body of works. Originally commissioned for a popular Wellington eatery it has an intense warmth and atmospheric glow. Seen from a distance ii is a hot spot of brilliant red, while up close the composition of the lattice grid reveals itself. Best known for his light boxes in shades of candy to pastel, he also creates site specific installation based work, including video and digital media.

Lattice Lightbox acrylic, vinyl and fluorescent light 200mm x 993mm x 993mm

$3,000 - $ 6,000

Jim Speers is represented in Auckland by Jensen, Auckland. EF

CONTEMPORARY ART

Richard Killeen Naming of Parts acrylic and collage on polystyrene title inscribed, signed and dated April 26, 1990 1800mm x 1900mm x 130mm

$25,000 - $45,000

Webbs

The Naming of Parts is an epic, shaped fibreglass and wooden construction from an artist more renowned for his cut-outs; the painted and printed aluminium shapes that are pinned in a variable shape on the wall. In a sense mimicking their layout, with this work the symbols are trapped within a definable space. Instead of being left to float free, they are contained within the gently moulded form. Originally executed as a site specific commission in a challenging public space, the Naming of Parts, has been scaled accordingly. Typical of Killeen's work, images are laid transparently over other images. Killeen has achieved a sense of depth, both revealing and erasing hidden information. Symbols of the mechanical are juxtaposed against the manual. Hands and spanners, columns and stems, bearings and joints, and an intriguing machine duck offset against entomological illustration, referring to the Naming of Parts, the title. EF

CONTEMPORARY ART

Simon Morris I

April Pause 2003 acrylic on canvas title inscribed and sig ned verso 2250mm x 1250mm

.a.

$12,000 - $18,000

I I

•

I I I

-I

•

I I

Webbs

•

I I I •

_,_,

I I

Simon Morris' April Pause 2003 pulses with a refined rhythm. His limited palette and sharp abstract forms create heartbeats across the canvas. The title of this series, Pause, hints at his objective. The composition of the painting is defined by a predetermined calculation, worked through in preparatory sketches and plans of where and where not to apply paint. This opus is carefully mapped out across the canvas surface and paint applied free hand. Morris creates a maze of black and white motifs that push and pull 2D space, crafting a work of positive and negative tension. The eye weaves across the canvas, moving in and out of these visual structures, discovering each turn within each form. In other works from the Pause series Morris has moved beyond defined surfaces of stretched canvas or sketch pad into architectural contexts, where his forms enliven and animate 3D interior and exterior space. Simon Morris is a Wellington based artist, working with painting and installation. Simon Morris is represented by Roger Wi lliams Contemporary, Auckland and 64zero3, Christchurch. JP

trtle i

Peter Robinson )3 ac;

stne

Pause pos:,or

I Love Europe, Europe Loves Me oil stick on paper title inscribed, signed with the artist's initials PRR and dated 1996 870mm x 11 80mm

$18,000 - $25,000

"&"d.

BE\-\OLD THE

1REA~UR£~ Of

C"&t\-lE M~hj -

@....... ...

E X 0

..-

20 eanc

,es l!IOOu;

rover~g otner

Moms lrfaces pad

ere

ANO EURQfE lOVES ME.

lrDS:

a-o' iyRoger d Mixing up histories and cultures is a favou rite pastime of Peter Robinson. A history lesson on brown paper, he directs us to behold the treasures of Charlemagne. The first European ru ler since the fall of The Roman Empire centuries before, he was regarded as the father of Europe and helped define Western Europe through a combination of sawy management and warfare. Robinson pays homage

to Cowie, inscribes a black and a white tiki mask, invokes The Staromestsky Dixieland Praha band who regu larly perform before the Tyn Church in Prague, while proclaiming exotica, a musical genre reflecting the musical impression of every place. The drawing is a wild journey through time and place, sights and sounds, at once intensely personal and inclusive; Peter Robinson has given us a lot to get on with. EF

CONTEMPORARY ART

Simon Kaan Double Waka Oil on Workers Beds Series

---~

oil on board , two panels signed and dated '04 · '05 ; title inscribed verso 1780mm x 1895mm

$ C

Exh ibited: Oil on Workers Beds, Webb's, October 14th · 21 st 2005

•'

$25,000 - $35,000

Simon Kaan is an Otago based painter who typifies the New Zealand ideology of nature, peace, fami ly and wide open spaces. H is paintings suggest rolling planes, billowing waves or strata of the land, their linear quality creating movement both downward and crosswise in translucent layers of meditative glazes. Kaan's Maori (Ngai Tahu) and Chinese heritage is evident also in and between these layers. He refers to the waka - a symbol of migration, genealogy and, in Maori mythology, as the carrier of the soul from the world of the living to the afterlife. The Chinese concept of 'ma' - a sense of inner peace - also reverberates through the cool, washed

Webb"s

back areas of paint. As Susan Ballard describes: "There is a personal reference within Kaan's practice to the Chi nese concept of "ma" the pause or space between that is not frozen or silent but productive. In these works, "ma" is manifested through forms emerging from apparently empty spaces and finding links to biological memories:' 1.Simon Kaan continues to work in paint and print based media from his studio in Port Chalmers and exhibits widely throughout New Zealand. IK

1 Exhibitions, Susan Ballard Art New Zealand No 97 Summer 2001

Richard Lewer 20 Dollar Love acrylic and pastel on steel title inscribed and signed

2350mm x 11 40mm

$12 ,000 - $15,000

In Lewer's painting 20 Dollar Love the charm is literally scraped away giving us an altogether more confronting scene of sexual debauchery. Painted onto sheet metal with a vigorous if not violent eradication of the standard points of focus, Lewer leaves us reading the small samples of text that point to this being an embroilment with a lady of the night. Lewer induces a moment of pondering, is this another story from a tabloid, an event from his own past or an as yet unrealised fantasy. ALF

•• descnbes 'The•e 1rac',ce:o,ie

•space bet~eee. In these . 5 emerg og "I)" 'nkstobiolog

1 ~

work1np~ol ,n Port Cna rrec, ea]and.lK

CONTEMPORARY ART

Andrew McLeod A Cautious Paralysis inkjet print 1/2 1 600mm x 11 00mm

$ 5,500 - $7,500 A Cautious Paralysis is a white framework of rooms and buildings imposed onto a black background. It is inhabited by a series of figures, sitting and lying in the various rooms. Endlessly repeated, they sit on sofas, lie on beds and floors or stand at easels. A city planner's nightmare, the houses neither begin nor end. Architectural jargon and symbols peppers the work, describing features such as covered entrances, shower boxes, car parks, and trees suggesting green space. A coloured universe hovers in the top left corner and lines of text snake across the surface, too small to be easily deciphered, but an artist's monologue on the whys and hows of his own practice. They critique the very object they are a part of. A small fire burns in the centre, sending a cloud of smoke above a small smudge of colour, and a label box at the top, attempts to address an explanation of the seemingly ludicrous title. EF

Webb's

$ 1,1~

seen~ foelhl Tnese ''a"SC

o·a•'l!I 0000S.all

snguo,

Dsoayed j wpe hasd

yetve ,noet "As

_a,;, ·o·~ eas:res

wa::n Mairiag

ceeoe• o

Peter Robinson Marriage Vows oil stick on paper title inscribed, signed and dated 2002 13 60mm x 1000mm

$18,000 - $25,000 In 1942, Isaac Asimov the science fiction writer wrote The Three laws of Robotics. These three rules have been transcribed into Robinson's drawing of a buxom babe, all boobs, and come hither gaze, setting up a strange dichotomy. Displayed in text more slashed than penned Peter Robinson has depicted a very angry yet very amusing painting indeed. Our vixen drawls "Asimov sucks and so do I" and we are left wondering for whom Robinson has the least respect. The suggestion that they could be linked to Marriage Vows, points to a deeper personal conflict. EF

(1) A R0SOT ~USTDBfr Tll~ ORl>ERS (:,IVIN TOIT 8Y HUMAN 8EINli$J

MARR\AGt

ows

E'ICCEPT W!tERE SUCk

ORDH,5 WOUU COME INTO CONFLICT w,rn 1"E FIR)1 LAW .1

(1) AROBOT MAi ~01 INJURE A HUMAN BEING) OR,1HROU6\\ lNAC.1\0N,AllOW A J(OMf\N BEING TO

•..

COM£ 10 HARM!

(3) AR0~01 MUST PROlECT ITS OWN E~IS1EN C.E AS LO~& AS 5UtK ?R01fCTION 00£<; ..-----.. NOT C0~fll(T

wrn~ 1HE nic;,

OR SECOND

LAW!

,·

CONTEMPORARY ART

Fiona Pardington Te Huia Kai Manawa • The Huia That Consumes My Heart, 2002 C-type, large format, d igital, print, ed ition of 3 1320mm x 1 620mm

$ 15,000 - $20,000

Fiona Pardington has a long held interest in photographic still life, and particularly in the communicative power of the subjects she employs. Recent work has seen her explore collections hidden away in museums; items deemed unworthy of display, because they are damaged or have been repaired. To the artist this adds to their power rather than detracts from it. They are survivors with outward signs of use. Each taonga, whether it be hei tiki, mere or bird feather, are displayed on luscious backgrounds, confronting us with their undeniable presence and importance. In this large scale photograph, the presentation of a single elegant feather, glossy blue black and gleaming white, represents a poignant loss of something beautiful. " ... she invokes the elusive spirit of the huia. More sacred to Maori than any oth er bird, the huia was associated with dignity and wisdom, its feathers worn only by chiefs of distinction. Known for its flute-l ike song, metallic blueblack plumage and distinctive white-banded tail feather, the huia belonged to an ancient family of birds found only in New Zealand. Already fragile owing to hunting by Maori to create adornments and marereko, the huia population was decimated at the turn of the century by European settler demand for the dramatic feathers as a fashion accessory. Here, Pardington uses the sacred feathers to symbolise a range of bereavements - the erosion of Maori and Ngai Tah u culture, the loss of trail lands and sacred treasures." ' Long extinct, our only examples of bi rd and feather are brought back out into the light, personalized as individual portraits, both precious and rare. She is best known as a specialist in 'pure' or analogue photographic darkroom technique, most notably hand printing and toning. EF

I Felicity Milburn, Te Puawaio Nga, Tahu, Christchurch Art Gallery Te Puna O Waiwhetu

Webb's

CONTEMPORARY ART

Bill Hammond Tales of Gotham City Ian Wedde oil on canvas title inscribed and signed 1 000mm x 700mm

$80,000 - $120,000

Tales of Gotham City refers to the title of a book of poetry published by Ian Wedde in 1984. Familiar to us through a diet of Batman and Robin, it seems a great leap to suggest we have anything in common with that crime ridden sprawling metropolis, peopled by cartoon criminals and men in tights. Irony has always been a strong point in New Zealand literature, and Ian Wedde is one of the best at wielding it. His book is said ' ... to propose new uses for the elements of irony and affectionate parody:" No wonder then that Bill Hammond feels an affinity with the author and has dedicated a painting to him. They share many interests; Wedde has made a study of Pacific Whaling which has continued to inform his writing, while Hammond famously took a trip to the Auckland Islands to study the bird life, which spawned an entire movement of painting. As a collaboration of minds they both create works hinged on irony and dark visions. The painting itself goes hand in hand with the conventions and moods of film noir including, melancholy, bleakness, disillusionment, disenchantment, pessimism, ambiguity, moral corruption, evil, guilt, desperation and paranoia. The story lines featured hard boiled anti heroes, down and outs, cops and detectives whose lives are forever altered by encounters with amoral, promiscuous but always beautiful women. Hammond's men are certain ly hard bitten, they loom out of the shadows, they flex thei r muscles, and they rattle their cages. The women sit alone and coiffed at tables, or lead men through merry chases through darkened streets, and we are unsure of who is more at risk. Traditionally the characters in such a film, struggle valiantly only to fail. In this composition the city abuts a turbulent black body of water which plummets over the side of the picture plane. A series of vertiginous vignettes occur throughout while we are subjected to what Justin Paton has described as an " ... architectural panic attack". 2 Bill Hammond is represented by Ivan Anthony, Auckland; Peter Mcleavey, Wellington and Brooke Gifford, Christchurch. EF 1 The Oxford Companion to Twentieth Century Poetry, Ian Hamilton Oxford University Press 1994. p.572 2 Bill Hammond 23 819 Pictures Dunedin Public Art Gallery 1999 p. 8

webb's

CONTEMPORARY ART

Damien Hirst Valium lambda print 217/500 signed 1 205mm x 1205mm

$18,000 - $25 ,000 You cannot possibly not know about this man if you have anything even remotely to do with art. He has been trumpeted as the most powerful man in the Art World - that is, in the entire art world. Whether or not this is true, he's pretty well talked about and incredibly rich and incredibly sought after as an artist. He is the one who cut the cows in half. He put a shark in formaldehyde. He's hailed as the instigator of the Young British Artists movement in the 1990s and Charles Saatchi absolutely adores him. As the TATE says: "The impulses driving Damien Hirst's work stem from dilemmas inherent in human life: 'I am aware of mental contradictions in everything, like: I am going to die and I want to live for ever. I can't escape the fact and I can't let go of the desire". The materials he uses often shock, but he says he "uses shock almost as a formal element, not so much to thrust his work in the public eye. but rather to make aspects of life and death visible" www.tate.org.uk Damien Hirst is represented by White Cube, London; Gagosian New York and Los Angeles IK

Webbs

...... . ••• • • • • •••

. . .. . . . .. .. . .... • • • • • •• •• ••••••• •• •. .•... . •. ..• ..• ~ . . •• •• •••• •• ••• ••• ••• •••• •••••• • •• ••• •••• •• • • • •••• •• ••• • ••••• •• ~·.•···= .• •·••-~ . . . . . ...... . ..•...... .····· .. . . .. .. ........ . •··••······· ••• .. • • ..• • .••• • •• ........, 4'•

•

• • • • •

• • •

•

••

•

.... ... . .... ................. ........... . ........ ... . . .. . ..... ······• . ·-:·•·....... .... .... .. .... ······· .......... ... . . ..••••• ... •• ..• •..••. ••...••..• . ••• •••• ••••••••• •• ••••• •••• •••• •••• • ••• • ••• • ••• • ••• •••• •• •• •••• • •••• •• •• ••• ••• •• •• •••• • ••• •• •• •• • • • • • • •••• • •• •• • • •• • •••• : • • • •• •••• • ••• • • • • •• • • •• • •:.•:• •• • ••• •• • • : •·: • • •••••••• •• • ••••• •••• ••••• • •• • • • •••• •• •• • • •• •• •••••••• • • • ••••• • ••• •: • • • • •• •• • • • • • • •• ••• • ••• •• •• •• ••••• •••••••• • •••••••• •••••• •• •• ••••• •• •• •• • •• •••• •• • • •••• •• • • •• • ••••• •• • •• • • • • ••• • • • • ••• •••• •••••••• • •••• • ••• •• •••••• ••• •••• •• • ••• •• ~. ·

•• • •

• • • • •• ••

• • • • •

• •

..... ............ : ..... . ·-

~. . . .

•

~ . y-

·. ~• ~· . ••••• • • •• • • ,, ✓

Paul Hartigan Chromo 03 ink on vinyl title inscribed, signed and dated 1999 verso

• •••••

920mm x 900mm

$8,000 - $12,000

••

l I t ti I t I t •• I

....',, •• .. ' .',, I t tI

II tttt I I

tit

et,,,

II 1• •' I

....' ......... .:,' ••••

I t I l 1t•

•• ••• •••• 'I •✓

The kaleidoscopic Chromo 03 comes from a body of work executed in 1999 cal led Hybrid, a term that refers to something of mixed origin, often achieved through experimentation and particularly in relation to the creation of hardier plant life. Genetically modified cell structures are magnified many times for our perusal revealing the sinister beauty of replicating cells and calling to mind the inherent risks in the modifying process that we don't understand. The blended and floating cells harbour potential evil over which the symbol of infinity, by its nature unbroken and perpetual, hovers, and is truncated by the picture plane. Our eye completes the cycle of movement

rather than accepting a halted infinity. What was seen then as a radical utilisation of computer generated imagery and inks sprayed onto vinyl, these earlier works of Paul Hartigan's, paved the way for a generation of younger artists such as Sara H ughes, Jessica Pearless and Hannah and Aaron Beehre. Paul Hartigan is responsible for many site specific installations around the country including Colony in the School of Engineering building at the University of Auckland. Paul Hartigan is represented by Tinakori Gallery, Wel lington. EF

CONTEMPORARY ART

Peter

Robinson This Week's Special oil stick on painted crate title inscribed

995mm x 847 mm x 355mm

$25,000 - $30,000

Webbs

This Weeks Special, hand written on a white painted, found crate, plays with our perceptions of what art is. Th is ambiguity of making and meaning is integral to Robinsons practice. The red, black and white palette is subtly evocative of traditional Maori colour schemes, whi le the use of the somewhat banal item such as a crate, relates to his earlier work, Untitled. A makeshift shelter painted all over with slogans was once an export crate for late model Japanese imports. It is high end capitalism meets slum dwelling. It also ties in neatly with his interest in trade and exchange, not only of goods, but of disease, bloodlines and identities. As an artist from a 'lost tribe' Robinson both critically and light heartedly is searching for himself. With this work, the roadside sign advertises something we can't resist - a special, which in this instance, is itself, and urges us to hurry. That this is somehow for one week only is of course ludicrous. EF

CONTEMPORARY ART

•

Calici Smile bronze

signed and dated 2001 660mm x 950mm x 11 0mm

$14,000 - $18,000

Paul Dibble Calici Smile is at once a grim and humorous indictment on vermin control. The rabbits in this delightfully whimsical work of Paul Dibbles have obviously escaped the horrors of the dreaded calici virus; either that or they have crossed over to rabbit paradise and they are dancing under the deliciously curving smile of the disembodied lips. More modelled than many of Dibble's pieces, the hand made form of the rabbits, have an enlivened surface and vitality, in contrast to the smoothly sweeping lips. Paul Dibble is represented by Gow Langsford Gallery, Auckland; Black Barn Gallery, Hawkes Bay; Dobson Bashford, Christchurch and Martin Browne, Sydney. EF

Patrick Pound Untitled oil on linen signed and dated '96 verso 915mm x 665mm each, 915mm x 1330mm overall

$6,000 - $8,000

You would be forgiven for thinking this was the lovechild of Stephen Bambury and Colin McCahon. In a sense you could be right. Patrick Pound has many forefathers in the family tree of New Zealand art from whose branches he has sprung out onto the Modernist bough. Referencing and revering these, his works employ many of the masters' techniques - Milan Mrkusich's infamous corners, Bambury's cross formation, McCahon's brushed black and whites. Pound is an intellectual painter who excavates his Modernist lineage, referencing this not only in the techniques but in the open books which flank the edges suggesting research and knowledge as central to the business of art. Patrick Pound is represented by Hamish McKay, Wellington and Grant Pirrie, Sydney. IK

webb'S

mano

Dick Frizzell All is Number oil on six canvas panels title inscribed, signed and dated 1 998 1830m m x 1210mm

$25,000 - $35,000

'<~I)

Patrick Pound

Dick Frizzell tackles pastiche, cliche, high art, low art, illustration, animation and parody, he can be flippant, witty, and irreverent, he blurs boundaries and is forever seeking the one shot image. All is Numbe r depicts five green buckets on six individual canvases, with the number six standing in for the last bucket. There is a joke here but I don't quite get ii. There is a tribute band called Bucket Number 6 that performs in Chicago although I think their name references a 1970s TV program called The Bozo Show. This

,..,,.

....

show found fun in throwing ping pong balls into buckets - the sixth one being the jackpot. Quite how th is artwork and The Bozo Show are connected I have yet to work out. .. you can be sure, however, that there is a pun - there will be no cash won for the at home viewer here if you can't gel your ping pong ball in the sixth bucket, and that's Dick lo a tee. Dick Frizzell is represented by Gow Langsford in Auckland, and Black Barn, Hawke's Bay. EF

CONTEMPORARY ART

Michael Hight Mototapu River: Wanaka oil on canvas title inscribed and dated 10.11.01 ; title inscribed, signed and dated 10.11.01 verso

Instantly recognisable as a landscape painting, the beehives are not only the subject of the work, but also stand as metaphor for the painting process. Like the process of bees making honey, the artist transforms paint on canvas, to create the image. While the subject in The Beehives series remains the same, there are infinite variations of season, light and architecture. Hight's earlier work used among other things, weatherboard

710mm x 2285mm

with bees wax, revealing the materials now concealed within. Hights beehives are strangely static; there is no sign of the occupants, either in or around their hives. Inside we can only assume they are beavering away, each individual insect, contributing to the relentless hum. Michael Hight is represented by John Leech Gallery, Auckland, Janne Land, Wellington and Milford Gallery, Dunedin. EF

$20,000 - $30,000

Bill Hammond Meantime - Organ Donor Swappa Crate 3 acrylic on paper title inscribed, signed and dated 1989 505mm x 1600mm

$30,000 - $40,000

'Nebbs

Meantime · Organ Donor Swappa Crate 3 is filled with the distinctive visual language Hammond is renowned for. Conflating the banal activity of swapping crates down at the local off licence, with the serious business of organ donation, sets up a classic 'Hammondesque' situation. The story board narrative, in an anthropomorphic landscape populated by jack stepping and scurrying people, moves from the sublime to the ridiculous, where man becomes building, limbs become crane extensions

and a plank headed, bicep flexing hermaphrodite, calmly endures the removal of his liver. Elongated black figures dangle like so much meat on the chain, waiting for the ministrations of the white masked surgeon and his grotesque oversized hand. Justin Paton, who writes so eloquently on much of Hammond's work, has described his paintings as too strange and too unstable, but that there is no doubting that the world they are sharing is ours. EF

Shane Cotton Tera Tetahi Manu acrylic on canvas title inscribed, signed and dated 1996 verso 405mm x 51 0mm

$20,000 - $30,000

wconcea!e11 ilC:llie•esic

Having helped redefine the nature of contemporary Maori artistic practice through a complex reorganisation of imagery and meaning, Shane Cotton's painting Tera Tetahi Manu, belongs to the distinctive 'history painting' series of the mid nineties. Part landscape, part story board the work delivers a text message most of us cannot decipher. The high horizon line, ambiguous landscape elements and centrally framed profile give us few clues to divine meaning. The land is but a backdrop to the text which runs like chants of lineage across the

top and bottom of the composition. According to an explanatory text from the artist, the work is based on a poem which refers to an old story from the Ohaeawai area of the Bay of Islands known as Taiamai. The poem refers to a white bird with feathers as bright as the light of day. The bird few across the pacific top Aotearoa, where he lives to this day with the Taitokerau people. Shane Cotton is represented by Gow Langsford, Auckland and Hamish McKay, Wellington. EF

naphrod t~ ~-

iated biacld gu es 1, waibn9 ior ~e eon andh1s

g111.Whcwr:essc •• , irl<,hasdelC'~ · 3b\e, but tllat ;re;~ shanng sour, CONTEMPORARY ART

Billy Apple

Forty Years: 1962 - 2002

Sydne

screenprint

5,udied

title imprinted, signed and dated '93 380mm x 570mm

$7,000 - $10,000

:ooe ,:ia'ld.f a'~a s!j ai!llel allll Pnn -reWruka

FORTY YEARS 1962-2002

Ke·

[

Billy Apple first used this particular image in the American Supermarket installation at the Bianchini Gallery, New York, 1964. Andy Warhol, Roy Lichtenstein and Billy Apple each produced shopping bags for the exhibition. Andy used a Campbell's soup can image on his, Roy had a roast turkey and Billy used this apple. Forty Years: 1962-2002 draws together Billy's lineage as both a pop and conceptual artist by producing 'multiple' images of The American Supermarket apple. Each of the serigraph prints is individually dated to mark the idea of forty years since he changed his name and identified himself with the worlds first product (from the Garden of Eden). Barrie Bates became Billy Apple

in 1962 after graduating from the Royal College of Art, London. He had recognised that art was a commodity, and by becoming a work of art, he could then brand himself and his life as art. This also functioned as an act of 'psychic severance' in order to shed his colonial roots so that he was able to move into the future as the new brand. "In London in 1962, I began an extended work which was part of an effort to break down the separation between 'art activity' and 'life activity'. I decided to use my own identity as the vehicle with which to explore the concept of the artist as art object". Billy Apple, 1974. Billy Apple is represented by Sue Crockford, Auckland and Hamish McKay, Wellington. JO

Rona Ngahuia

Osborne Ngakau

mixed media 745mm x 1700mm

$2,000 - $3,000

Flags live in the space between the earth and the gods. When raised to the sky the wind breathes life into them and they become animate. Fabric flags were adopted by Maori very early in our colonial history. Like traditional kites such as manu aute, a flag's movement and energy was considered evidence of its powerful spirit or wairua. It was believed flags were capable of influencing the outcome of a

Webbs

battle. Influential leaders of the time such as Te Kooti used flags, adopting symbols imported by the Christian church and imbuing them with new meanings. This flag depicts a large heart Ngakau surrounded by a rain of tears or 'Nga Roimata'. This flag stands as a symbol of love and loss, or to free one's heart from the pain of loss. Rona Osborne, 2007

Bil~ Apple

Keith

Clancy Keith W. Clancy was born in Sydney, Australia in 1968 and studied Fine Arts and Philosophy at the University of Sydney graduating with honours in both subjects. He taught the history and theory of design at the University of Western Sydney for 4 years from 1991. He moved to New Zealand in 2004 and is currently working on his third solo show to be held at the Lane Gallery, Auckland, February 2008. He was a finalist and merit award winner at the 2007 National Painting and Printmaking Awards run by the Waikato Society for the Arts.

Here acrylic on canvas ti tle inscribed, signed and dated 2007 verso 1430mm x 1430mm

$3,000 - $4,000

Keith Clancy is represented by Lane Gallery, Auckland.

Peata

Larkin Tuhourangi Poutana (The Pink and White Terraces) acrylic and mixed media title inscribed, signed and dated 2007 verso 1465 mm x 1620 mm $5,000 · $7,000

Peata Larkin is an Auckland based artist and graduate of Elam School of Fine Arts, Auckland University, currently completing a Master of Fine Arts at RM IT University, Melbourne. "I believe my work shifts easily from a local context; referencing specific raranga patterns (relevant to my iwi) but transform into universal significance; metaphorically exploring the evolution of cu ltures via visual complexities". Peata Larkin. Peata has been a finalist and award winner in numerous national art prizes, including the winner of the Mazda Emerging Artist award in 2006. Peata Larkin is represented by Two Rooms, Auckland; 64zero3, Christchurch and Milford Galleries, Dunedin.

CONTEMPORARY ART

Martin Selman Button is one of the works in the One too many for Hardin series which explores notions of identity through objects of memory. Everyday domestic items are juxtaposed with more sinister items such as a Pistol and Wahaika. Button depicts a cushion - a common household object With notions of death associated with the weaponry in the series, one cannot help but make inferences with a funeral parlor and the cushion's use in this context. To the viewer, a seemingly banal object has been transported to a more questionable item- does it retain or disclaim these banal or sinister qualities? Selman is an Auckland based artist who has worked and exhibited his marble sculpture since 1993. He works exclusively in the western tradition of representational marble carving. Selman attempts to transport the viewer's perception of the hard, solid marble material into an object of subtle purity, weightless and seductive.

Button carrara marble 450mm x 330mm x 11 0mm

$2,700 - $3,700

Martin Selman is represented by Sanderson Contemporary Art, Parnell, Auckland. LH

Chiara Corbelletto A sculptor and designer, Chiara Corbelletto explores the notions of form and light, repeating and revolving anthromorphic shapes to create an array of infinite compositions. Casting and moulding materials these 'loon town' propellers are a distinctive piece of Corbelletto's oeuvre. Chiara Corbelletto has a strong record of exhibitions, sculptural installations and public commissions. EF

\NebbS

Propellers aluminium 600mm x 570mm x 1 00mm

$5,000 - $7,000

Jacqueline Fraser Tau is an attenuated two dimensional wall piece; the shallow relief casting shadows is a drawing in wire, ably demonstrating Jacqueline Fraser's virtuosity with this unusual medium. The works have strong connections to her earlier series of directly figurative Maori forms from 1992 with their complex weaving and subtle twists. EF

Tau electrical wire 1000mm x 310mm Provenance: originally purchased from Sue Crockford Gallery, December 1993

$8,000 - $12 ,000

Ray Haydon Fluid 3.3 stainless steel on basalt base 1 600mm x 660mm x 500mm

$8,000 - $12,000

Ray Haydon is a self-taught sculptor with a background as a silversmith. Ray's recent series of works are kinetic outdoor sculptures. The works are developed with strong references to form and process, suggesting a harmony with natural structures. Ray Haydon is represented by Sanderson Contemporary Art, Auckland. JP

CONTEMPORARY ART

John Reynolds Transparent Things acrylic, oil stick and graphite on board title inscribed, signed and dated 1996 ; inscribed I verso

1 980mm x 808mm

$10,000 - $15,000

Transparent Things is the title of a novel written by Vladimir Nabokov. Described by various critics as "diaphanous, dream-like, fleeting, the novel explores the interaction between memory and observation in a delicate yet precise style'. 1 It is also an album by English Trio, Fujiya and Miyagi who make German Electronic rock. Like much of his work this counterpoint between high literature and pop culture sets up a bizarre juxtaposition. The painting explores interaction between the geometric precision, line mapping and the amorphous freehand blotches, on a hollow core door. Both delicate and precise, his mark making is reminiscent of the perforated paper roles on a player piano. EF

1,ae Srev .. ,c·odowitti

:::~iaand ·:~,,ooeca

,,:,ee ,me

-,,SS]teor .. ,c,;:aof~e .~"Jlmeup

:.,u:mmedbe '-'-e~rds -, ;•1oJd'

-,.~are ;:,e:J1)1ca,O

1 Simon Karlinsky, Penn State Library University Review

Michael Smither

& Gian McGregor The Okahu Series, is a col laboration between partners Michael Smither and Gian McGregor, a painter and photographer respectively. The work, depicted on three panels, is brightly coloured and abstract. It is informed by the artists' response to the environment, to the land and sea. The highly coloured and geometric forms on each of the three panels correspond to yachts bows, moored in Okahu Bay, and to musical chords. Viewers collaborate with the work as they respond to the colours, tones and patterns that have been created. The work questions how our senses respond to the environment we are exposed to and how we process or order that information. This leads to the viewers' emotional response to the work, it's subject matter and it's highly refined abstraction. LH

Okahu Series acrylic on three canvas panels title inscribed , signed and dated '05 verso 125mm x 1580mm each

$10,000 - $15 ,000

StarG c·eateo beivi ce'iledfigure

wnerefueC( oroan,she torra-,e:,ex

nfher

concep~ ar

Webbs

:1ir,~e~ c, ;

'dapha:o_(· e1n,e•ar,a eK:a:e 1e'",~

Michael Stevenson Michael Stevenson's work often deals with issues to do with art, trade and the interaction between national and global econom ies. Wisemen includes an apple case from the small town called Wenatchee in the Cascade Mountain range in the U.S. State of Washington. Known as the "Apple Capital of the World" for the valley's many orchards, the upturned apple case sits beside a fur trimmed bejewelled crown, overprinted with the words Wisemen. The unfamiliarity of the word, and the ambiguity of the paintings meaning are rendered in signature naive style typical of Stevenson's early painting.

Wisemen oil on board signed and dated 2 7 February 1999; title inscribed, signed and dated 1999 verso 600mm x 900mm

$8,000 - $1 2,000

Michael Stevenson is represented by Hamish McKay, Wellington and Darren Knight, Sydney. EF

William Dunning History Painting acrylic on canvas signed and dated 1999 580mm x 1000mm

$5 ,000 - $7,000

Throughout art history academic artists placed history painting at the top of the painting genre hierarchy. The hallmarks of history painting are utilised here, styled in a grand manner and depicting known persons and events. William Dunning has borrowed a painting from the past, manipulating history and a picture within a picture, creating imagined monuments. Referencing the naivety of early New Zealand landscape artists such as Christopher Aubrey the painting alludes to issues of land claim and sovereignty. Cloaked Maori huddle to one side of the picture frame, while the stoic European stands hand in pocket, a picture of casual ownership, on the other. The inhabitants of the interior image are all European, surveying the land they have claimed and inhabited. One stands atop a tree stump, wood felled to build the masts on the ships, and the dwellings in the harbour below, William Dunning is represented by Peter Mcleavey, Wellington. EF

Star Gossage Orange Lichen Red Rehua oil on canvas title inscribed, signed and dated 2002 August Pakiri verso 765mm x 1520mm

$8,000 - $12,000

Star Gossage is informed by the time she spends in nature and at home in her local environment. She also expresses her interest in the synergy created between current local politics and her beliefs in old Maori philosophies. Subsequently, her works are narrative and allegorical. Ghost-like, barely defined figures embrace amid luminous colour within a timeless, transient landscape. This landscape appears whimsical, an alter reality, an environment where the cool hues provoke feelings of solitude. Who are these figures? Have they chosen this voyage? Have they been sent to the 'Promised Land' or banished from their homeland? Is paradise lost or gained? Does the future hold blessings or damnation? These binaries create questions relating to travel, exploration and migration from an earlier time, entirely removed from our present day world. As the figures intertwine, they become a vessel in themselves and embrace a sense of strength for whichever scenario the future holds. Gossage's' figures act as metaphors for broader Maori concepts such as land.Their position and gestures allude to their state of mind and emotions. These themes relate to her Whakapapa (genealogy) and their experiences in history as well as today's modern world. Subtlety remains and questions of meaning are left open to interpretation. Star Gossage is represented by Tinakori, Wellington, LH

CONTEMPORARY ART

Roger Mortimer Alphons Untitled

grarJ,,te

oil on canvas

1635mm x 1630mm Private Collection, Auckland

$9,000 - $12 ,000

In Mortimer's recent body of work, he has gathered old manuscripts on various topics, and studiously researched them. Mortimer delights in the fusion of imagery and informative text that is associated with these subjects. A juxtaposition of the mundane and the profound. Untitled explores the genre of medieval manuscripts and looks at the text and imagery associated with Christianity, the Old Testament and the Italian Art Renaissance. These subjects uncover a dialogue and present a journey through history. This implicitly references the effect on today's society and art. Mortimer chooses to present a 'categorised' history to his

webb~

audience. He is illustrating an informative 'essence' of the fusion of history, through simplified, text and ancient pictorial imagery. This is informed by recognition of ancient illiterate societies, and references information being simplified and readily available to society's members. The work combines a manuscript format with gothic text, hieroglyphics and a sepia, muted toned picture surface. Attention to detail is obvious in this work, through the design layout and the precise rendering of imagery. Roger Mortimer is represented by Ivan Anthony, Auckland and Brooke Gifford, Christchurch. LH

Richard Lewer Alphonsus O'Doherty 2006 graphite on rag museum board 1050mm x 845mm accompanied by original exhibition catalogue; original Oedipus Rex Gallery label affixed verso Exhibited: Get Well, Oedipus Rex Gallery, November 2006

$5,000 - $ 7,000

at~e·esse'.,e' np11fed,teXi s informed •oc1eies.~ lilied and readi\ ,workcom~nes ~hierlYJ)vhcs ·urace Ar.en# '.ough rhe des~' , ,magery.

Lewer's subject matter gravitates towards what he has stated as an "unhealthy interest in human suffering". His work explores the extremes of behaviour and the issues surrounding social construction. Recent bodies of work have included the Get Well series from the residency at St Vincent's Hospital Melbourne. Comprised of both portraits of the hospitals early carers the Nuns - taken from the hospitals

archives alongside narrative based drawings that include his reoccurring character Mr Cruel realised from CCTV footage and hi s experiences of the institution. Others include the drawings based around the events at Australia's worst serial killing s in which a local group took it upon them selves to take care of the local disabled and misfits by chopping them up and disposing the subsequent parts into barrels. ALF

lvanAnih-Olli istchurch-1.H

CONTEMPORARY ART

Saskia Leek The Chosen One acrylic and vinyl title inscribed, signed and dated '97 verso

111 5mm x 660mm

$4,000 - $6,000

Heralded also the Disco Oueen, and depicted here as The Chosen One, Saskia Leek is a manipulator of artistic dimensions. Her riotous fantasies whereupon she adopts various guises, inserting herself into the frame as all manner of superhero, inspire the following of many an art collector, critic and viewer across the land to view her tales in a manner of biblical versus comic book proportions. Cleverly and confidently painted in all its boasting teenage glory, Th e Chosen One displays to Leek's audience that the canvas can be a portal to other worlds where the artist has the power to create any reality they desire with a lick of paint. Saskia Leek exhibits widely throughout New Zealand and is represented by Ivan Anthony, Auckland . I K

0 0 I I 0 0 II

Luise Fong Lowtech: Small "Double Nova" Series acrylic and chinese ink and gouache on linen wi th silk veil title inscribed, signed and dated 1996 verso 61 0mm x 920mm

$6 ,000 - $9,000

00 "My starti ng points are generally intuitive responses to the world, to my state of mind, and to cultural aspects around me. I'm interested in basic, simple processes and finding poetry in simple things." Luise Fong's Lowtech from the Small Double Nova Series is a painting with a strong, cosmological presence. It alludes to traces of nature and obscure reflections of the body. The multi-layered surface creates a dialogue between the environment and its response to space and time. Fong utilises symbolism and a minimal palette, incorporating Chinese

webb~

cal ligraphy and si lk in the work. These materials reference her Chinese heritage. The work evokes connotations of time suspended in an ethereal world. As binary oppositions are explored, of light/dark, intuition/intellect, translucence/ solidity, an overwhelming experience of peace and knowing draws these oppositions together so t hey are resolved in one's mind. Luise Fong is represented by Starkwhite, Auckland; Tinakori, Wellington and Jonathan Smart, Christchurch. LH

01 10

00 00 II 00 00

Heather Straka Reverence oil on canvasboard title inscribed, signed and dated 2003 1220mm x 600mm

$6,000 - $8,000 ascanoea lS "'elX),~

tk of

ew Zea.~ and.lK

0 111 0 100 100 100 10 00000 I00 I0 I I0 I I0 10000 11 000000 100 100100 1000000 100 0 100 1 10 10 1000 10 000 10 1000 10 111 0 1111 0 10 10 11 0 11 0 10000 1000000 100 00 I0 I I0 I I I I0 I I0 0 111 0 1000000 100 I0 I I0 I0 I0000 I I0 00000 00 100 100 10 00000 0000 10 111 0 I I00 I I0 I00 I0 I I0 000 11 10 10 1000 10 00000 00 100 100 10

•

I Exist I Am Not Another lambda print 720mm x 380mm

$6,000 - $8,000

Peter Robinson Identity has been reduced to Binary Code, a series of O and 1's. The irony here is that binary code was developed in order to negate communicative errors, so if messages were incorrect because of poor transmission or reception, the code itself can detect error. Typically stored in long strings of data, the average viewer is none the wiser as to what the broken code means. Peter Robinson's assertive title is further ironic, as without the knowledge to break the code into its message, we can only assume that he does in fact, exist and that he is not another. EF

CONTEMPORARY ART

•

Gene

polymer clay and glass signed with the artist's initials SK 320mm x 200mm x 280mm

$6 ,000 - $8,000

Sonia Keogh

F SE

It is indeed frightening what genetic engineering can do. Various artists - especially since the eighties - have been toying with this idea, from the infamous Stelarc and his body enhancing electronica to Patricia Piccinini; the Australian wonder woman of late with her fleshy sausage dog cum platypus organisms. Similarly, Gene raises questions as to bio-ethics. The poor wee chicken- man now must find a way to fit into earth, probably with no brothers, sisters, family or even friends. Just as Mary Shelley sees the illegitimate 'creature' created by Dr Frankenstein cast adrift in a world that has no place for him, Gene is an unwanted orphan of science. He was bred simply to see if it could be done, or to heighten productivity for some company to be used as an efficient and cheap form of manufacture.

120

$2,0(

Sonia Keogh is represented by Sanderson Contemporary Art and City Art Rooms, Auckland. IK

Cruz Jimenez Natural items are installed in the found musicological cabinet, while ambiguous and mystical forms move subtlety in the background. Themes of growth and development from an emotionally rich perspective are explored. Thin layers create a surface of stunning visual depth. All elements of the sculpture unite and present a metaphor of the fragile and finite nature of human existence and our time on earth. A mystical landscape is contained within, and time stands still.

Lost Occasion 11, 2007 mixed media 645mm x 780mm x 4 90mm

Rutt,~

$2,500 - $3,500

Walson

lntli

Cruz Jimenez is represented by Sanderson Contemporary Art and City Art Rooms, Auckland and Black Barn Gallery, Havelock North. LH

llw

da'. 940r

$4,o

Stephen Gleeson Flight bronze 1/ 1 title inscribed, signed and dated 200 1 720mm x 700mm

$4,000 - $6,000

Gleeson's work Flig ht comments on colonization . The jumping hare symbolizes European immigration from the West, the hare being the most English of animals. The Whare represents the indigenous people of Aotearoa. Hares have played a long role in the history of New Zealand, first arriving in Lyttleton on board the Samarang in 1852 with English settlers. Gleeson explores the convergence between Maori and European cultures, dramatizing the tussle between the indigenous and the imported in New Zealand culture. Stephen Gleeson is represented by Brooke Gifford, Christchurch. JO

INebbs

Marian . . . Fountain .. ~ ...- - - - - - - - - - - - - - - - - Self Portrait as Edible Object

bronze signed with the artist's initials M 120mm x 147mm

$2 ,000 - $3,000

Self Portrait as Edible Obj ect is a medallion. By nature double sided, each side is intended to be viewed separately.The green verdigris of the modeled figure is offset by the polished hands, wh ile the reverse side is bronze coloured, with a river of carved hair. Its ambiguous shape evokes forms of fruit, perhaps the edible of the title. A New Zealand sculptor based in Paris, Marian Fountain is represented by Judith Anderson, Napier. EF

Ruth~ Watson -~---- - - - - -• In the South Seas

ink, tissue and oil on canvas title inscribed, signed and dated 1990 verso 940mm x 1760mm

$4,000 - $6,000

. htcor•e-:s:·,.,· A,g ie symbo ,zes E::~~-: the hare oe ng · _e:;· ·· Wnare ,wese' 0 • ;. , 31oaHares ha,e'. '::.: f NewZeaac, :.: odthe5a1rri . JOal

G1eesonex

p~•es "1 ,i;

In Th e South Seas, commissioned in 1990 for a large corporate collection references cartography and place in our particular corner of the world. Inherently romantic, South Seas, evoke images of swaying palm trees and balmy evenings. It is exotic, and yet familiar to us at the bottom of the world. Maps mean different things to different cultures. It may be seen as a control of one people over another, by mapping territory and laying claim to land masses while Pacific cultures include indefinable

information on their maps. They acknowledge that no map can ever hope to impart what it is that makes each country unique, its cult ure, its beliefs and its people. We can record geographical fact, coastlines and topography, but Ruth Watson seems to be more interested in imparting a sense of place, rather than its exact location. Ruth Watson is represented by Two Rooms, Auckland. EF

and Europear '~; ,.

CONTEMPORARY ART

•

Grey Lines {Dark)

ink o n paper

570mm x 770mm Provenance : Purchased by the present own er in London, 1996

$1 ,000 - $2,000

Glenys Brookbanks Glenys Brookbanks' subtle panel is a wash of graphite softly ruffling the hard edges of minimal abstraction. Delicate layers are slowly built up and disrupted by a softly smudged medium. Described as tranquil and meditative, her works are generally of a repetitive grid format and a limited colour palette.

Sue Arrowsmith Sue Arrowsmith lives and works in London. A graduate of Goldsmith's College, She works in drawing and photography to produce meticulous, subtle abstractions. The surfaces of her works are finely worked in graphite or ink, creating intricate, rhythmic images. JP Sue Arrowsmith's work is represented in numerous public and private collections internationally.

•

Square Panel I

graphite and chalk pastel on paper mounted on board ti tle inscribed, signed and dated '94 verso 440mm x 440mm

$1 ,200 - $1 ,800

Gleny Brookbanks work is represented in major col lections nationwide. EF

•

Sue Arrowsmith

Grey Lines {Light)

rlostess,s

ink on paper 570mm x 770mm

:er,erst_.aev1anc

Provenance: Purchased by the present owner in London, 1996

$1 ,000 - $2,000

._ · e~

-,:::,e1t·er

' ·9 c',mu

... ,,'Dtasure. ar.a:ernem'or x :cs.Shesk :::•ediseovel)'o ,1esio' ve,m ""•~ersare

.: e:-oee-ng r

.,.,. emotional -.'~1,er nth,sv ~ellieexp~ 72

Webbs

Greg Semu

Smith

::i"" ·~

•

J'.. S~.. ~(~·:· :;

s ~:e,..;~:·::

Greg Semu sees these works as a combination of contemporary and classical ideas and explores ideas of the religious colonization on indigenous peoples. As 'works in progress' the pieces look at the idealism behind the traditional photographic print versus the digital. It is about the photographer versus the painter... and ii is about photographs being returned lo the realm of "works on paper".

• Rain

digital print on canvas with oil pastel title inscribed, signed and dated 2007 895mm x 755mm

$4,000 - $6,000

•

Daniel Blanshard

Resonance 2003 "Resonance closely follows my interest in sacred symmetry found in nature, where infinite possibi lities hand poli shed and are created through the expansion and reproduction engraved stainless steel of the macro and micro. This has been an on going with lacquer glaze First theme in my work since 1997. The works are Luminous Edition Shape Shifters, constantly changing and evolving through the ever changing light conditions of their sig ned with initials DH; environment. The industrial materials and techniques signed with initials DH used to create these works are retro reflective, making and dated '03 verso the work light activated. Hence, depending on where you're standing, the light source used or lime of the 595m m diameter, day, the visual experience will change accordingll' 70mm deep Daniel Blanshard. This work is the founding work for the motif steel series from the first edition. $2,800 - $3,800 Daniel Blanshard is represented by Lane Gallery, Auckland.

)

owsmlth

Fiona Pardington Hostess is indicative of Pardingtons early themes relating to perversity, deviancy and 'rituals' of the skin. The body is presented to the viewer, laid out and exposed. We are treated to a 'private viewing' of a much coveted and personal slice of skin - objectified for our pleasure. Pardington presents this androgynous image as a statement for breaking down barriers associated with gender politics. She skillfully navigates access and exploitation attached lo the discovery of another human- at the core: skin. Notions of a caress, of love, intimacy and attachment between sexes emerge. We, as viewers are looking in, as if we too are the photographer- a voyeur -peering into a private affair. The subject is a stranger. We have no emotional involvement, yet does desire stir? Or, do we feel our power in this voyeuristic role has corrupted us, and we too have become the exploiter of a stranger, of an image, of a mirage? LH

Hostess

gelatin silver print title inscribed, signed and dated 1993 verso 320mm x 260mm

$2 ,500 - $3,500

CONTEMPORARY ART

Jessica Pearless Interior Separation From the Open Plan series vinyl on glass title inscribed, signed and dated 2006 verso 545mm x 1070mm

$1 ,500 - $2 ,500

H aving danced over New Zealands architecture in fluro vinyl, from Enjoy Gallery in Wellington to the Quay West Lobby and Artspace in Auckland, Jessica Pearless creates another realm of architectonic veneer. She employs the tools of DIY construction, referencing floor plans, chrome and faux wood applique to create ever-shifting compositions on glass or directly int o archit ectural space. Layered and complex, these hard-edged constructions display an integral sympathy with the materials of her trade. They are immaculately razored to create crisp shadows beyond the glass with the vinyl lines, non lines and solids fading in and out of one another, combining and separating like a techn icolour Bauhaus dream. The works show a passion for design and construction with an irreverent playfulness that makes you want t o get lost in the wild maze. Come on in - the fluro's fine! IK

Megan Jenkinson

-- '-•()!'.a5 ,.,

/,e•g:o

,-·:::s:~egarJen •,•e;u~of pix . -':'"e•c~age

,·;-:', 'oro1e ..:: fss~¢1J11/l \S.:·,18,enna:a I! ane,rn99, ')oJ,::ne~ctOlla .:·::· "emosl ·":,dheVirlues ":;'!Ooot/0 ,:.. :.::gae·es -:::·;a·11g. --,Aeg,s:TheVim ,o, ~oedarn~or

The Political Economy of Art ultrachrome ink on Epson watercolour paper from an edition of 3 title inscribed 480mm x 595mm

$2 ,000 - $3,000

..t·t;"a.~Ja'.' .·•:",;w~n

Merilyn Tweedie Compliments of Ashley wallpaper xeroxes, epoxy resin and fibreglass cloth Original artist's label affixed verso

666mm x 870mm

$2,000 - $4,000

In 2005, she wou ld not discuss her work with the New Zealand public upon her appointment as the representative of this country to the Venice Biennale. Outraged lynch mobs after her and their $500,000 of tax payer money did not change her mind/s. It is, after all, a million dollar secret, not a half-a-million dollar secret. What the public may not have realised was that to do such a thing would be to ruin the Et Al/ L Budd/ Blanche Readymade/ Dr P. Mule/ Merilyn Tweedie experience altogether. In fact, above all, she is a performance artist. The works she makes are relics of performance, they reek of performance. To look too hard into the face of this painting will only return you gobsmacked and feeling even a little dishevelled that you didn't figu re it out. The truth is, it is a compilation of jargon, layers of nonsense whose heritage is most in line with the dada movement of the early 20th century. She and her band of monikers occupy the red herring kingdom where everything is redundant and garbling - like her installations of technological detritus - although they are beautiful works in their anti-narrativeness. Although they in themselves contain no definitive meaning, they are open to all sorts of interpretations - and people have plenty. So herein lies the irony not only is Dr P Mule a performer, but she creates the stage set and she's making a performer out of you - the viewer - in your interaction with her language of meaninglessness. Merilyn Tweedie is represented by Starkwhite, Auckland; Hamish McKay, Wellington and Jonathan Smart, Christchurch. IK

Webbs

:"•·;-,:,,.ia -Q(I~

Zerua sar·,~1nWe ,'::.·, ~aceITTA.[I,·.' ·

fild"~.::·

ealmo1 1

lsolDW:;_

David Thomas The woven image object serves as a model of personal memory - a three dimensional reference map for the divergent, crossed and overlapped mental strands that constitute a remembered experience. These forms, despite having a real physical presence, are suggestive of the virtual nature of our memories of tangible things and events now past but remaining vividly imprinted in our mind. David E Thomas, Auckland 2007.

Waiata Whakiri-Tahi 2004 16mm archival New Zealand fi lm, gel, lightbox, viewing loupe 1300mm x 600mm x 85mm

$2,800 - $3,800

David Thomas is represented by Avid, Wellington and Aveia, Auckland.

Megan~ Jenkinson .... ~ ---- - - - - - - - - - - - - - - As an artist Megan Jenkinson works primarily with the medium of photography and is best known for her collage cut out assemblages. Jenkinson has actively exhibited nationally and internationally for over 25 years. Highlights include: Esslington Photo Trienalle, 1989. The Sydney Biennale, 1990 and the Sharjah Bienna!e in 1999, Photography Now in 1989 at the Victoria and Albert Museum, London. The most major project to date has been The Virtues in 1996. This show consisted of 40 diptychs and it travelled to eight public galleries around New Zealand. Accompanying this series was Under The Aegis: The Virtues 1997. This book was awarded a major prize in 1999 by an international jury at the Sharjah Biennale. Jenkinson has works in the Museum of New Zealand Te Papa Tongarewa: The Sarjeant Gallery, Wanganui, the Govett Brewster Art Gallery, New Plymouth, The Dunedin Public Art Gallery, and the Auckland Art Gallery. JO

Britannia Britain: Britannia Weeps for the Loss of Her Colonies (from The Virtues Series) cibachrome photograph collage 2/2 title inscribed and inscribed We are under no king; we must each look to ourselves; title inscribed signed and dated 1996 verso 195mm x 180mm 495mm x 580mm Illustrated: Under the Aegi s - The Virtues by Megan Jenkinson Fortuna Press p. 34

$5,000 - $8,000

Megan Jenkinson is represented by Mark Hutchins, Wellington and Jonathan Smart Christchurch.

Jonathan Brown Jonathan Brown has exhibited throughout New Zealand and was a founding member of the artist collective Indicator, an artist run project and studio based in Auckland since 1994. Brown has a Masters Degree in Visual Arts from The Auckland University of Technology and is currently a tutor at the institution. Brown's works from this period reference pop explosions from the likes of Lichtenstein and Warhol. He adopts methods of production championed by Pop and graffiti artists, creating dynamic abstractions bursting with colour. Brown incorporates screenprinting techniques such as embossing in his painting methodologies. The compositions are defined on colour-fields by raised indentations in the canvas, which result in pristine minimal appropriations of the mod target. J 0

Untitled acrylic on canvas 1000mm x 1010mm

$2,000 - $3,000

CONTEMPORARY ART

Graham Snowden Reverse Rainy Day auto lacquer on aluminium title inscribed, signed and dated 2005 verso Inscribed verso: paint details Fiat 413A,blu garda, Kia Y2 yellow, Nissan 419 orange, Porsche 258 speedway grun 600mm x 450mm x 70mm

$3,000 - $4,000

Graham Snowden completed a Diploma of Fine Arts at 11am School of Fine Arts, Christchurch in 1978, receiving honors in sculpture. He worked at the McDougall Public Art Gallery in Christchurch until 1981 before working at the Auckland City Art Gallery until 1988. Having recently returned from a two-year stay in South Korea, Snowden now resides in Nelson where he practices as a full time sculptor. Snowden has exhibited widely and is represented in public and private collections within New Zealand and internationally. Graham Snowden is represented by Fisher Fine Art, Auckland.

, ,ia-\s:s1nce

:;10:.l'Jrk· ,rr ..:·.,,aC:lhalh

.~;,e511averel \-~•o'~ePa _-·xased)con, . •..; Q.',neshc :;.~acesrnuc ;':· raiBahy .. ,· ·Olll)~l,

•,.;ee-entsof, . :;.•esurlace tt ,.:•,.,Q'~nHC

:.;·fe:dlels Th, --~~rpattem ·;;:)OOieilSUriao

c,••~ueatesa -~ii()'l',a.aill

Jonathan Brown

.~,6,111._________ Transcription Factor #2 synthetic polymer on paper title inscribed, signed and dated 2004 1145mm x 1415mm

$2 ,500 - $3,500

Ian Scott Roller Painting acrylic on canvas title inscribed, signed and dated '92 verso 760mm x 1010mm

$7,000 - $10,000

As a forerunner of what may be called the New Zealand pop-art scene and significant contributor to geometric abstraction during the 1960s and 1970s, Ian Scott has continued to spawn his career through aerosol cans, nudie girls and sub-urbane subject matter. Roller Painting is exemplary of his love for visual irony, depicting a painted hand rolling a line of paint through the canvas. Obviously, the depicted hand is simply that - a visual illusion on a flat surface that mimics the artists gesture. In referencing industrial media in this work, Scott pokes fun, as every good pop artist should, at the high seriousness of his Abstract Expressionist predecessors, who believed in the significance of the artist's hand in creating expressive and meaningful, primally charged, gestures. Thus, Roller Painting is based around the artist's concern with the notion of value and how this is allocated by the viewer to different forms and processes of art. Ian Scott is represented by Ferner Galleries, Auckland. IK

Webb~

Graham Fletcher

1sreoresr~ \AuCKro.

A practising artist since the late 1990s, Fletcher has created a substantial body of work- implicit, is the influence of his Samoan heritage. He embraces the fact that his work is embedded in a Samoan cultural context. Past series have referenced themes of Eu ropean exploration and the colonisation of the Pacific, to Polynesian migration to New Zealand and its larger (localised) consequences of poverty and poor housing. Clearly, in Fletcher's work, he shows a fascination with colour and graphic imagery, which embraces much of his previous series of work. This is especially true for Tar Baby as the explosion of colour rises from the surfaceorange, yellow - buoyant and fresh. The subject is subverted by abstraction and subtle elements of symbolism. The audience is momentarily seduced. Beneath the surface, the stylistic quality continues as a graphic surfacea layer of pink - adds depth and movement. This textured surface is informed by Fletcher's The Need Fire Series (2003). European ornaments (wall paper patterns, paisley swirls and fleurs-de-lys), were added to saturated coloured surfaces and silhouetted figures for 'decorative' effects. Fletcher creates a binary between Pacific and European, decorative and formal, abstraction and imagery on a clean, yet raw surface.

Tar Baby screenprint title inscribed, signed and dated 2003 700mm x 500mm

$600-$900

Graham Fletcher is represented by Anna Bibby, Auckland and Brooke Gifford, Christchurch. LH

James Ross Journey into a Dark Landscape (Fence) 6 lithograph title inscribed, signed and dated '04 395mm x 350mm

$1,200 - $1 ,800

Hovering between painting and sculpture, James Ross makes works that push off the walls in a variety of shapes and colours. Often using painted panels floating behind glass, this hand worked lithograph, cleverly mimics the form of a painting. A green rhomboid, floats, sandwiched between its paper support and the glass. Th e artists hand is evident in the overworked pencil lines. James Ross is represented by Bath Street, Auckland, and Mark Hutchins, Wellington. EF

Jillian Karl Jillian Karl has a Masters of Fine Arts degree from Elam School of Fine Arts, Auckland (2001 ). Jillian works in painting and site specific installation. Her work explores the phenomenological and the metaphysical, embodying the esoteric. The paintings are highly finished surfaces of methodically applied paint or gesso, each brushstroke is delicately placed on precisely prepared surfaces of aluminium, cedar or hand polished glass. The methodologies employed in her work are revealed in the resulting paintings, which speak of refinement and balance. JP

Breath Mind/Body acrylic on aluminium panel on perspex title inscribed, signed and dated 2005 verso 215mm x 240mm

$1 ,000 - $1,500

CONTEMPORARY ART

Misery Madame Peacocks Tea Ceremony acrylic, aerosol and glitter on paper signed and dated 09.07 750mm x 520mm

$1 ,800 - $2 ,500

Perhaps Auckland's most recognised street artist, Tanya Thompson is Misery. Influenced by Japanese anime artists such as Takashi Murakami, Misery's cute doe-eyed, childlike characters diverge from mainstream anime as they are infused with elements of darkness and corruption . Misery Land, the fantastical environment Misery creates, consists of a gang of lovable, damaged, anime characters, performing various activities or actions with atypical accuracy. This is illustrated in this work where the central character performs a ritualistic tea ceremony as black tears well and fall from her large, sorrowful eyes. "I think I see something beautiful in things that are a little sad or misplaced, or not quite right. .. I think it's my sense of humour ... I like finding a balance between something that's beautiful and sweet and cute and charming but has an evil, malicious side". Misery Boutique in Auckland and Christchurch represent the Misery range. LH

Helen Calder Resene paints love Helen Calder and vice versa. On their website, Resene discuss this series of her work in particular: " The body of work known as Paint Set, f irst exhibited in Christchurch, suggests both a set of paintings or the action of the paint as it solidifies, definitions that have equal application. The colour 'zips' are the residue of previous layers of paint, the thickness and shape of these determined by the amount of paint poured, the angle of the panel and the vagaries of humidity and heat:' Her poured compositions are untouched, pristine and matt. They celebrate the materiality of paint in all its seductiveness from the way it moves, the secrets it hides within its layers and its existence as pure colour. IK

Paint Set (Gondola) enamel on aluminium composite board title inscribed, signed and dated 2005 verso 1 200mm x 1200mm

$3,000 - $5,000

Helen Calder is represented by Janne Land, Wel lington and 64zero3, Christchurch.

Gregory Burton Heebie Jeebies acrylic and ink on canvas

signed 1500mm x 1050mm

$1 ,500 - $2 ,500

"This current enquiry through painting is the search for an 'essence' which I perceive as being common to both natural, organic structures and the urban technologies of city spaces. I view my work as a form of blueprints, illustrated maps (or more precisely, countermaps) which aim to deconstruct the binary between the organic and the man-made. It is this deconstruction and reconfiguring of matter that has revealed my interest in undulating, free flowing, linear formations and the artificial landscape. This parallel between the natural and man-made is the primary focus of the work; the ambiguity between what is constructed and decomposed(ing). These are the simplified forms, that when stripped back and refined, reveal their interior logic'.' Gregory Burton

Webbs

arya

aCK:ears

1a :e ·sense ,ihng bu: ckland

Roy Good

, for an ·essence ~ , cstructuresandtl!e,_ as aform oi ~ue~~ which aim todeco_,.:· e It isih1sdecors .•. ,.. i~terest ,n uncua:'?/ Thspar~e oe... tpe r1<· wearc,;: ihe W O· ,•.. Thesea-e•e5, · g.)their 1ntenor . . "'" "' 1

Good began his career exhibiting at Petar-James Gallery, New Vision Gallery and Gallery Data during the 1970s, showing with artists such as Gordon Walters, Milan Mrkusich and Geoff Thornley. His artwork is an exploration of the most refined geometrical abstraction, dividing the painted surface. S piral and Six Rectangles is a very complex and elaborate composition, employing the concept of entropy and divine proportion, his work moves progressively from a curvilinear, fluid, organic conception towards a more rigid composition in which the active mobile elements connect one to another by a network of lines inextricably forming a pattern of complex relationships. Essentially Good's forms are static, the circular spiral shows a state of perpetual motion but at the same time, perfect poise. The S piral S eries was motivated by two things, firstly a response to the Koru of Walters and a consequent cross over into imagery Good designed for the New Zealand Expo Logo in Seville in 1992 (The Spiral Logo, a copy of which is in Te Papa) The rectangles that form the other component in the work relate to previous series titled Rectangle and Bar of the late 70s. Recent and upcoming exhibitions include: Vuletic & His Circle, Sarjeant Gallery, Wanganui and Gus Fisher Gallery, Auckland, 2003. In Good Form - Roy Good Retrospective 1968 - 2007, Lopdell House Gallery, Titirangi, Auckland 2007-2008.

Barry

Lett Spiral & Six Rectangles acryli c on canvas title inscribed, signed and dated '93 verso 765mm x 1830mm

$7,000 - $10 ,000

The fi rst t hing that jumps out from this panel once one has been absorbed in its radiating ground of techn icolour wash, is the motif of the bird as spelled through the text. Referred to by artists throughout the New Zealand art trajectory, from Colin McCahon to Michael Parekowhai, it can be said that the bird echoes throughout New Zealand's art consciousness with calls of guardianship and protection, Maori spiritualism - in the form of the godwit, and ecological responsibi lity. The idea that the birds are lost carries with it other implications as to the state of the aforementioned, however, there is a pun here in that the bi rds are also lost visually in the text. The form this text takes, however, is perhaps the most captivating part of this work. It is an animated arena of forms that duck and dive in and out of one another - like a muppet show music video - a delightful visual kaleidoscope that entertains and involves the viewer in exploring the formal qualities of language as a primarily visual form of communication. Barry Lett is a leading figu re in art in New Zealand. As founder of Barry Lett Galleries, a father and artist in his own righ t he has contributed over 40 years to the cause. IK

Lost Birds 11 oil on board title inscribed, signed and dated 2003 1 200mm x 675mm

$3,000 - $5,000

Roy Good is represented by Artis, Auckland. JO

CONTEMPORARY ART

Adrian Jackman Numark acrylic on canvas signed and dated '03 1520mm x 1220mm

j '

$4,000 - $6,000

Jackman investigates the process of art making from a traditional through to a technological perspective. He explores specifically symbols and imagery associated with pop cu lture and advertising. Narratives are encouraged and explored in his compositions as he responds to the environment around him and the influence of 'pop', set in a modern landscape. The juxtaposition of these elements allow the viewer to create diverse readings of his work, and see the symbolism beneath the items that are represented. Adrian Jackman is an Auckland based artist who graduated with an Master of Fine Arts from Elam School of Fine Arts in 1997. LH

John Hurrell Particles in Space 1 ink on paper map 690mm x 1000mm

$2,500 - $3 ,500

Artbash ring jumper and critical conscience of the nation, John Hurrell is agent provocateur on every topic. Having been in the thick of New Zealand's critical artistic growth spu rt of the seventies, Mr Hurrell came to prominence in the early eighties for both his writing and artwork. Featured in seminal shows during this decade such as The Grid Lattice and Network and Headlands, the artist has dedicated his practice to black and white conceptualism, to which the youth of today's art boom are now severely indebted. "These works are from a suite of paintings made on some of the different brands of folded paper street map available of Christchurch. For each work I have selected a thin line that is used for paths and park walkways in different parts of the city, and blocked out all else with black acrylic. The line is a lot thinner than the one used for streets and roads. When the network of streets - as well as the boundaries that separate the inserts from the main map body - are obliterated, a new sort of unified space emerges. I have a long term interest in using chance ingredients in painting such as those of the late seventies where I used dice scores to compose grid paintings:• John Hurrell. IK John Hurrell is represented by 64zero3, Christchurch.

II Mr Z watercolour on paper title inscribed, signed and dated 2007 verso 420mm x 295mm

$500-$700

Webb's

Imogen Kerr Imogen Kerr's watercolour portraits are glamorized images of the known and the unknown. Through delicate treatment of the medium, the artist has carefully manipulated the natural movement of the watered down pigments. Soft focus blurs the finer details, while confident strokes delineate others. Recognition is not vital; rather it is a sense of interiority evident in these untold narratives that are the intent. Imogen was a finalist in the 2007 Trust Waikato Contemporary Art Award. EF

JUenl}/JlelS :,rings have , ,:;;:e•astran; ...,..oundofac

ia1and~egr .. ,,youndfea!

;gng~epnst ei:ersoeci .. ~cD,eradar

iEa· ScliOO --~ ,oanDng, .':•i:en~s.He , i"••r. Slub!urb

;;r1,Nelsone,

,:andrnus1cca

a .:--: smax1m wtnotl

.,·asronss:enuy ;,..e•s,e.ln20C

··,1 Grule~ Pho! dl»Jandhewai "::~rapl1ersrepre Pfiololondon 20

contn,eshis

JCesso·1..,, ..

a•eoi~~

tif,ca~ s,·:: /JOPC/,e ree•coi:t•· lOr,sas•/· taro~~c r ...

c: ·~ese icrea:e: ,s,

?ellies_,~:: :·eprew:ei:

lanobaseoa·:: ;terolh•; 1nl9!!1lH

Julien Dyne Julien Dyne is an Auckland based artist and musician whose paintings have a kitsch, graphic edge. Here in Slublurbia, we encounter a strange, oozing extraterrestrial sculptural form in the foreground of a cliche suburban scene. The sky shines a radiant blue and the grass is aptly rendered, beyond green-ness. The foreground feature becomes a shadow within the composition, challenging the pristine perspective of domesticity. Julien draws in multiple perspectives, overlapping thematics of fiction and reality to uncover a darker, punchier side of the everyday. A graduate of Elam, School of Fine Arts, Auckland University (2001), He works in painting, sculpture, sound and mixed media, often with found materials. He was a founding member of SPECIAL Gallery, Britomart. Slublurbia was featured in Paheka Now! at The Suter Gallery, Nelson earlier this year. Further information on Julien's art and music can be located at www.myspace/juliendyne. JP

Slublurbia oil on canvas signed and dated 2002; title inscribed, signed and dated 2002 verso

1000mm x 1 000mm

$1 ,200 · $1 ,800

Paul

Johns ,cacors.:e

0 :::·

agen:orO'/oca:,. nmeffiCKO'

~,c growiii s:,:,; eto ~om1ence th hiswnlngaM 1al s wsd,r'r; latticeandNef.lOII has ded ca:ed i, e CO!lGeOfoa 5°

iy'sar;t:oorm ese worxsre nade on SIJf'e o' eel paoer s,ee: urch.Foreacn,o'i ,that,sused·~ ,n differempa:-s:all elsew1thblack inner than the one

ls,Wnenthene;iro/i i boundanes~a:

inemru manboo, ~rt of un f,ed soa:e

Paul Johns is maximalist with minimalist tendencies, for his work is without fail simple, elegant and formal in execution. He has consistently produced work which is critical, complex and subversive. In 2002 he showed a series of such images at the McNamara Gallery Photography, Wanganui, under the title A Perfect Childhood, and he was among nine of New Zealand's foremost art photographers represented at the prestigous international show, Photo London 2005. A five month residency at Tylee Cottage, Wanganui, and Prospect 2004, produced tableaux vivant with elements of allusions to memory and home, myth and childhood and comic culture. Humour and pathos are apparent in equal parts. Gwyn Porter writes in the New Zealand Journal of Photography #61, 2006, Peter Ireland picked up A Perfect Childhood in terms of an overarching interest in the "politics of self identity: its formation, adult memory of it, and the powerful role of photography in the construction of both. In these images the act of photographing was not a process of generating memories but became a metaphor for memory itself, where the very tripod doubled as a theodolite measuring the horizontals and verticals of being in time. The sleek, large format photographs of today have given Paul Johns a renewal. He feels closest to his natural 'voice' and continues his art practice in the realm of the photograph.

A Perfect Childhood colour photograph 3/5 1206mm x 965mm

$2,000 · $3,000

Paul Johns is represented by McNamara, Wanganui and 64zero3, Christchurch.

~rm imeresl ~ ;S ~;

nungsudias,:se_ ire I used o~e sc,·es JS,•Jann Hurre K

ed by

iur partrartsare 1e known an<1me,.. e :a1e treatmen1o •• ;arefullymanoua.~

f the watered 00

l rs the'inerde:as

delineate o~er> •.

rather,j ,s asense, .....

,se untold narra;; t: was afinal1st1n f ArtAwardE iorafY

Tom Sladden Tom Sladden is a Wellington based artist, who describes himself as a "figurative painter- tending towards post-modernism". His works also maintain regionalist elements. Th is can be seen in both of the following works Boot and Caravan Study (Lot 131 ). Themes of journeys to unnamed coastal areas, and travel taken under warm summer skies emerge. Boo/depicts an everyday summer scene. The boot is slackly left ajar, its murky contents exposed. The ethereal landscape continues as cryptic sketches in ink and graphite create a raw edged tension to the already static depiction of the boot. A didactic relationship between the subtle innocence of the boot left ajar and the unknown dark mass within, combined with the cryptic sketches alongside it (war weapons? A machine gun?) allow the viewer to question the artist's intention behind these elusive dark masses amid the ethereal landscape. Both works are set in an ethereal landscape devoid of people. Each work incorporates the deliciously unique cool matt colours of aqua, teal and lime. LH

Boot oil and graphite on canvas title inscribed, signed and dated '99 240mm x 240mm

$1,200 · $1,800

CONTEMPORARY ART

Matt Campbell Matt Campbell (aka spanko) has been a practicing and exhibiting artist for more than 15 years. After 4 years in Japan in the early nineties Matt moved to Williamsburg in 1994. He now divides his signed verso time between NY and New Zealand. Matt is also a partner in a 1200mm x 1 200mm gallery in NYC - the Riviera. Check www.seeyouattheriviera.com. $2,000 - $3,000 Matt's work employs a wide range of media (painting, drawing, sculpture, packaging and printmaking) to explore themes mostly concerned with consumerism and pop culture and the subsequent impact on, and alienation from, the natural environment. This piece Stuck Stop Sign is from a group show in 2006.

Stuck Stop Sign 2006 vinyl on aluminium

www.spanko.com

Stephan Jay-Rayon For the last 10 years Stephan Jay-Rayon has been the principle artist for Japan's infamous fashion label Hysteric Glamour. The work offered here is from a recent series of screen prints that he exhibited at his first solo show in NYC at the Fuse gallery - check www. supertouchblog.com/2007/05/03/nycstephanwolfby-moonlight/ for more details.

Osprey screenprint on canvas 1 /3 1 200mm x 1200mm

$2,000 - $3,000

The sensuality, theatrics and simplicity of Jay Rayon's work succeeds in luring the viewer to his high contrast sleek paintings. Jay-Rayon presents a realm of drama and tension. Foreground and background are fused with careful attention to the graphic quality of the negative and positive space. www.hystericglamour.us

Tristan Eaton Carved Dunny unique hand carved 24" vinyl dunny 2005, title inscribed, signed and dated 2007 verso 420mm x 295mm

$1 ,800 - $2 ,500

Tristan Eaton, otherwise known as the King of Art Toys, has in recent years focused on populist fine art products that are affordable, yet still limited. Tristan originally created the Dunny as a designer based trading figure made from Roto-Cast Soft Vinyl. "The idea was to create a simple, beautiful figure that can be interpreted by different artists in custom paint designs and produced in limited editions". The Dunny is now widely acclaimed and accepted as a definitive step in the Urban Art movement being used by a vast range of contemporary artists to step into this community of urban practice. The work presented here was hand carved by Tristan and represents a single piece from his sell-out series in 2005 and has been part of Tristan's private collection since. www.thunderdogstudios.com www.kidrobot.com

Webbs

Maya Hayuk "love grows like", 2007 ink, gouache and wood stain on wood panel 300mm x 300mm x 25mm

$1 ,000 - $1 ,500

Maya Hayuk "what love sounds like", 2007 ink, gouache, graphite, coloured pencil, marker and wood stain on wood panel

Steve

300mm x 300mm x 25mm

Ellis Long time resident of the lower east side in New York Steve Ellis' artwork explores the damaged beauty of contemporary American popular culture by creating satirical symbols. His aim is to take the disposable and often transitory moments in life and eulogize them. "I'm inspired by rock and roll, film, modern design and illustration. I am observing and archiving the imagery that has come across the visual landscape of my life. By rendering them to a high finish I honor the object." Check www.stevellis.com for more info.

$1 ,000 - $1 ,500 Mother Superior oil on canvas signed verso, 2001 1800mm x 800mm

$3,000 - $ 4,000

Known for her elaborate, colourful and often humorous imagery, Brooklyn based artist Maya Hayuk, utilises an unpredictable matrix of sources, mediums to deliver works ranging from massive wall murals to intricate drawings on paper. Solo exhibitions and collaborations with the Barnstormer collective (think Doze Green, David El lis and Kenji Hirate) have bought Maya accolades as a prolific contemporary artist in both the urban and fine art world. Often using tender geometries that appear to give way or transcend into the organic Maya's work points to an evolving portrayal of love and the human condition. Holding a BFA in Conceptual Art, interrelated Media and Philosophy Maya travels and exhibited extensively. www.blkmrktgallery.com www.juxtapoz.com www.b-stormers.com/ artists www.revision3.com/xlr8rtv/hayuk

CONTEMPORARY ART

Jason

Lilley oxo acrylic on canvas original artist's label affixed verso

1320mm x 1320mm

$7,000 - $9,000

Lilley presents intensely personal works based on his intuitive response and individual interpretation of the environment around him. Seascapes and abstracted urban or rural landscapes and the themes he explores within these landscapes relate to his own experience residing in Cornwall, Eng land and the political and spiritual synergy that engenders. The works maintain a loose narrative quality, implied through the layout and design of the images (often incorporating mixed media) that are presented as well as through visual clues and titles. This can be seen in OXO, where faceless people and urban objects- buildings, a bridge and boats - occupy the space between a sleek grey road and a clear blue sky. The work is largely neutral in colour except for bright dashes of colour which activate and draw attention to the livelier subjects operating in the urban environment. An emphasis is placed on visual technique, such as creating depth through light and shadow, exploring the connection between colour and forms, to enhance the viewers' emotive reactions to his works. OXO appears highly stylised - appearing stencilled and sprayed - and gives the viewer the impression that there are more painterly processes at work than the use of acrylic on canvas. This is testament to the skill of the artist and his knowledge of painterly processes. Jason Lilley is represented by Glass House Gallery, Cornwall, England. LH

Banksy Balloon Girl, 2005

screenprint 358/600 Stamped with Pictures on Walls blind stamp 700mm x 500mm Private Collection, Auckland

$2 ,500 - $3,500

Banksy is a popular UK 'self styled' guerrilla graffiti artist Anonymous to the public, he operates under the pseudo name 'Banksy'. He is known for his enigmatic visual statements stencilled and sprayed across the streets of London. H is post-modern approach offers a witty, metaphorical and satirical commentary on popular themes, all available to the masses within the street context. The themes explored in his graffiti art challenge people's perception of the world they inhabit. He propels ideas associated with his own discontent and distrust for authority. Issues of poverty, injustice, and consumerism are explored. In Balloon Girl, the stencilled image is presented to its audience, devoid of the street context. The image is solitary and lonely, set against a pure white background. This is a stark contrast to the original image which exists in a London street, alongside the slogan 'There is always hope'. Themes associated with the human condit ion and perceptions of emotion through the environment we live in emerge. In true Banksy style, the exact meaning behind this work remains elusive. This allows the viewer to be subjective and construe their own interpretation of the work. This is a leading aspect which contributes to the popular appeal of Banksys art in the UK and around the world. LH

Roy Calloway Untitled lacquer on wood, four panels 200mm x 300mm

$1 ,500 - $2,500

vveoos

Roy Calloway has spent the past twenty or so years working in New York and Japan. His work has been comm issioned by Mitskoshi Department Store, Parco, Barney's New York and his illustrations have been published in The New York Times, The New Yorker, GO Magazine, Elle Decor, and many other US publications. Roy's personal artwork is about adaptability and transparency. Having a mixed racial makeup (Japanese, Black, White, and Native American) what he is trying to get at psychologically is answering the question of "who the hell am I and where do I fit in?" Using Japanese Lacquer he starts by drawing a line and goes from there.

Gerald Jenkins Gerald Jenkins is a photographer whose work crosses a variety of photographic styles. As well as commercial work in fashion, beauty and portraiture, Gerald has sold work and exhibited internationally. His editorial credits include work for Vanity Fair, US Esquire and several international Vogue titles. In February 2004 the Adelaide Festival in Australia held a major exhibition of his images of contemporary Aboriginal culture and Australian landscapes. A book of his backstage rock portraits, spanning 25 years and including the likes of Nick Cave and Kylie Minogue, John Spencer, Gil Scott-Heron and Lee 'Scratch' Perry (a work that is held by the National Portrait Gallery, London), is currently in development. www.showstudio.com

Marijuana Girl

digital print 14/50 title inscribed, signed and dated '94 1 200mm x 840mm

$1 ,000 - $2,000

Fiona Pardington Sally and Donna

gelatin silver print

ed' guem agrr'" ~ra:esu er""e:::.

title inscribed, sig ned and dated 1999 verso

ma"JC , Sua rrr-

285mm x 375mm

of L OOfl h;:,:r" incaoaodsa:':a::-

$2,000 - $3,000

ernassesn···-: \r;ar;cha.e'Q!'":·ipesideasassocr,:

pnti.lss,eso·p;t alloon Grrl.:,w·· _ vo1doftnestree1c·,· agrunsiapure~n g1nal1mage~'?'.. ogan 'jj,ere ,s [, '.'.'. ... )d1tion andpercei 1e 1n emerge '·,e Y: workrernarse,!' Jcons;r,e,re c. :::

Sally and Donna come from a series of photographs referencing found medical texts. By changing their context, she has deliberately changed their meaning. A common theme in her work, it is not dissimilar to the way the 50's girls or the hei tiki are readdressed. By restaging them and suggesting we look at them in new ways, what was an image of women initially intended to illustrate muscle configuration, has become a strangely erotic and unsettling image. The titling of these works with strong old fashioned names adds further dimension to their oddness. EF

~pee: wn er cor-:. -:. n111e Kr:a:::: ·

Gerald Jenkins Nick and Kylie

digital print artist's proof title inscribed, signed and dated '96 840mm x 600mm

$1,000 - $2 ,000

CONTEMPORARY ART

John Reynolds Guide Sophia

oil pastel on rag board signed and dated 1992 390mm x 305mm each

• • ~ 0' ,.

•

Exhibited: Bath House Museum, Rotorua, 1992

•

$3,500 - $4,500

•

• ~I~

/( : ~

Sophia Hinerangi was a notable figure in early New Zealand. The principal tourist guide of the Pink and White Terraces at Lake Rotomahana before the Tarawera eruption, she foretold the destruction of the area, ending her guiding and sheltering 62 people in her whare at Te Wairoa during the devastation in 1886. These four works were part of an installation at the Rotorua Museum of Art and History, which paid homage to her importance to the history of the area. EF

Sam Hartnett Sam Hartnett is an Auckland based photographer. He was the winner of Best Overall Single Image and of the Student Category in the MetroCanon Young Photographers Awards, 2006. Sam is represented by City Art Rooms, Auckland. JP

Helensville chromira paint on dibond aluminium 2/3 signed and dated 2003 verso 790mm x 790mm

$2,000 - $3,000

Adrian

Jackman

The Sandersons

of of

vinyl on perspex

caln

title inscribed, signed and dated '98 verso 31 5mm x 435mm

$1,200 - $1,800

Webbs

sta

Bill Hammond Pretty 2

etching 9/24 title inscribed, signed and dated 200 1 375mm x 280mm

$4,000 - $6,000

ile'e

,se,• Jetore• l EF

David Morrison Study of Harbour No.42

David Morrison's paintings conjure up notions of the sublime. The surfaces of his paintings creep up and engulf you with a sense of austere calm and beauty. The works are based on water, harbour or lake. Although the colour fields are on stretched linen grounds they manage to portray the appearance of vastness and the compositions float in space. Through the misty vei ls of paint we consider what lies beneath?

oil on canvas title inscribed, signed and dated '99 verso 1215mm x 1220mm

$3,500 - $5,500

David Morrison is represented by Vavasour Godkin, Auckland. JP

, ~~~r:r?<;;:--·::...,

t}ft:7 ~- ....

Tom Sladden Caravan Study depicts a barely grounded surface, of colour and shapes intertwining. The static form of the caravan in the foreground gives a solid and calming presence to the coastal scene as a solitary wave protrudes from the sea in the distance. Sladden's investigation into the environment simulates themes of travel and exploration in the local environment. Further questions relating to time and its limitations on our everyday lives - to stay or go, to seize the moment and breathe - also announce themselves to the viewer.

~- -

....

.,,

~ . . --.,}J.1,~,

Caravan Study oil on canvas title inscribed, signed and dated '99 240mm x 240mm

$1 ,200 - $1 ,800

CONTEMPORARY ART

Susan

Jowsey

-;:$~,~~pjO(l ·• ,,111 r Par

Untitled

' , ~ 15

graphite on paper

prese

.. ,:and ob

·-'•'

280mm x 3 60mm

,·:eardles

.;,:-~:forno

$300 -$500

•.,-,geqJes •• ,-, 5a:me ·_;:e•a1d .. a:e•p;stoJ ·-·edan.?1 ,~aiJ110I09i!

t;,ieaiiJsub .,,Aell(f ng ···:ofionaPar

Mamakava

woodcut printer's proof title inscribed signed and dated '94

530mm x 750mm

$1 ,000 - $2,000

John

Pule

Incorporating both lithography and woodcut techniques, these prints of Joh n Pules conti nue his fam iliar themes of the effects of colonisation on traditional myth and storytelling. His rapid style of drawi ng often incorporating text and poetry, is ideal for the medium of print making. EF

-· ·,;·~screamnt ·e·e,.1~gof if~ -,map~oadlti ·.;:X-Osoliningue: ::er0,sanrrt~ 0

·dtM!;S~h

·: ·r ;•eate t"e

Mdlae Ga:lei Zeruandi

Shane

Cotton

Fiat Lux lithog raph, artist's proof title inscribed, signed and dated 1998

525mm x 750mm

$2,000 - $3,000

1Nebbs

Fiona Pardington Access, exploitation and privacy issues are explored in Pardington's Self Portrait. A sensual image is presented to the audience as exposed and objectified. She challenges her audience and tests their reactions to the image, at first promoting desire and later, retreat. The image questions intentions as the viewer gazes at the woman and effectively confuses them and subverts the subject it originally attempts to present, the exposed feminine woman. Pardington asserts her role as a photographer with the power to engage, and subsequently disengage her audience in gender politics. This is tantamount to Fiona Pardington's oeuvre. LH

Self Portrait gelatin silver print 175mm x 230mm

$2,000 - $3,000

fl!

Michael Harrison ........•L___ _ _ __ otn toogra;:• ,echnq1IBS,tese Pulescoo,n,e•; ~of tree~eri:' ntradiioo~rni; g. ?O'orav,rg ·atngtext ideal 'or:ce trral~(:

"Hell raising, screaming, thrusting overtly sensational challenges to the meaning of life." This is one way not to describe Michael Harrisons approach to art-making. Sensitive washes, quiet and deep pools of intrigue, floating subtle sentiments and gentle but mysterious animal kingdoms might go a little further. Looking Forward plays with sight, mirroring Rorschach cat, bird and heart forms that breathe themselves in and out of positive space. It is not sickly sweet. It is strange, and could potentially be sinister. Bird's eye view over land, bird eyes in cats faces, mimicking of form out of other form - layering, movement, the eye plays with the possibilities of these elements. This is essentially an abstract work with figurative potential, not the other way around. It is meditative and absorbtive, something to get lost in and have a wander around.

Looking Forward watercolour on paper signed ; title inscribed and dated 24.1.02, 30.5.02, 12.10.02 205mm x 205mm

$2,000 - $3,000

Michael Harrison is represented by Ivan Anthony Gallery, Auckland and features in many of New Zealands major collections and public institutions. Michael represented New Zealand at the Sydney Biennale in 2004. IK

Shane Cotton.~ .......__ _ _ _ __ Middle North lithograph 25/25 title inscribed, signed and dated 1997 520mm x 750mm

$2,000 - $3,000

CONTEMPORARY ART

Shane Cotton Kikorangi lithograph 1 0/40 title inscribed , signed and dated 2004 560mm x 760mm

$3,500 - $5,500

Bill

Hammond

Pretty 1 etching 1 9/24 title inscribed, signed and dated 2001 375mm x 280mm

$4,000 - $6 ,000

Shane Cotton Hia lithograph 25/25 title inscribed, signed and dated 1997 520mm x 750mm

$2,000 - $3,000

Webbs

Ill

Shane Cotton•----- - - - - - Moerewa lithograph 10/ 40 title inscribed, signed and dated 2004 560mm x 760mm

$3,500 - $5,500

Bill . . .

HammondRFJ • ..,.'..._________ Pretty 3 etching 7/24 title inscribed , signed and dated 2001 375mm x 280mm

$4,000 - $6,000

fll

Shane Cotton•----- - - - Prayer Tiki lithograph 25/25 title inscribed, signed and dated 1997 520mm x 750mm

$2,000 - $3,000

CONTEMPORARY ART

Modern& Contemporary Design

Sale 290

Viewing Evening Preview 12 Oct

Wednesday 17 October 2007 6.30pm

Friday Saturday Sunday Monday Tuesday Wednesday

6.00pm - 8.00pm

9.00am - 8.00pm 12 Oct 13Oct 11 .00am - 3 .00pm 14 Oct 11 .00am - 3 .00pm 9.00am - 5.30pm 15 Oct 9.00am - 5.30pm 16 Oct 9.00am - 1 2noon 17 Oct

Lot 344 - An Original Playboy Bunnygirl Outfit Lot 345 - An Arne Jacobsen Red Egg Chair by Fritz Hansen Lot 381 - A Sven Palmquist Kraka Vas by Orrefors Lot 348 - A Charles & Ray Eames La Chaise by Vitra Lot 338 - A Triumph Bonneville T120 Motorcycle

302

301

300 A Rare 1948 Charles & Ray

with a circular marble base, chrome stand and globe. Note: various rust patches.

original manufacturers label to base 'Evans Products Co. Herman Miller Sole Distributor Designed by Charles Eames'. Also stamped to base. Designed in 1945. Note: Faults to veneer and back shock mount. Evans Products Company only produced the chairs for a few years before Herman Miller was granted exclusive rights in 1946 and manufacturing transferred to Herman Miller, Venice, California in 1949. H:730mm.

$650 -$850

$1,500 - $2,000

Webbs

301 A Reproduction Arc Lamp

Eames Ash DCW Chair by Evans Products Co.

302 A Scandinavian Teak Credenza in long low profile with four drawers above fitted cupboards with sliding doors and beautiful sculpted handles on a four point base. H.830mm. W.2260mm. D.500mm.

$3,000 - $5,000

303 A French Teak Credenza consisting of two pull out cupboard doors fitted with internal shelves and a bank of four drawers on a four point stretcher base. Note: condition issues. Manufacturers label to base by Meubles de les Premiers de France. H.850mm W.2000mm. 0.470mm.

$1,600 - $2,500

304 A Danish Teak Credenza with three sliding cupboard doors on a solid base. H. 735mm W.1800mm. 0.450mm.

$1,500 - $2,500

305 A Danish Teak Credenza with four large cupboard sliding doors above three drawers with contoured handles. H.1120mm W.1849mm. 0.445mm.

$2,000 - $3,000

306 A Charles & Ray Eames Reproduction 670/671 Lounger and Ottoman upholstered in black vinyl on a four star chrome base. Note: condition faults from general wear.

$800-$1200

MODERN DESIGN

311

312 An/~

307 A Teak Chest of Drawers

Repn

with two banks of three drawers and circular metal handle pulls on a four point base. In the style of George Nelson's 'Thin Edge' series. H. 780mm W.1645mm 0.450mm

atnpo

$1 ,200 - $1 ,800

$1,20

w!lhw ~

1944.

308 A Danish Leather Armchair

313 ACh,

in low profile with buttoned leather cushions on four teak legs.

Chair nabli

$500 -$700

aium1

uplio base

309 A Scottish Teak Credenza by A.H.Mclntosh

~Iii

with two central pull out cupboards flanked by three baize lined drawers to the left and a drop down door to the right. Interior shelves fitted and beautifully crafted handles. Circa 1960. H.780mm. W.2015mm. 0.455mm.

1965. F:el's'

$600

$2,000 - $2500

310 An Unusual Danish Teak Entry Table a rectangular bench with a single drawer to the left and fitted umbrella stand to the floor through the centre right, on a metal four point base. Stamped 'Made in Denmark' to the interior.

315 Area/ 1111hfl

CUpboa

$45

$700-$900

311

A Large Danish Teak Coffee Table rectangular with inverted 'V' shaped stretchers on long four point base.

$650 -$850

Webbs

'\J\if

I Drawers

312 An lsamu Noguchi Reproduction Coffee Table

~reedrawera han~ep 00 ntheslyleol Th,n Edge' sera immD.451llin

with walnut legs interlocking to form a tripod support for the 19mm thick biomorphic shaped glass top. Designed in 1944. H.4O5mm. W.127Omm. D.91Omm

$ 1,200 - $ 1,800

.er Armchair

313 A Charles Pollock 12E1 Executive

buttooodleail'lr

Chair by Knoll Internationa l

eaklegs.

in a black plastic shell with extruded aluminium rim holding blue fabric upholstery on swivelling aluminium base with glides. Knoll International label to base, 1973. Designed in 1965. Featured in Charlotte & Peter Fiell's '1000 Chairs' page 395.

<Credenza ;h

ull oulcupboalds ruzeiineddra~ ropdowndOOII0 ,het.esiittedand handles.l)cai960 5mm. D.455IIVIL

inish le

chwrtha~ng~draa!< 3dumbrel~s1and 1h 1hecentrenght iinlbase.S1amfi€11 k' 1o1hemle1111f,

$600 -$800 314 An lsamu Noguchi Reproduction Cyclone Table by Modernica the table's structural base consists of chrome plated steel wires set into a black powder coated steel base.

v/1

$ 1,000 - $1,500 315 A Teak Drum Table with fluted sides, a concealed cupboard and interior fitted shelf.

$450-$600

hTeak Coffee la~e ' nverted 'If shajlld

gfourpamliJaSe

MODE RN DESIGN

316 A Scandinavian Teak Credenza in long low profile with three central drawers, flanked by two pairs of cupboards fitted with shelves on a four point base. H.780mm. W. 2250mm. 0 .430mm.

317 A French Teak Credenza with a large drop down cupboard above two drawers, beside a pull out cupboard door, on a six point metal base. H.840mm. W.1830mm. 0.450mm.

$ 2,000 - $3,000

$2,000 - $3,000

318 A Set of Eight Charles & Ray Eames Grey DSR Shell Chairs with black eiffel bases and glides.

$2,000 - $ 2,500

Webbs

319 A Charles & Ray Eames Tandem

3 21 A Hans Wegner Teak Coffee

Shell Seat by Herman Miller

Table by Andreas Tuck

with a pair of moulded reinforced fibreglass seat shells w ith intern al blue and yellow vinyl covered upholstery and a white laminate side table on a cast aluminium and steel beam base. Designed 1962. Featured in Charlotte & Peter Fiell's '1000 Chairs' page 390.

a two tiered rectangular table, top with raised edges and the magazine rack below in woven rattan. Stamped 'Fabrikat: Andr Tuck Arkitekt: Hans J. Wegner Denmark'. Circa 1960.

$2,500 - $3,500

$1,000 - $2,000

320 A George Nelson Chest of

3 2 2 An Arne Vodder Teak

Drawers by Herman Miller

Armchair by France & Son

in oak, part of the 'Basic' series storage unit with five drawers and central steel handle pulls. Designed in 1955.

with reclining mechanism, re-upholstered in black fabric. France & Son badge to base, stamped 'Made in Denmark'.

$1,200 - $1 ,800

$800 - $1,200

MODE RN DESIG N

3 2 3 An Arne Vodder Teak Credenza by Poul Pinesen

:,,;J;ff.~"'•'!f -. ;·,:,

consisting of a low er sideboard with two sliding cupboard doors and bank of six draw ers below a raised bookcase segmented into four secti ons.

$3,500 - $5,000

3 2 4 A Teak Slat Table consistin g of horizontal teak slats on a tapering four point base.

$400-$600

3 2 5 A Danish Teak Credenza by Dansk Design w ith four large c upboard doors each above a draw er with recessed handles. Interior fitted with shelves. H.1125mm. W.11 9 0mm. 0.450mm.

$2,000 - $3,000

3 2 6 An Extendable Teak Slat Bench $400-$600

100

Webbs

327 A Danish Teak Credenza by

328 A Set of Four Danish

Brande Mobelindustri

Teak Dining Chairs

with two large flush sliding doors next to a bank of six drawers. Interior cupboard fitted with shelves and drawers on a high tapering four point base. Manufacturers stamp to back 'Made in Denmark'. H.1050mm. W.2245mm. 0.470mm.

with a contoured backrest and seat upholstered in black vinyl.

$2,000 - $3,000

$700- $900

329 A Peter Hvidt Oval Teak Dining Table by France & Son with two 'D' end drop leaves. H.730mm. W.1630mm. 0.1430mm.

$2,500 - $3,000

MODERN DESIGN

101

330 A Pair of Finn Juhl Rosewood Diplomat Chairs by France & Son upholstered in black vinyl with raised brass mounts to 'float' the seat. France & Son label to base, stamped made in Denmark, designed in 1961 . H.8 10mm

$2,000 - $3,000

331 A Greta Grossman Teak Bench by Glen Group California a low profile bench or cabinet with three flush drawers, raised on a four point stretcher base. Manufacturers stamp to back. Designed 1952. Swedish born designer and architect Greta Grossman decorated the homes and showrooms of many Californian's during the 1940s and 1950s. The unique approach to Swedish modernism that she brought with her when she moved from Stockholm in the late 1930s proved to be incredibly popular on the west coast, cropping up in almost every issue of John Entenza's influential magazine 'Arts and Architecture '. H.415mm. W.460mm. D.1650mm.

$3,500 - $5,000

102

Webb's

332 A Pair of Hans Wegner No. 55 Armchairs by P.P. Mobler with an ash frame, rosewood detail and blue upholstered fabric seat. This chair was originally designed in 1965, however did not go into production until 1986. Manufacturers label to base 'P.P. Mobler Design, Danmark, Hans J. Wegner.

$3,000 - $4,000

MODERN DESIGN

1 03

335 AChi Alum ,mha

arms,

starbi

abel l compi

chaira fl195 F,ell's

$3,5\ 333 A Set of Six Charles & Ray

336 AVin

Eames EA117 Aluminium Group Chairs by ICF

der R

upholstered in black leather without arms. Designed in 1958. Manufacturers label to base. Note: ICF is an Italian company producing Aluminium Group chairs to original specifi cation. Featured in Charlotte & Peter Fiell's ' 1000 Chairs' page 339.

$12,000 - $14,000

334 An Exceptional Danish Rosewood Dining Suite comprising of extension table and six black upholstered chairs. The chairs of minimal construction with blade back rest.

$4,000 - $6,000

llil~ vande Pa~ll1 Exhilin

ollhe U.S. Pele,

$12,(

337 Alea Chai1 alram sletJi v.ilrte

loba! lhei[ al Ant

oneol desig, F~Ws

$1 ,0I

104

Webb's

335 ACharles&RayEamesEA115 Alum inium Group Armchair by ICF with a high back, aluminium frame and arms, upholstered in black leather on five star base with castors. Manufacturers label to base. Note: ICF is an Italian company producing Aluminium Group chairs to original specification. Designed in 1958. Featured in Charlotte & Peter Fiell's ' 1000 Chairs' page 339.

$3,500 - $ 4,000

336 A Vintage Ludwig Mies Van der Rohe MR90 Barcelona Chair for Florence Knoll ti-erWIIIIXi 8.Mnliactm f ~anltam

unrun speofca\01. Peter

ge 339

nish Suite ntab\eardSll ii, The dia>'S ~

.othbladeoodiesl

with a bent chromed flat steel frame, black leather straps and buttoned leather upholstered cushions. Circa 1 950, the chair is hand welded, with screw fittings and snap-locks to hold the cushions. Note: a split to the seat cushion, one missing screw and one button missing. The MR90 was designed by Mies van der Rohe for use in the German Pavillion at the 1929 International Exhibition Barcelona. Manufacturing of the Barcelona chair began in the U.S. in 1948. Featured in Charlotte & Peter Fiell's '1000 Chairs' page 172.

$ 12,000 - $ 16,000

3 3 7 A Jean Prouve Antony Chair by Vitra a frame of lacquered sheet and tubular steel in black and seat shell made of white painted moulded wood. Vitra label to base. Designed at the beginning of the 1950s for the Cite Universitaire at Antony, near Paris, this chair was one of Prouve's last efforts at furnit ure design. Featured in Charlotte & Peter Fiell's '1000 Chairs' page 302.

$ 1,000 - $1,500

In 1956 Johnny Alien, on his streamlined

Eastwood, James Dean and Bob Dylan

Triumph, was clocked speeding across

and Evil Knevil to name a few.

the Bonneville salt flats at 344kph. It

In 1969 Triumph gained enormous

was this event that inspired a young Triumph engineer called Edward Turner

publicity from Welshman Malcolm Uphill's Isle Of Man victory. Riding the

to design the fabulous parallel twin that

Bonneville twin, Triumph not only won the

was to be named the T120 Bonneville.

torturous three-lap race but set the first

Continuously refined for over two decades the 'Bonnie' evolved into what

and still is regarded as the most

is today considered the very essence of cafe-racer cool - the T120 Bonneville was, without question the definitive sports twin of it time.

T120 Motorcycle manufactured in 1970. Immaculate condition. 650cc. 4,034 miles. Chasis/Vin No. 7A8HROM1195618241

$15,000 - $18,000

106

Webbs

demanding road race in the world. The classic un-effected design atheistic of the Bonneville combined with the T120's high performance is distinctly

The Bonneville T 120 had the right, spartan look and just as importantly,

from the emerging Japanese marquees

the performance to go with it. It was a

(most notably Yamaha's XS 1 650) who

truly significant motorcycle and arrived just in time to take full advantage of

were to go on to build upon the success and genius of the Triumph designers from

what was to become a very special period of design. In New Zealand it

the previous decades.

was the bike to own.

338 A Triumph Bonneville

100mph production lap on what was

A stream of Hollywood and English celebrities riding Triumphs cemented

British and inspired a multitude of clones

However the T 120 presented here is a testament that New Zealand's love affair with the" Bonnie" carries on to this day.

the Bonneville T120 iconic status:

Thi s T120 reminds one of what all good motorcycles should be - fast, beautiful

Marlon Brando (The Wild One), Steve

and full of individual handling character.

McOueen (The Great Escape), Clint

3 3 9 A Set of Four Ludwig Mies Van der Rohe Flat Bar MRSO Brno Chairs in a polished stainless steel frame upholstered in a tan coloured leather with padded arms. Designed in 1 930 for the Tugendhat's house in Brno, Czechoslovakia. Featured in Charlotte & Peter Fiell's '1 000 Chairs' page 1 73.

$ 12,000 - $ 14,000

narnlBobOjlii afew. denoros anMalc~m ory. R~ir~ ~,e oh not only woi ~~ ebut set the fir~ pon what was sthemost inthewoM ddesign ath~sti: 1bined wi~ ~e nee 1sdistircJ1 multitudeofc~ panese marquiel a·s XS1 6:/Jl ~ro dupon the success umphdesignersir(lll

s. resented here is a Zealand'sloveai1r rrieson tothisda)ne of what all ~ be - fast!Jeauufu: I

handling charadf

340 A Jean Prouve Cite Armchair by Vitra with a moulded sheet steel black base, the seat and back in single piece taupe cotton and tan leather armrests. Vitra label to base. The Cite armchair was designed for a competition for furnishing the halls of residence at Nancy's Cite University. Featured in Charlotte & Peter Fiell's ' 1000 Chairs' page 199.

$3,000 - $4,000

MODERN DESIGN

107

341 A Vintage Finn Juhl 'Model 137' Sofa by France & Son in a teak frame and re-upholstered khaki leather with raised brass mounts to 'float' the seat. France & Son label to base. Original retailers 'John Stuart Inc. Grand Rapids New York' label to base, designed in 1953. The 137 Model sofa is a perfect example of Finn Juhl's signature style. Also known as the 'Japanese Model', it was inspired by a 6th century shrine constructed partially over water on ltsukushima island. John Stuart Inc. was New York's premier modern design showroom and distributor for France & Son.

$5,000 - $7,000

342 A Set of Eight Charles & Ray Eames Blue DSR Shell Chairs with chrome eiffel bases and glides.

$2,000 - $2,500

343 A Frog Glass Table by Sovet made from a single thick curved glass sheet. Note: small chip to underside edge. H. 740mm. W.1300mm. D.1 280mm.

$2,500 - $3,500

108

Webbs

344 An Original Playboy Bunnygirl Outfit in brown velvet and gold trim with original cuffs, collar, bunny tail, bunny ears and playboy cufflinks. Worn in 1972/1973 at the London Playboy Club. The velvet and gold trim uniform was worn for the VI.P's and Silver Service area.

$4,000 - $6,000 345 An Arne Jacobsen Red Egg Chair by Fritz Hansen upholstered in red wool on a swivelling aluminium star base. Stamped 'FH Made in Denmark', designed in 1958. Note: Fault to upholstery.

$2,000 - $4,000

,vet edglass je!s1de edge

iaorrvn-

MODERN DESIGN

1 09

346 A Pair of Early Re-issue Marcel Breuer Model B3 'Wassily' Chairs by Gavina a tubular chrome steel frame with black leather seating. Stamped 'Marcel Breuer' to leather back strap. Manufacturer's sticker to base 'Gavina Made in Italy'. Circa 1968. The B3 is an iconic chair, originally designed for Wassily Kandinsky's quarters at the Dessau Bauhaus. It was particularly revolutionary in its use of tubular steel and its method of construction. In 1962 Italian manufacturers Gavina began to re-issue the Model B3 chair and marketed the chair as the Wassily. Gavina was acquired by Knoll International in 1968. Designed in 1925. Featured in Charlotte & Peter Fiell's '1000 Chairs' page 163.

$4,000 - $6,000

34 7 A Pair of Early Re-issue Marcel Breuer Model B3 'Wassily' Chairs by Gavina As per previous lot.

$4,000 - $6,000

34 8 A Charles & Ray Eames La Chaise by Vitra in a white organic shaped fibreglass shell on a chrome rod and oak base. Vitra label to base, designed 1948. Note: Fault to fibreglass edge. Featured in Charlotte & Peter Fiell's '1000 Chairs' page 275. The chaise was submitted by the Eames' for the Museum of Modern Art's 'International Competition for Low-Cost Furniture Design in 1948. This highly abstract organic design, ironically, proved too expensive to manufacture. H.870mm. W.1500mm. D.870mm.

$5,000 - $6,000

J!O AReJ)l

CorbJ

s1.2q

J50 ARepl Corbu $2,00I 351 ARep Corbu $1,20

352 APair Cocor a,,Me 11.ack

tubular base. l acracl 1n 195 F~l's'

$5,oo

11 0

\IVebbs

350

349 A Reproduction Le Corbusier Chaise oregiasssool

tSe.Vrtra -8.Note: ,turedm JOChalra' subm~edby of Modem ionfor ~ 1948 Th~

Jn,voocalr/, 1ufaciure 0mm.

$1,200 - $1,600

350 A Reproduction Le Corbusier LC2 Sofa

$2,000 - $2,500

351 A Reproduction Le Corbusier Chair

$1,200 - $1,600

352 A Pair of George Nelson Coconut Chairs by Vitra a white fibreglass plastic seat shell with black leather upholstery on a chromed tubular steel base frame. Vitra label to base. The chair's form was inspired by a cracked section of coconut. Designed in 1955. Featured in Charlotte & Peter Fiell's '1000 Chair' page 324.

$5,000 - $7,000

357

353 A Danish Teak Chest of Drawers consisting of three long drawers with full length handle pulls. Note: damage to top.

$350-$500

354 A Danish Teak Entry Chest with two large and two small drawers on a metal four point base.

$550 -$750

354

355 A Danish Walnut Dresser divided into two sides each with two small drawers above two long drawers and original round white handles on a four point base. H. 795mm W.1525mm D.51 0mm.

$800 - $1200

356 A Set of Five Jakob Gebert Taino Chairs by Vitra an aluminium frame sandwiched between two beech veneered shell seats. Vitra label to base.

$2,000 - $2,500

357 A Pair of Danish Teak Dining Chairs by Moreddi with an elegant slatted backrest and black vinyl seat. Stamped 'Moreddi Danmark' to base.

$450 -$600

112

Webb's

360 A Danish Teak Coffee Table with two tiers of rectangular teak between four 'V' shaped splint legs.

$400-$600

3 5 8 An American Wood Coffee Table by Lane long rectangular form with ski jump ends and inlayed edging. Includes a pair of occasional tables also with ski jump ends and two drawers.

$650-$850

Iof Drawe~ drawerswmfu i:dair.getol(ll.

361 A Danish Teak Coffee Table Chest ;malldraweis se.

two tiered with a rectangular table-top and a rattan woven magazine rack. Made in Denmark by Riobelintarsia.

$400 -$500

esser achwilh etwo~ mdwhrte D.510rrlll-

359 A Set of Six Stefano Giovannoni Bombo Chairs by Magis

ak Dining

a grey plastic shell seat with chrome plated steel swivel base. Height adjustable. Magis impressed to base. H.960mm.

backrest

$1 ,200 - $1 ,600

amped iase-

362 A Florence Knoll Replica Leather Sofa a long two seater in chocolate brown leather, with tufted cushions and seats and exposed chrome legs.

$2,000 - $3,000

MODERN DESIGN

113

363 A Charles & Ray Eames Wire-Base Occasional Table by Herman Miller the table top is seven layers of Baltic Birch plywood between black laminate on a black powder coated wire base. Herman Miller label to underside. Note: small chip to corner. These small, 1 0-inch-high tables gave Charles and Ray Eames the perfect place to serve chanoyu, the traditional Japanese tea ceremony, to special guests. Designed in 1950. H.250mm.

364 A Small Rosewood Credenza with two large sliding doors on a solid base with fitted interior shelves. Note: sun fading to top. H.670mm W.1 080mm 0.425mm

$1,200 - $1 ,800

$300 -$500

365 An Antonio Citterio Ad Hoc Storage Wall by Vitra

114

Webbs

a room divider and storage unit with a grey powder coated steel carcass and white powder coated steel rear panels, with three shelves and six white file drawers and a sliding panel door in grey fabric as a pinboard. H.1630mm. W.2430mm. 0.430mm.

$2,000 - $3,000

366 A George J. Sowden

368 A Danish Teak Valet Chair

a wooden lacquered chair with black seat, blue legs, green arms and yellow rim to the backrest. Note: scratch to the seat.

in the style of Hans W egner's valet chair. With a black vinyl upholstered storage seat and back-rest with coat hanger in teak.

$400-$500

$250 -$350

Palace Chair by Memphis

36 7 A Set of Four Danish Teak

369 An Erik Buck Rosewood Armchair upholstered in black vinyl.

$200 - $300

3 70 A Set of Four Scandinavian

Dining Chairs by Dansk

Teak Dining Chairs

with a curved plywood backrest, upholstered in original green striped fabric. Stamped 'Dansk Design Made in Denmark' to base.

with contoured blade-back backrest and black vinyl seat.

$900-$1,100

$700-$900

MODERN DESIGN

115

371

A Charles Eames & Eero Saarinen Organic Chair by Vitra a laminated seat shell upholstered in Murano fabric on stained black ash legs. Vitra label to base. Made in 1940 as the contribution to the New York MoMA's "Organic Design in Home Furnishings" competition. Formally, it was ahead of its time, but owing to the lack of manufacturing techniques, never went into series production. It wasn't until after 1 950 that it became possible to manufacture larger quantities of organically shaped shell seats and market them. The first were chairs such as Eames' famous Plastic Armchair and Saarinen 's Tulip Chair.

$1,200 - $1 ,800

372 371

A Maarten Van Severen MVS Chaise by Vitra a sculptural black polyurethane foam body on a tubular chrome base with a height adjustable headrest in brown leather. Vitra label to base.

$1,800 - $2,200

3720 A Maarten Van Severen MVS Chaise by Vitra see details for previous lot.

$1,800 - $2,200

373

A Gerrit Rietveld Reproduction Red and Blue Chair by Cassina $1,250-$1,750

374

A Gerrit Rietveld Schroeder Table by Cassina in lacquered wood with a red base, black and white stand and top. Cassina Label to base. This table was designed together with the Red and Blue Chair for the Schroeder house in Utrecht 1918.H:605mm

$2,200 - $2,800

375

A Retro Teak Dining Suite with a drop leaf 'D' end table, gatefold legs and four teak ladderback chairs with upholstered striped seats. H.740mm. W.1540mm. 0.740mm.

$600 -$900

374

116

Webb's

375

'10

itbyv-rtra

Jislere(I~

>lackasn ade~1940

iewYork

in Home

iirma1~,rt OWUiglo

:ec1vi~~ ~It ,t rt became lg€/

Japedsl-M,

~first were lOIJSPas',1:

iul,pOia,,

r:loaTI fdrest

base

3 7 6 A Set of Six Dakota Dining Chairs by Cassina.

;en

with bucket seats in black leather and grey powder-coated aluminium legs.

$7,500 - $8,500

1roduction

3 7 8 A Vintage Harry Bertoia Model 421 LU Diamond Chair by Knoll Associates a chrome plated bent and welded steel rod construction. Note: original cover missing and a spot weld has come loose. Purchased by vendor in 1965. Designed in 1952. Featured in Charlotte and Peter Fiell's '1000 Chairs' page 315.

$800 - $1,200

[ ired base ~lop. iruslable lheRed cluoode! l:605rrvn

Suite table,gal~ ldderback

slnpedseats D.140nvn.

377 A Verner Panton Cone

3 79 A Jorge Pensi Artico

Table by Vitra

Table by Cassina

with a swivel tabletop in white with satin stainless steel four point base. Designed in 1958.

of rectangular shape with a sandblasted glass top and light grey aluminium frame . H.745mm. W.2100mm. D.950mm.

$1,800 - $2,200

$3,500 - $4,500

MODERN DESIGN

11 7

380 An Elegant Murano

Toso Spiral Twist Vase

of teardrop shape with an amethyst and emerald interior heavily cased in clear glass. Remains of Murano label to base. Possibly Flavio Poli for Seguso Vetri D'Arte. Note: minor flake to edge. H.280mm.

of oval shape, thick walled with fi sh scene interior. Etched 'Orrefors Graal 451 L Edw Hald. Circa 1956. H.140mm.

clear glass body with internal gold leaf. Set on a spiral base with leaf decoration. H.275mm.

3 81 A Sven Palmquist Kraka Vase by Orrefors with blue and amber glass cased clear internally, decorated with control bubbles. 1954. Etched 'Orrefors Kraka Nr 349 Sven Palmquist'. H.220mm.

$600-$800

$400-$600

$800 - $1 ,000

3 8 7 A Keith Murray Green 384 A Ruby Red Sommerso Vase of elongated teardrop shape set in clear case. H.265mm.

$120-$200

385 A Murano Barovier and

Vase by Wedgwood a footed 'Etruscan' vase with repeating horizontal incised white bands and glossy finish. With green 'KM' mark to base. Circa 1940. H.180mm.

$600-$900

with a clear case, green external ribs and gold inclusions. Faded 'Made in Italy' label to base. H.270mm.

Vase by Wedgwood

of teardrop shape with ruby and

$600-$900

amber interior set in a clear case

with a large teardrop shaped stopper. Possibly Flavio Poli for Seguso Vetri D'arte. H.420mm.

$8,00 - $1,200

Moonstone Vase by Wedgwood

392 A! Oil

of cream coloured bulbous form in lathed bands with a footed base and flared rim. Signature mark to base. Note: a small chip to side. Circa 1934. H.155mm.

$1 ,000 - $2,000

390 A Murano Barovier and Toso Ribbed Vase green and gold 'cordonata d'oro', gold inclusions with petal rim. H.250mm.

3 8 8 A Keith Murray Tall Green

Sommerso Art Glass Perfume Bottle

$400-$600

389 A Rare Keith Murray

$600-$800

Toso Ribbed Art Glass Vase

an 'Etruscan' vase with incised horizontal groups of white bands and glossy finish. With green 'KM' mark to base. Circa 1940. H.200mm.

382 A Superb Murano

Webb's

3 86 A Murano Barovier and

Fish Vase by Orrefors

$1 ,200 - $1 ,600

118

383 An Edward Hald 'Graal'

Sommerso Art Glass Vase

391 A Stunning Archimede Seguso Murano Art Glass Vase with a pink ribbed body and pinched top, decorated with two clear glass gold included leaf handles. Original 'Archimede Seguso Murano Made in Italy' label. Circa 1955. H.280mm.

$1 ,500 - $2,500

MuITay

ase d ed~klm ,lithalooted 001 S~oe

lote:asrnaldiil 934.Ht55nm

000 arovierand dVase ~-C()'lXV'cla

clus,JOS"'1h

50mm

392 A Set of Six Danish Teak Dining Chairs by Farstrup with blade backrests and reupholstered in cream fabric. Manufacturers stamp to base.

394

$1,100 - $1,300

393 A Set of Six French Teak Dining Chairs with a retro curved oval backrest, upholstered in black vinyl. Circa 1960.

$1000 - $1,200

394 A Pair of Rare Garth Chester Salon Chairs black wire frame with wire mesh curvesse shape back and seat rest, rocket shape oak arm pads, upholstered black vinyl seats. Side lever for reclining adjustment. Originally designed fo r a Hair Salon circa 1955. Note: missing footrests.

$1,500 - $2,000

395 A Danish Teak Dining Table a rectangular table with two extendable leaves. Stamped with manufacturers mark to base.

Vifl

$750 - $950

395

MODERN DESIGN

119

396 A Five Piece Dining

Teak Dining Suite

consisting of four bentwood chairs stained beech and a rectangular dining table. Thone! label to base.

includes four chairs with seagrass woven seats and a square extendable dining table. H.670mm. W.2100mm. 0.760mm

$1,000 - $1,500

$850 - $1,200

398 A Danish Modern Rosewood and Leather Lounge Suite includes a three seat sofa and three armchairs in external rosewood frames and tan buttoned leather upholstery.

$3,500 - $5,500 120

Webbs

397 A Five Piece Danish

Suite by Thonet

399 A Pair of Norwegian Leather Easy Chairs by Westnofa

402 A Set of Six Charles and Ray Eames

with a sweeping dark stained plywood frame and brown buttoned leather seat and headrest.

with black fabric upholstery on a black eiffel bases.

$1 ,800 - $2,200

$700 -$900

~'·

Reproduction Bikini Wire Chairs

400 A Danish Teak Five Piece Modular Sofa

403 A Large German Teak Credenza by Musterring Mobel

consisting of fou r seats with intern al storage on castors, upholstered in original orange fabric. Al so comes with a teak corn er side table.

with six large panel doors and a beech lined interior. Manufacturers label to interior. H.1440mm. W.28 20mm. 0 .430 mm.

$2,000 - $2,500

$2,000 - $3,000

401 A Peter Hvidt Sofa by France & Son

404 A Black Buttoned Vinyl Lounger and Ottoman

with teak frame, tapered legs and floating rectangular backrest. Upholstered in original brown wool. Includes a matching armchair. Manufacturers label to base. H.770mm. W .1940mm. D.760mm.

swivels on a chrome fo ur star base. Made for Kovacs of Chicago. Circa 1970.

$3,000 - $4,000

$1800 - $2200

MODE RN DESIGN

12 1

405 A Frem Rojle Teak Armchair

407 A Danish Teak Plywood Side Chair

with black leather seat and backrest. Stamped 'Frem Rojle Made in Denmark' to base.

with tubular chrome legs in the style of Arne Jacobsen's Series 7 chair. Stamped 'Made in Denmark' to base.

$250-$350

$150 -$250

406 A Charles & Ray Eames Yellow Fibreglass Shell Chair on an H base. Impressed 'Herman Miller' label to base.

$150-$250

408 A Charles & Ray Eames Reproduction Yellow DAX Armchair by Modernica

409 A Danish Teak Armchair by J.L. Moller

411 A

with a beautifully carved slatted back rest and re-upholstered in cream fabric. Stamped J.L. Moller Made in Denmark'. Possibly designed by N.O. Moller.

en yel

$220 -$280

gn Cc

410 A Charles & Ray Eames

412 AI En

Reproduction Red DAX Armchair by Modernica

ent FaL

a fibreglass shell with a black eiffel base.

a fibreglass shell with a chrome eiffel base.

anc

$350-$450

Col

122

Webb's

413 A Danish Teak Chest of Drawers with three drawers on a four point base

$350 -$550

411

A Limited Edition Picasso Embroidered Wall Hanging entitled 'Tete d'homme' in reds, yellows and green on a cream ground. Label verso 'Desso Art Collection' H.11 00mm x W.900mm

$600 - $900

414 A Danish Teak Chest of Drawers with three drawers and long curved handles on a four point base.

$350 - $500

412 A Limited Edition Picasso Embroidered Wall Hanging entitled 'Femme Assise dans un Fauteuil Rouge' in yellows, greens, reds and purple. Label verso 'Desso Art Collection'. H.11 00mm x W.900mm

$600-$900

415 A Danish Teak Chest of Drawers includes four drawers with full length curved handles on a four point base.

$500 - $700

MODERN DESIGN

1 23

416 A Philippe Starck Hula Hoop

418 A Pair of Philippe Starck Hula

420 An Antonio Citterio Oson S

Studio Chair by Vitra

Hoop Studio Chairs by Vitra

Studio Chair by Vitra

an orange polypropolene seat shell with integrated arms and foam upholstered seat on a five point base with castors, all in orange. Vitra label impressed to base.

a dark grey polypropylene seat shell with integrated arms and foam upholstered seat on a five point base with castors, all in grey. Vitra label impressed to base.

$700- $900

$1,400 - $1 ,800

a swisel office chair upholstered in blue Ora fabric, light grey shell, black pad arms and five point base with castors. The O son offers seat depth adjustment, height adjustable backrest and additional fine-tuning for precise setting of the back-rest tension. Vitra label to base.

422 A St ac

,nil

$1 ,000 - $1 ,500

417 A Jean Prouve Standard

419 A Jean Prouve Standard

421 A Michael Payne Expo '70

Chair by Vitra

Chair by NOVA Interiors

a black sheet steel frame and Japanese redlacquerseatand back. Vitra label to base.

a white sheet steel frame and beech veneer. Vitra label to base.

bent plywood shell with Tawa veneer and black vinyl upholstery on a four point chrome base with glides. Designed for the Geyser Room 'Expo '70 International Design Exhibition' in Osaka.

$700-$900

$750-$950

124

Webb's

423 Al a~ st bal

422 A Phil ippe Starck Hula Hoop Studio Chair by Vitra

~ueOra msar,:lfee offernseaJ ebacl<resl

- seu,ng tobase.

424 A Charles Pollock Penelope Chair by Castelli Spa

a dark grey polypropylene seat shell with integrated arms and foam upholstered seat on a five point base with castors, all in grey. Vitra label impressed to base

with a chromed tubular steel frame with steel wire mesh seating section and rubber tubing. Featured in Charlotte & Peter Fiell's '1000 Chairs' page 580.

$700 - $900

$300 -$500

426 A Pair of Ron Arad Tom Roll Chairs by Vitra a white polypropylene shell seat on a steel five point powder-coated grey base with castors. Vitra label to base.

$700-$900

-423 A Ron Arad Tom Roll Chair by Vitra a black polypropylene shell seat on a steel five point powder-coated grey base with castors. Vitra label to base.

$350 - $550

425 A Michele De Lucchi First Chair by Memphis with a grey tubular steel frame, black painted wood seat and armrests and blue backrest. Memphis stamp to base. Designed in 1983. Note: right armrest detached and repaired. Featured in Charlotte & Peter Fiell's '1000 Chairs' page 543.

427 A Single Ron Arad Tom Roll Chair by Vitra See previous lot.

$350 - $550

$350 - $450

MODERN DESIGN

1 25

4 2 8 A Pair of Kai Christiansen Teak Armchairs with re-upholstered striped fabric. Stamped 'Made in Denmark'.

$1 ,500 - $2,000

429 A Pair of Black Leather Club Chairs with exterior tubular steel chrome frame.

$1,200 - $1,800

430 A Charles & Ray Eames Set of Eight Cream Shell Chairs by Herman Miller a white moulded fibreglass seat on an aluminium 'stacking' base. Impressed 'Herman Miller' to base.

$1,000 - $1,600

431 A Scandinavian Teak Credenza with two large sliding doors on a solid base and fitted interior shelves. H.715mm W.1940mm. 0.375mm

$1,400 - $2,000

126

Webbs

43 2 A Pair of Ron Arad Tom Vac Chairs by Vitra in blood orange with chrome legs.

$400-$500 433 A Jakob Gebert Taino Chair by Vitra an aluminium foil frame sandwiched between two beech veneered shell seats. Vitra label to base.

$500-$700 434 A Jean Prouve Standard Cha ir by Vitra a black sheet steel frame and beech veneer. Vitra label to base.

432

436

$700 - $900 435 A Ron Arad Tom Vac Chair by Vitra in blue with outdoor legs.

$250 -$350 436 A Jakob Gebert Ta ino Chair by Vitra an aluminium foil frame sandwiched between two black painted beech veneered shell seats. Vitra label to base.

$450 - $650 437 AJakobGebertTaino

433

Chair by Vitra an aluminium foil frame sandwiched between two white painted beech veneered shell seats. Vitra label to base.

$450 -$650 43 8 A Set of Six Philippe Starck Loulou Chairs by Vitra front legs and seat moulded light grey polypropylene with steel rear legs in powder-coated grey. Vitra label impressed to base.

$600 -$800 439 An Antonio Cittero Visalounge Cha ir by Vitra with a chrome cantilevered frame, black padded arms and upholstered in black wooltop fabric. Vitra tag to seam.

434

438

435

439

$1,000 - $ 1,500

MODERN DESIGN

1 '27

447 A

'P WI

448 A Ci ~

an ci! an

449 A 0

150 A 440 A George Nelson Side Table with a circular white laminate top and white metal base on four swag legs. H.530mm. Diam.430mm

442 Three Rare Timo Sarpaneva Sun Balls for littala with internal thread. Designed in 1960.

$800 · $1 ,600

444 A George Nelson Side Table with a circular white laminate top and white metal base on four swag legs. H.530mm. Diam.430mm.

$400 · $600

of I~

451 :.1 SI wit

452 A

453 A of•

shl

454 AI Pi ora Ira

di fl

$8 455 Ac Sil ITT

441 A Hans Bellman Colonial Table by Vitra constru cted of three cross-section beech legs, maple underside of tabletop, bevelled black edge and a cherry wood top. Vitra label to base. Designed in 1948. H.51 5mm Diam.620mm.

$600 · $900

128

\Nebtis

443 Three Rare Roberto Sambonet Aperitif Glasses by Baccarat crystal glass sommerso with exaggerated base. Baccarat France etched to base. Featured in Federico Motta Editore's 'Robert Sambonet' page 11 8-119.

$650 · $950

445 A Rennie McIntosh Reproduction Argyle Chair

black lacquered ash frame and seat upholstered in blue fabric.

456 An

$1 ,500 · $2,000

Su N

446 A Selection of Midwinter 'Spring Willow' Dinnerware of two covered dishes, two platters plus cup and saucer in Spring Willow pattern.

$200 - $250 44 7 A Midwinter Nurseryware 'Playtime' Plate a rare pattern, in Fashion shape with original shop label.

457 An Unusual Ping Pong Table Lamp by Bloomfield on a wooden painted black rocket shaped stand with tripod legs on aluminium pad feet. Central glass table and aluminium shade with inset ping pong balls. Signed 'Bloomfield 95 '. H.1600mm.

$650 -$900

$100-$150

458 Three Midwinter Stonehenge Soup Bowls

448 A German Donatus Cigar Clipper

in 'Sun' pattern, includes additional Stonehenge soup bowl.

in brass with a rosewood handle and a Pfeiling stainless steel cigar clipper. Also includes an AEG leather cigar case.

$20-$50

$80-$120 459 Three WMF lkora Silver Plate Dishes

449 A Set of Three Small Oak Nesting Tables $100-$200

with two plates set on ball feet and one without. Decorated with Gypsy lady, starburst and engraved pattern. All stamped to base. Circa 1955.

450 A Teak Dressing Mirror

$120-$160

of rectangular form with a teak frame and mount.

461 Glazed Ceramic Abstract Pattern Lamp tall, cylindrical with green and blue wax resist glaze, incised scroll patterns and green drum shade. Signed 'J H 1969' to base.

$50-$100 462 A Reproduction Eileen Gray E1027 Side Table in tubular chrome steel with glass top. Height adjustable. Designed 1927.

464 A Teak Wall Mirror of rectangular form with a teak frame.

$130-$160 465 An Impressive Modernist Chrome Chandelier of large proportions, consisting of five globe lamps on long cylindrical chrome mounts attached to a central circular chromed band. Circa 1980. H.900mm. Diam.11 00mm.

$800 - $1 ,200

$150 -$250 466 A Wicker Peanut Chair 463 A Retro Orange Plastic Picnic Set in a rounded square form which cleverly packs up into itself to hold a four place setting. Also with an orange plastic serving dish.

on black wire base. Note: Minor hole in weave. H.1320mm.

$300-$500

$80-$120

460 A Reproduction Eileen Gray E1027 Side Table

$120-$150

in tubular chrome steel with glass top. Height adjustable. Designed 1927.

451 A Chrome Art Deco Standing Lamp with a large white glass globe lamp mounted in a chrome crescent. H.1600mm.

$150 - $250

$200 -$300 452 A Crocodile Skin Wallet of slim rectangular shape in chocolate brown.

$30-$50 453 A Crocodile Skin Wallet of slim rectangular shape in black.

$40-$60 454 A Pac-A-Pie Orange Picnic Set includes a stack of alternating orange and white rectangular trays each with own serving dish, cutlery, cups etc. Made in England. Circa 1970.

$80-$120 455 A Set OfThree Teak Side Tables in rectangular form, stained wenge.

$100-$200 air 1d ic.

456 An Oval Teak Surfboard Mirrore f j Note: Mirror loose. f1.

mm.

378

$280- $320

MODERN DESIGN

1 29

46 7 An Antonio Citterio Oson S Studio Chair by Vitra a swivel office chair upholstered in blood-orange leather, black shell, black pad arms and five point polished steel base wi th castors. The Oson offers seat depth adjustment, height adjustable backrest and additional fine-tuning for precise setting of the back-rest tension. Vitra label to base

$1,500 - $2,000 468 A Pair of Antonio Citterio Tonix Chairs by Vitra

467

•

471

red Ora fabric back and seat with integrated arms and chrome legs on castors. Vitra label to base

$800 - $1,000 469 An Antonio Citterio Tonix Chair by Vitra dark grey Ora fabric seat and plastic back with integrated arms and chrome legs on castors. Vitra label to base.

$400-$500 4 70 A Pair of Alberto Meda Medaslim Chairs by Vitra

468

•

with a white frame , black netweave back support, black leather seat and integrated polished chrome arms and rear legs. Vitra label to base .

$1,500 - $1 ,800

472

4 71 An Alberto Meda Medaslim Chair by Vitra with a white frame, grey netweave back support, green Ora upholstered seat with integrated arms. Vitra label to base.

$500 - $700 4 72 An Antonio Citterio Visavis Chair by Vitra

• 469

•

with a cantilevered chrome tubular steel frame, black foam seat and a transparent back rest. Vitra label to base .

$450 - $650

•

4 73 An Antonio Citterio Visavis Chair by Vitra

473

with a cantilevered chrome tubular steel frame, red foam seat and a grey back rest. Vitra label to base.

$450-$650

4 7 4 A Mario Botta Second a 602 Chair by Alias Spa With an epoxy coated steel frame and perforated sheet steel seat and an expanded polyurethane backrest. Featured in Charlotte & Peter Fiell's ' 1000 Chairs' page 568.

$350-$450

470

130

Webb's

474

4 7 5 A Teak Slat Table Lamp of cylindrical form covered with vertical slats with a woven drum shade.

$80-$120

481 A Scandinavian Teak Ice Bucket $100-$150 48 2 A Danish Teak Salt &

4 8 7 A Black Amorphic Art Glass Vase in an abstract bowl shape with pierced sides and decorated with white stripes.

$250-$350

Pepper Mill by Dansk

4 7 6 A Scandinavian Teak Magazine Rack

pepper mill is a grinder and the salt is a shaker both, circular cased in teak.

of oval shape with spindle sides.

$80-$120

$70-$100 483 A Chrome and Teak Table Lamp

4 77 Four Teak Lidded Canisters in descending order of size.

$50-$80

of cylindrical form with the lower base in chrome and upper base in teak. A tan fabric drum shade mounted on a teak ball.

$400-$550 478 An Unique Driftwood Sculpture in a gnarled abstract shape and weather worn, resembling a Rorschach inkblot test. Set on a steel rod and black plinth. H.820mm.

$500-$800 4 79 A Teak Lidded Bucket $70-$90

480 A Jens Quistgaard Teak Ice Bucket by Dansk

$250-$350

484 A Teak Salad Bowl $35-$50 485 Ross McBride Ripple Artwork Artwork comprising four panels of moulded plastic with rippling shape to each.

$800-$1200

488 Two Murano Sommerso Vases one red and yellow the other green, both square sectioned in clear case. Both with original label. H.160mm.

$150- $200 489 A Kaj Franck Chestnut Dish by Nuutajarvi Notsjo with three Kosta Boda pieces with smoke glass interior and clear case. Each piece signed.

$200-$300 490 A Bertil Vallien Satellite Vase by Kosta Boda with a freehand lustre decoration with gold leaf accents and a clear stem ringed by a blue rim. H.31 0mm.

$300-$500 486 Four Miniature Art Glass Dishes including a Tapio Wirkkala engraved vase, a Kaj Franck chestnut dish (with chip), a thick walled red dish and a Murano incaminciato dish.

$120 - $220

491 A Murano Facet Cut Sommerso Vase with pink interior with a clear case. Original label. H.190mm.

$50-$100

MODERN DESIGN

131

492 A Pair of Art Glass Vases by Kosta Boda and Stromberg a Strombergshyttan assymetric curved heavily cased yellow glass vase by Gunnar Nylund. Kosta Boda similar shape but smoke glass by Vicke Lindstrand. Circa 1959.

$200-$300 493 A Teal Sommerso Art Glass Vase of amorphic form, white wash interior in a clear case. H.225mm.

$80-$120 494 A Sapphire Blue Sommerso Vase of elongated teardrop shape set in clear case. H.260mm.

$80-$120

502 A Double Cased Sommerso Vase with a purple interior and green case. Note: interior chip. H.220mm.

$60-$80

Art Glass Vase with a blue interior, domed lid and a prominent spike.

A Pair of Mies Van der Rohe Brno Chairs in chrome and black leather.

521

$2,500 - $3,000 512 A German Keramic Lime Green Studio Jug

503 A Giant Glass Bottle of clear yellow tinted glass in cylindrical form tapering to the top with a red flared rim and stopper. H.860mm. Diam.200mm

$300-$400

of cylindrical form with a pinched neck, square handle and blue interior. With original label. H.205mm.

522

$50-$80 513 A Reproduction Marcel Breuer Wassily Chair

504 Two Cortendorf

$800 - $1,000

Nude Figurines of an Asian Girl and an African girl both handpainted black on plaster.

$180-$220 505 A Large Black Lady Wall Hanging

4 9 5 A Green Lidded

511

514 A Reproduction Marcel Breuer Wassily Chair

523

$800 - $1,000 515 A Danish Studio Vase by Lehmann

in profile, painted black plaster with gold hoop earrings. H.400mm.

with a red glazed rim on an unglazed flared clay base. Stamped to base and original sticker. H.11 5mm.

$250-$350

$20-$50

524

$200-$300 506 An Bavarian Ceramic

Art Glass Duck

cased clear over milk glass and a blue wash. Etched 'Coquille'. L.325mm.

with a scene of Venice on a triangular plate. Also includes a vintage S&G hanging black spill vase.

triple cased in green orange and clear glass. H.200mm.

$200-$400

$20-$30

Coquille Blue Bowl

497 A Large Orange

507 A German Studio Vase

with a mottled orange exterior, solid yellow interior and a black rim. H.21 0mm.

in the shape of a handled jug with a brown mottle glaze and incised scroll pattern. H.510mm.

$300-$450

$120-$140

498 A Murano Pink Dish

508 A Large German

Garry Nash Bowl

rectangular, thick-walled serving dish in pink case with flashes of green.

$100-$140

Studio Vase with a mottled black and white lower half and yellow top. H.500mm. Diam.250mm.

$150-$180 499 A Garry Nash Teal Crackle Vase

-.~

Eagle Figure handpainted in full flight set on a cream coloured stylised rock plinth. H.390mm.

$450-$550

$170-$250

500 A Murano Ruby

510 A Leda and the Swan

Red Fish Vase

Figure Group by Lenci

standing upright on fins and tail. With original label. H.270mm.

of a hand painted nude reclining Leda, marked '520' to base and handpainted swan in gold highlights. Signed 'Lenci (ltalie)'. Note: both with faults. Circa 1950.

• Sommerso Vase of elongated triangular shape in a clear case. H.240mm.

$60-$80

Webb's

509 A German Ceramic

of circular shape patterned with ruby dots and a yellow crackled matte exterior. Signed 'Nash '02'. H.250mm.

$220 -$320

132

516 A Green Murano

Hanging Wall Plate

496 A Large Flygsfors

400- 800

$100-$150

525

517 A German Blue Studio Vase of cylindrical form in tiered sections with a streaked blue and white over-glaze. H.250mm

526

$50-$80 518 A Richard Ginori

527

Terracotta Red Glazed Vase on a footed base with a flared rim. Decorated with mermaids in relief. Signed to base. H.230mm.

528

$300-$400 519 A Pair of Vintage Cake Platters both rectangular with prints of serenading couples on a cream ground.

529

$40-$60 520 A Nymphenburg Hall Stand by Blumel

530 J

manufactured by Classicon circa 2000. Designed in 1908. Note: Missing finial. H.181 0mm.

535 t

5 3 2 A Charles & Ray Eames Shell Seat Desk Chair by Herman Miller

521

A Three Headed Table Lamp

a green moulded fibreglass seat on an aluminium 'stacking' base with an attached plywood white laminate desktop. Impressed 'Herman Miller' to base.

with brass base and three adjustable cone aluminium shades.

$150-$180

$200 -$300

522 A Teak Love Heart 533 An Antonio Citterio

Table Lamp

Visavis by Chair Vitra

with a heart shaped teak and brass frame and two internal lights. Note: one glass shade missing.

with a chrome cantilevered tubular steel frame, red foam seat and black backrest. Vitra label to base.

$240 -$300

$450 - $650

523 A George Nelson

534 A Mario Botta Quinta

Medium Cigar Ceiling Lamp by Modernica

605 Chair by Alias Spa with an epoxy coated black steel frame and perforated steel back rest. Featured in Charlotte & Peter Fiell's '1000 Chairs' page 568.

made of steel frame and white polymer covering. Designed in 194 7.

$450-$600

$350-$450

524 A George Nelson Large Saucer Table Lamp by Modernica made of a steel frame, white polymer covering and tripod base.H.400mm. Diam.900mm.

$450 -$600

5 2 5 An Art Deco Style Teak Table Lamp

$200-$300

526 A Ronan & Erwan Bouroullec Zip Rug in dark brown felt with zipper.

$700 - $900

527 A Ronan & Erwan Bouroullec Zip Rug in light brown felt with zipper.

$700 - $900

528 A Danish Teak Dri nks Trolley with orange tile inlay decoration.

$100 - $250

529 A Set of Three Danish Teak Nesti ng Tables by Bramin

.....

533

$100- $200

530 A Set OfThree Teak Nesting Tables with orange tile decoration.

$100 -$200

535 A Danish Teak Book Shelf 531 .1 850mm. W.1 000mm. 0.300mm.

$600-$800

MODERN DESIGN

133

5 3 5 A Reproduction

545 A Scandinavian Teak Dining Table

Ludwig Mies Van der Rohe Brno Chair

of oval shape, extendable with two leaves.

with a chrome tubular steel cantilevered frame and black vinyl upholstery.

$250-$350

536 A Scandinavian Teak Credenza with two sliding doors to the left and a bank of drawers to the right. H. 780mm. W.1920mm. 0.440mm.

$1,600 - $2,000

5 3 7 A Peter Hvidt Teak Coffee

$450-$650 546

by Lane of square construction with mortise and tenon tabletop detail, high stretchers and brass capped feet.

$350-$550

547 A KatyWallace Side Table with a red lacquered top on a plexiglass 'X' base.

$750-$950

Table by France & Son a corner table with missing lower half.

$300-$400

538 A Set ofThree Salon

548 A Katy WaUace Eclipse Table a white laminated oval top on a plexiglass 'X' base.

$1,700 - $2,000

Portrait Prints ex Winters hair salon.

$700-$900

539 A Scandinavian Teak Drinks Trolley of rectangular shape, contour handled with two shelves: Note: wheels or glides missing.

$280 -$320

549 A Small Danish Teak Side Table by OG Mobelfabrik of rectangulai shape. • Manufacturers label ,. to base. H.385mni . .• W.490mm. 0.400mm .

. $80: $120

550 A Danish Teak . Entrance Table

540 A Danish Teak Chest of Drawers consisting of six drawers with recessed handles.

$400-$700

541 A Danish Teak Chest of Drawers with four drawers and recessed handles on a four point base.

$400-$600

542 A Stefan Ronde Entertainment Unit rectangular carcass in beech veneer with distinctive wavy contoured sides on iron scroll feet. H.1 050mm. W.930mm. 0.595mm.

$400-$500

with the front divided by a door to the right which opens to reveal shelves and a drawer to the left above a storage recess, set on round teak legs.

$300-$400

551 A Stefan Ronde Dining Table rectangular solid beech top with aluminium cabriole legs. H.900mm. W.580mm. 0.950mm.

$1,000 - $1,400

552 A Pair of Mirrored Bedside Tables completely encased in gilt mirror with a scallop handled drawer and open cupboard on four bevelled legs. Note: cracks to glass and small piece missing. H.695nim: .. W.520mm. D.41 o'nim'.".•··,; ·.

; $500 .-_$700/;

554 A Glazed Rooster

562 A Blue Sommerso

Studio Jug

Art Glass Vase

in a variety of vivid colours with the handle incorperated into its back and open beak as a spout. H.265mm.

with clear case and blue wash. Note: minor chips to base. H.295mm.

$150 - $200

$70 -$100

563 A Sapphire Blue 555 A Sven Palmquist Kraka Vase by Orretors with blue and amber glass cased clear internally, decorated with control bubbles. 1954. Etched 'Orrefors Kraka P322 Sven Palmquist' Note: chip to base. H.350mm.

$300-$400

556 A Sven Palmquist Kraka Vase by Orretors with blue and amber glass cased clear internally, decorated with control bubbles. 1954. Etched 'Orrefors Kraka P322 Sven Palmquist' Note: chip to base. H.350mm.

Sommerso Vase of elongated triangular shape in a clear case. H.225mm.

$60-$80 564 A Large Red Garry Nash Murini Vase of broad circular shape with glass inclusions of intermingling blues, greens and gold. H.42 5mm. W.425mm. 0.120mm

$1,800 - $2,200

565 A Timo Sarpaneva Art Glass Beaker by littala

5 70 A French Chrome

A tall blue sommerso beaker in a clear case. Etched 'Timo Sarpaneva 3288'. H.390mm.

Table Lamp

$250 - $350

$220 -$350

$300-$400

557 A Bertil Vallien Art Glass Bowl by Kosta Boda with a blue rim and two blue etched abstract figures on a clear frosted ground. Etched ' Boda Bertil Vallien Unique' Diam.325mm ..

$200-$400 558 A Riedel Cut Crystal Plate and Bowl both with a deep cut 'V' shaped pattern. Marked JR.

$100-$200

crescent shape with a shallow dome shade.

566 A Tall Art Glass Vase with a clear case and vertical blue latticino pattern. Etched indistinct signature NZ 90. H.3 15mm.

$200 - $300 56 7 An Orrefors Crystal Bowl of thick walled swirl pattern with lobe shaped edges. Etched 'Orrefors'. Diam.235mm.

$100-$200

568 A Lyndsay Patterson Green Landscape Vessel

559 A Ruby and Yellow Sommerso Perfume Bottle ruby and topaz interior set in a clear case. Square sectioned with sloped shoulders and square stopper. H.250mm.

$250-$350 560 A Keith Murray Glass Vase for Brierley of large goblet shape on a raised foot, cut with vertical convex circle pattern. H.200mm

$800 - $1,200 561 An Abstract Pattern Glass Vase with a pinched waist and flared neck with alternating pattern of coloured glass and floral engravings. H.1 80mm.

of oval shape with a carved green top and a black base engraved with prose. Etched 'L Patterson 2001 AD NZ'. H.170mm.

$250 -$450

569 A Reproduction Ludwig Mies Van der Rohe Brno Chair with a chrome tubular steel cantilevered frame and black vinyl upholstery.

$250 -$350

571 An American Mahogany Chest of Drawers with fou r drawers and full length handle pulls with metal inlay, on a four point stretcher base. Made in the U.S.A. H.820mm W.845mm 0.460mm

$600 -$900

$100 -$200

MODERN DESIGN

135

A-Z Dealer Gallery Guide

>> North Island

Bath Street Gallery

www.artisgallery.biz art1s@art1sgallery.biz

www.bathstreetgallery.com info@bathstreetgallery.com

47 High St Suite 4J Auckland Tel: (09) 377 4788 Mob: (021) 47 10 47

280 Parnell Rd Parnell PO Box 37-673 Auckland Tel: 09 303· 1090

43 Bath St Parnell Auckland Tel: (09) 3775171

DIRECTOR:

MANAGER:

Georgina Ralston & Bridget McIntosh

Anna Miles

Sarah Gordon

2 Morgan St Newmarket Tel: (09) 302 2599

DIRECTOR: Anna Bibby

OPENING HOURS: Tuesday· Friday 11am · 5pm Saturday 11 am · 3pm

OPENING HOURS:

Wednesday · Friday 11am-6pm Saturdays 11 am · 4pm

Monday · Friday 10 am - 5.30 pm Saturdab 1 0 am - 4pm Sunday y appointment

DIRECTOR: OPENING HOURS: Tuesday· Friday 10am · 5.30pm Saturday 11 am · 3pm

BlackBam

Bowen Galleries

City Art Rooms

FHE Galleries

FISher Galleries Auckland

www.bowengalleries.com jennyneligan@bowengalleries.co.nz penneymoir@bowengalleries.co.nz

www.ci_tyartrooms.co.nz 1nfo@crtyartrooms.co.nz

www.fhegalleries.com fhe_galleries@xtra.co.nz

www.fishergalleries.co.nz auck@f1shergalleries.co.nz

35 Ghuznee St Wellinjjlon Tel: (0 )3810351

Level 1 28 Lorne St Auckland CBD Tel: (09) 308 9855

2 Kitchener St Auckland Tel: (09) 302 4109

66 Parnell Rd Parnell Auckland Tel: (09) 3777962

DIRECTOR:

Jenny Neligan & Penney Moir

Kylie Sanderson

DIRECTOR: Bron Thorp

OPENING HOURS:

Monday · Friday 10.30am • 5.3og,m Satur ay 10am · 3pm

Monday · Friday 10am · 6pm Saturday 11 am · 4pm

Wednesday · Saturday 12pm· 4pm

DIRECTOR: Kathlene Fogarty

OPENING HOURS:

DIRECTORS: John & Simon Fisher

OPENING HOURS:

Monday 10am · 4pm Tuesday· Friday 10am · 5pm Saturday 11 am · 2pm or by appointment

Monday · Friday 9am · 5pm Saturday 1 0am · 4pm Sunday 11 am · 4pm

Gow Langsford Gallery

Hamish McKay Gallery

Ivan Anthony

Janne Land Gallery

www.gowlangsfordgallery.co.nz 1nfo@gowlangsfordgallery.co.nz

www.hamishmckaygallery.co.nz 1nfo@hamishmckaygallery.co.nz

www.ivananthony.com 1van@ivananthony.com

www.1anneland.co.nz 1nfo@Janneland.co.nz

154 Featherston St Wellin~ton Tel: (0 ) 4996356

Cnr Kitchener St & Wellesley St East Auckland Central Tel: (09) 303 4290

1st Floor 39 Ghuznee St Wellinjjlon Tel: (0 ) 472 6638

31 2 Karanjaha~e Rd 1st Level, NZ ank Auckland Tel: (09) 3771229

Unit 1 , 13 Jessie St Wellinjjlon Tel: (0 ) 3842912

DIRECTORS:

Hamish McKay

DIRECTOR:

Janne Land

John & Simon Fisher

John Gow & Gary Langsford

OPENING HOURS:

Monday · Friday 9am · 5pm Saturday 1 0am · 4pm

Monday · Fridai 10am · 6pm Saturday 11 · pm

Jensen

John Leech Gallery

Judith Anderson

www.jensengallei.com andrew@jensena ery.co.nz

www.iohnleechgallery.co.nz 1nfo@Johnleechgallery.co.nz

www.judith-anderson-gallery.com jagalleryhb@xtra.co.nz

www.lanegallery.co.nz lane.gallery@xtra.co.nz

www.mh~allery.co.nz mark@m gallery.co.nz

Cnr McColl & Roxburgh Sts Newmarket Auckland Tel: (09) 5205880

Cnr Kitchener St & Khartoum Place Auckland Central Tel: (09) 303 9395

29 Hastings St Napier Tel: (06) 8355607

33 Victoria St East Auckland City Tel: (09) 302 5295

216 Willis St Wellinjjlon Tel: (0 ) 3851699

DIRECTOR:

DIRECTORS:

DIRECTOR:

Andrew Jensen

Judith Anderson

Linda Chalmers

Mark Hutchins

John Gow & Gary Langsford

OPENING HOURS:

Tuesday · Friday 1 1am · 5pm Saturday 11 am · 3pm

Monday · Friday 1 0am · 6pm Saturday 10am · 4pm

Tuesday· Friday 10.30am · 5.30pm Saturday 11 am · 3pm

FISher Galleries Wellington www.fishergalleries.co.nz wgtn@fishergalleries.co.nz

OPENING HOURS:

Tuesday · Friday 11 am · 5pm Saturday 11 am · 2pm

Monday · Fridai 1 0am · 6pm Saturday 11 · pm

Mary Newton

McNamara Gallery Photography

www.marynewtongallery.com ma:7.·1ane.duffy@marynewtongallery.co.nz pau a.newton@marynewtongallery.co.nz 150 Vivian St Wellin~ton Tel: (0 ) 3 8 51699

DIRECTOR:

Webbs

Artis

www.annabibbygallery.com annab1bby@xtra.co.nz

www.blackbarn.com/gallery bront@xtra.co.nz Black Barn Vineyards Black Barn Rd RD 12 Havelock North Hawkes Ba~ Tel: (06) 87 7985

136

Anna Bibby Gallery

www.mcnamaraco.nz mcnamaraphotogal@xtra.co.nz 190 Wicksteed St

Wanganui Tel: ( 6) 348 7320 Mob: 027 249 8059

Mary-Jane Duffy & Paula Newton

DIRECTOR:

OPENING HOURS:

Paul McNamara [aipad member]

Tuesday · Friday 10am · 5pm Saturday 1 1am · 4pm

OPENING HOURS: Tuesday · Saturday 11 am • 3pm

DIRECTOR: OPENING HOURS: Wednesday · Fnday 11 am · 6pm Saturday 11 am · 4pm

DIRECTORS:

Ivan Anthony

OPENING HOURS:

Tuesday· Friday 11 am· 4.30pm Saturday 11 am · 2pm

Tuesday· Friday 11 am· 5pm Saturday 11 am · 3pm

Mark Hutchins

McPherson

Michael Lett

Milford Galleries Auckland

www.mcphersongallery.co.nz mcpgall_qu1k@ihug.co.nz

www.michaellett.com contact@michaellett.com

www.milfordgalleries.co.nz auckland@m1lfordgalleries.co.nz

Level 2 cnr Vulcan Lane & High St Auckland Tel: (09) 3573512

4 78 Karangahape Rd Newton Auckland Tel: (09) 3034211

26 Kitchener St Auckland

DIRECTOR:

Cliff McPherson

Michael Lett

OPENING HOURS:

Tuesday · Friday 11 am · 5pm Saturday 11 · 3pm

Tuesday · Friday 11 am · 6pm Saturday 11 am · 3pm

Tel: (09) 3097448

MANAGER: Julie Picot

OPENING HOURS: Tuesday· Friday 10am · 5.30pm Saturday 1 0am · 4pm or by appointment.

~ Bashionf

Momentum Gallery www.momentumgalle~.co.nz martin@momentumga ery.co.nz 1/182 Jervo,s Rd Herne B'j'., Auckland Tel: (09) 76 4749 Mob: 021 805 907

DIRECTOR: Mart,n Ball

8:f.Art pus Rex

Peter Md.eavey mcleavey@brown1ngs.co.nz

www.orexgallery.co.nz orex@xtra.co.nz

147 Cuba Street St Wellinton Tel: (0 ) 3847356

1st Floor 32 Lorne St (entry at Kartoum Place, Kitchener Street) Auckland Tel: (09) 379 0588

Roger Williams Contemporary

Sanderson Contemporary

www.rogerw1lliamscontemporary.com enquiries@rogerw1ll1amscontemporary.com

1nfo@sanderson.co.nz 251 Parnell Rd Parnell Auckland Tel: (09) 374 4476

Peter McLeavey

61 Randolph St Newton Auckland Tel: (09) 3772695

OPENING HOURS:

DIRECTORS:

Wednesdab · Saturday 11 am · 5pm and y appointment.

Kylie Sanderson

Melanie Roger and Guy Williams

OPENING HOURS:

Rex Armstrong & Jennifer Buckley

OPENING HOURS:

Tuesday · Fndj, 10 · 5pm Saturday 11 - pm

Monday · Friday 10am - 6pm Saturday & Sunday 11 am · 4pm

DIRECTOR:

DIRECTORS:

Monday · Saturday11 am · 5pm

DIRECTOR:

Seed Gallery

SOCAgallery

Smyth Galleries

Starkwhite

Sue Crockford Gallery

www.seedgallery.co.nz ,nto@seedgallery.co.nz

www.soca.co.nz

soca@clear.net.nz

www.smythgalleri_es.co.nz 1nfo@smythgalleries.co.nz

www.starkwh,te.co.nz starkwhite@starkwh,te.co.nz

www.suecrockford.com suecrockfordgallery@xtra.co.nz

23a Crowhurst St Newmarket Auckland Tel: (09) 522 5360

74 France St Newton Auckland Tel: (09) 529 0533

4 1 Jervo,s Rd St Marys Bay Auckland Tel: (09) 3606044

510 Karangahape Rd Auckland Tel: (09) 3070703

DIRECTORS:

DIRECTOR:

DIRECTORS:

Suite 2C Endeans Building 2 Queen St Auckland Tel: (09) 3095127

Emma Pritchard & Kate Mullins

Charles Tongue &Ana lvanov,cTongue

Keiran Smyth

John McCormack & Dominic Feuchs

DIRECTOR:

OPENING HOURS: Tuesday to Frida,)'. 1Oam · 5pm Saturday & Sun ay 11 am - 4pm

Sue Crockford

OPENING HOURS:

OPENING HOURS: Monday · Friday 1Oam · 6pm Saturday 11 am · 4pm

OPENING HOURS:

Tuesday· Sunday 1Oam - 5pm

Tuesday· Friday 11 am - 5pm Saturday 11 am · 3pm

Tim MeMlle Gallery

Tinakori Gallery

Two Rooms

Vavasour Godkin Gallery

Warwick Henderson

www.t,mmelville.com tim@t1mmelville.com

www.t,nakorigallery.co.nz 1nfo@tinakongallery.co.nz

www.tworooms.org.nz

www.warwickhenderson.co.nz

1nfo@tworooms.org.nz

www.vavasourgodkingallery.co.nz antart@xtra.co.nz

2 Kitchener St Auckland CBD Tel: (09) 302 4110 Mob: 021 300 893

42 Victoria St Wellinjjlon Tel: (0 ) 471 2636

16 Putik, Street Newton Auckland Tel: (09) 360 5900

Level 2 35 High St Auckland Tel: (09) 309 9665

DIRECTOR: T,m Melville

OPENING HOURS: Tuesday - Friday 11 am - 6pm Saturday 11 am · 3pm

DIRECTORS: Marcia Page and James Blackie

OPENING HOURS: Monday - Friday 10am - 5:30pm Saturday 1Oam-4pm

www.whitespace.co.nz

dwhite@whitespace.co.nz 12 Crummer Rd

~~~~~~~

Tel: (09) 3616331 Mob: 021 639 789

DIRECTOR: Deborah White

South Island 64zero3 www.64zero3.com ga1lery@64zero3.com 11 7 Manchester St Christchurch Tel: (03) 3778284

OPENING HOURS:

DIRECTORS:

Tuesday· Friday 11 am · 6pm Saturday 11 am · 4pm

Julia Morison & Helen Calder

1nfo@warw1ckhenderson.co.nz 32 Bath St Parnell Auckland Tel: (09) 3097513 Mob: 0274 401 665

DIRECTOR:

Jenny Todd

Antoinette Godkin

DIRECTOR:

OPENING HOURS:

Warwick Henderson

Tuesday - Friday 11 am - 6pm Saturday 11 am · 3pm

Tuesday· Frid6, 10.30am - 5pm Saturday 10.3 am - 2pm

>> Backspace

whitespace

Art

www.sanderson.co.nz

OPENING HOURS: Monday · Friday 1Oam · 5.30pm Saturday · Sunday 1Oam - 4pm

Brett McDowell Gallery

Brooke Gifford Gallery

www.backspaceart.com simon@backspaceart.com

brettmcdowellgallery.com brett@brettmcdowellgallery.com

www.brookegiffordgallery.co.nz info@brookegiffordgallery.co.nz

134 Victoria St, Christchurch Tel: (03) 37 79918

5 Dowlin~ St, Dunedin Tel: (03) 775260

First Floor 11 2 Manchester St Christchurch Tel: (03) 366 5288 Mob: 0274 898 656

DIRECTORS:

DIRECTOR:

Simon & Michael Fisher

Brett McDowell

OPENING HOURS:

Monday · Friday 9am · 5pm Saturday 1Oam - 4pm Sunday 11 am - 4pm

Monday · Frida 10.30am - 5.3 pm Saturday 11 am · 1pm

DIRECTOR: Judith Gifford

OPENING HOURS: Tuesday· Friday 11 am· 5pm Saturday 11 am - 2pm

OPENING HOURS: Tuesday· Friday 11 am · 5pm Saturday 11 am · 3pm

Dobson Bashford www.dobsonbashford.co.nz info@dobsonbashford.co.nz 11 2 Peterborough St Christchurch Tel : (03) 3772327

DIRECTORS: Phillipa Dobson & Susie Bashford

OPENING HOURS: Tuesday - Friday 11 am · 5pm Saturday 11 am · 1 pm

Fisher Ga~ies Christchu www.fishergalleries.co.nz chch@fishergalleries.co.nz 134 Victoria St Christchurch Tel: (03) 3796718

DIRECTORS: John & Simon Fisher

OPENING HOURS: Monday - Friday 9am · 5pm Saturday 1Oam · 4pm Sunday 11 am · 4pm

Jonathan Smart

Milford Galleries Dunedin

Nadene Milne Gallery

www.jonathansmartgallery.co.nz 1smart@caverock.net.nz

www.milfordialleries.co.nz info@milford ouse.co.nz

www.nadenemilnegallery.com nadene@nadenem1lnegallery.com

1st Floor, 160 High St Christchurch Tel: (03) 3657070

18 Dowling St Dunedin Tel: (03) 477 7727

DIRECTOR:

DIRECTORS:

Jonathan Smart

Stephen Higginson & Nik, Stewart

16 Buckingham St (behind Pharmacy) Arrowtown Tel : (03) 442 04 67 Mob: 0274 401 665

OPENING HOURS: Wednesday - Friday 10.30am - 5.30pm Saturday and Sunday11 am · 3pm or by appointment.

OPENING HOURS: Monday · Friday 830am · 5 :30pm, Saturday: 1O:OOam 4:00pm and by appointment.

DIRECTOR: Nadene Milne

OPENING HOURS: Wednesday · Sunday 11am - 5pm or by appointment

GALLERY GUIDE

137

CONDITIONS OF SALE FOR BUYERS "ebbsha•esel !"OS8•110are~ 1. 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 purchase price Webb's will apply a buyer's premium of 1 2.5% of the hammer price (unless otherwise stated) together with GST on such premium. 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 worki ng 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. 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 satisfied 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 deficiency 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 notification 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.

~/,l()IISOfsal1

tesa;eroomReg,tra:j)/1: All ,iceot,ondesk BlJYINGAIAU( 1,FJoor Biddera

Er!iire~alyou ~~~1syouha Beawarelhala spayablebyrul oflhebi.rera'pri

areawareollhe holding up your I aWfromyouat l)'tne\\!009101 ;o,~:ed. Wailing •1 ~.knockeo

t~~l

2Sa!es Sub1ec1 I \\lereyourb~i! )OOIObe~e 'b ~oodng and 111

IIOOO(accepls& l!ildordoesnoll 'ralnghllonegoU aooWebb'swill ~-

3.Ahsentee Bds Wcl:l!s w, ende

mplnorespons ~. ru~wed by t

AEasenolelhalV ~)OOrlim,trrm& Absenleerndsaie aosenleeb,dsaie Absenleebidswill H)OOrbidlim1l1se rese~eooyour i)OOrb~lirrutIB~ liereare no fu

-~ANKP rnportant: Fax tt BUYER NAME: SALE NUMBE

12:'SUBJECT BIDS"

BANKAccou

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.

ACCOUNT NU !mount transferr

DATE TRANSFE CONADENTIA

:'.."'disdosu•eopy 138

Webbs

A GUIDE FOR BUYERS following nghts or ges for breach ol chaser at the same resulting from such menttogetherwith I to Webb's by ~ >elong to theseler hall have the same ·elation toasaJebr iewhereatthesole the purchase pnce orage and all other

2% above Webb's es to the ertent that ;even days from~

oby thepurchaser 1ly after paymentol equent~ due to ~ ·it's vendor.Webb's 1e purchaserlorany :ract. /ebb's towards any ,ever rrrespec!Ne ~ in such payment by J the purchaseruno

e any lot purchased the purchaser or 11. ll beheldbyWebb's rchaser 1mmedralely olpurchase.lnihe retitle istransierred dof allmoniespaid oany compensatj)fl

Webb's have set out the following information for the benefit of first 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 Bidders Ensure that you have registered and obtained a buyer number before bidding on the lot or lots you have chosen Be aware that a buyer's premium of 12.5%+GST on the premium a total of 14.06% is payable by all buyers in addition to the hammer price. At some sales the amount of the buyers' premium may be more or less than 12.5%. Please make sure that you are aware of the amount of the buyer's prem ium. 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 Consent Where 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 first 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 Bids Webb'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 first. Absentee bids are accepted by written instruction which can be sent by fax (e-mailed absentee bids are not accepted) up to I 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 w ill bid thereafter only in response to competition for the lot. If your bid lim it 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".

Telephone Bids The 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 Estimates Estimates 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 Reports Webb'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. 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 to tal-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 Freight Webb'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 Service Webb'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 enqu ire at reception fo r charges. Valuation charges are refundable on occasion when goods are subsequently offered fo r sale with in a reasonable period .

BANK ACCOUNT DETAILS PAYMENT BY DEPOSIT Important: Fax this form to Webb's: +64 9 524 704 8 so payment can be confirmed and purchases re leased. BUYER NAME: .. .. .. ...

1 be held persoro'. Y bid including boih to bid as agenl 101 om Webb's prior to

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.

.. .......................................... 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 efficiently.

BANK ACCOUNT DETAILS: BANK: WESTPAC 79 QUEE N ST AU CK LAND NAME: PETER WEBB GALLERIES LTD ACCOUNT NUMBER : 03-0104-04481 84 -00 FOR INTERNATIONAL DEPOSITS SWIFT CODE: WPACN Z 2W Jctioneer declares a

iat effect the h~; ;cepts or re1ects t on the bidder to pa/

Amount transferred (including freight if applicable) : NZ DATE TRANSFERRED: .

SIGNED:

CON Fl DE NTIALITY: The information contained in this facsimile is legally privileged and/or confidential. If you are not the addressee listed below you are notified that except as authonsed 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.

A GUI DE FOR BUYERS

139

THE BLUE OYSTER GALLERY Dunedin, NZ

p. +64 3 479 0197 www.blueoyster.org.nz e.bluleoyster@blueoyster.org.nz

140

Webbs

gambia castle we didn't see that one coming I think okay address 454 karangahape road up the stairs dealer gallery no ask at artspaced they don't either send me a note I'm in trouble it means too much or there's something fluffy you don't need to bother web add. www.gambiacastle.net thurdsay 2 -7 friday 2-7 saturday 12-5. this is for your convenience and ours. thanks .

works, artist pl03· sma II Plus sHO . d publications multiples an -rt..ursdays and LI rs· II I Gallery riou · m Saturdays Fridays. i :00 -5:00irs{ r loor, p,..cnilles i 2:00-4:00pm~merce & customs House, cnr Co uckland, Nlsueet East, A _ pnone: . . . fo@rmi03.org 2i 779 634 email . in +64 *

rmi03 is supported by -

.-----z

•

ABT

Wec1·1ng 'Jur heart on our ~leeve , nee 2000

Enjoy

2nd Floor 209 Tuam Street, Christchurch, New Zealand Tel +64 3 379 5583 www.physicsroom .org.nz

A T AL [Rv

WWW.ENJOY.ORG.NZ Untitled O 4 by J

a Re1a

ARTIST RUN SPAC ES

141

~IDD

INDEX OF ARTISTS

f()RABSct

Apple

Billy

Arrowsmith

Sue

Bambury

Stephen

61 85, 87 19 121 89 14 16 86 96 , 98 105

Banksy Blan shard

Daniel

Bradley

Marissa

Braithwaite

Joanna

Brookbanks

Glenys

Brown

Jonathan

Burton

Gregory

Calder

Helen

Calloway

Roy

Campbell

Matt

Charteris

Chris

Clancy

Keith

Corbelletto

Chiara

Cotton

Shane

Dashper

Julian

De Lautour

Tony

Dibble

Paul

Dunning

William

Dyne

Julien

Eaton

Tristan

Ellis

Steve

104 122 114 33 63 66 60, 134 137, 138, 140, 141 , 143

Fletcher

Graham

Fong

Luise

Fountain

Marian

Fraser

Jacqueline

Frizzell

Dick

Fusinato

Marco

Gleeson

Stephen

22, 25 3, 9 55 72 111 116 117 100 77 83 5, 8, 11, 67 57 37

Hammond

Bill

Harrison

Michael

Hartigan

Paul

Hartnett

Sam

Haydon

Ray

Hayuk

Maya

Hayuk

Maya

Hight

Michael

Hirst

Damien

Hurley

Gavin

Hurrell

John

Intra

Giovanni

Jackman

Adrian

Jenkins

Gerald

Jenkins

Gerald

Jenkinson

Megan

Jimenez

Cruz

Johns

Paul

Jowsey

Susan

Kaan

Simon

Karl

Jillian

Keogh

Sonia

Kerr

Imogen

Killeen

Richard

Larkin

Peata

Lee

Jae Hoon

Leek

Saskia

Lett

Barry

Lewer

Richard

Lilley

Jason

Good

Roy

Gossage

Star

38 108,128 123, 125 125 92 , 95 81 112 15, 132

Osborne

Rona Ngahuia

Pardington

Pule

2, 12, 50, 90, 124, 135 91 Jessica 4 Seraphine Patrick 56 13, 133 John

Rayon

Stephen

Reynolds

John

Robinson

Ann

Robinson

Peter

Ross

James

Pearless Pick Pound

Fiona

Sameshima

Haru

Scott

Ian

Selman

Martin

Semu

Greg

115 24, 36, 69 , 126 34 6, 20, 26, 31 , 35, 45, 49, 54, 79 101

-LC

7 99 65 10, 89 113,131 70 97 42 71 30, 78

Sladden

Tom

46 102 80 110 27, 41 , 43

Smither

Michael

64 18 76 107 40, 47, 75 120

Thomas

David

Todd

Yvonne

Tolhurst

Andy

Tweedie

Merilyn

Van Hout

Ronnie

Watson

Ruth

ARRANGEMEt

Wealleans

Rohan

Woods

Kate

29 17

I 11111 arrange I avoid delay in arrangements

McGregor

Gian

McLeod

Andrew

70 21, 28,48 103

Morris

Simon

Morrison

David

Mortimer

Roger

130 74

Misery

82 106 73

51, 59 , 129, 59,139 , 142 136 53 127 68 118 119 58 52 23 109

~ease bid on reseries ian) saleabuye~ prelertob1db

Snowden

Graham

Speers

Jim

Stevenson

Michael

Straka

Heather

94 32 39 93

w POa Ph: 09 auctions@

142

Webbs

BIDDING SLIP FOR ABSENTEE BIDDERS ON LOTS IN WEBB'S CONTEMPORARY ART & MODERN DESIGN SALE - OCTOBER 16TH & 17TH 2007

1uia

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 sale a buyers premium of twelve and a half percent (1 2.5%) 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.

2, 12,50, 90,124,135 91

LOT NO.

CATALOGUE DESCRIPTION

4 56 13,133 115 24,36, 69,126

34 6, 20, 26,31, 35, 45,49, 54,79 101

99 65 10,89 113,131 70 97

MR/MRS/MS

INITIALS

SURNAME/COMPANY

42 71

HOME PHONE

BUSINESS PHONE

MOBILE

FACSIMILIE

EMAIL ADDRESS

30,78 94

POSTAL ADDRESS

32 39 CONTACT NAME

84 29

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 col lection 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.

* 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.

18 Manukau Rd Newmarket PO Box 99251 Auckland New Zealand Ph: 09 524 6804 / Fax: 09 524 7048 auctions@webbs.co.nz / www.webbs.co.nz

SIGNED

DATED

BIDDING SLIP

143

FHE GALLERIES REPRESENT GOBDON

BROWN

2007 'Scholar Extraordinaire' Artnews New Zealand Spring; 2007 'Hotel North America' Gus Fisher Gallery; 2002 Awarded Honorary Doctorate of Literature, Victoria University Wellington; 1989 Awarded OBE; Author 'Colin McGahan: Artist' 1984

MOSES Forthcoming Survey Exhibition: Dunedin Public Art Gallery; 2007 Russell Moses 'Whareakeake' FHE Solo Exhibition; Site Specific Installations Gibbston Valley, Kaipara Harbour, Port Chalmers

-·1

-1

2006 - Representative 'Pasifika Styles' Cambridge University England; 2005 NZ Pavillion World Expo Aichi Japan

2006 - 'Her Majesty's Pleasure' Objectspace Auckland; 2003 'Tatau; for all of us' Te Tuhi The Mark; 2000 Turangawaewae: 3rd New Zealand Jewellery Biennial

2007 Major Acquisition Museum of New Zealand Te Papa Tongarewa; 2001 Retrospective: 'Marti Friedlander' Auckland Art Gallery; 1999 Awarded CNZM - Companion of New Zealand Order of Merit for Services to Photography

Selected: 40 of the Worlds Top Furniture Designers ID Magazine New York; 2003 Awarded Arts Foundation of New Zealand Laureate Award

2007 Awarded Deutsche Bank Interior Glass Design; Forthcoming December 2007 'Conversations' New Dowse Art Gallery Wellington; 2003 - 2007 Appointed member of Creative NZ Arts Council of New Zealand I Toi Aotearoa / Assessment Committee; Visiting Lecturer at Universities in England, Scotland, America

FOGARTY HOJSGAARD ENTWISTLE GALLERIES 2 KITCHENER STREET, AUCKLAND , NEW ZEALAND EMAIL FHE _ GALLERIES @XTRA.CO.NZ

Selected by 'ldealog' Magazine 'Ten for Tomorrow' "Our future flame bearers" - Taught by Diggeress Rangituatahi Te Kanawa (QSO CNZM)

2006 Life Time Achievement Award - Glass Arts Society of America; 2004 Awarded Arts Foundation of New Zealand Laureate Award; 2002 D.I.N.Z John Britten Award; 2001 ONZM Awarded the Officer of the New Zealand Order of Merit

2008 Forthcoming Catalogue and Solo Exhibition FHE Galleries; Exhibited; Te Papa Tongarewa, Auckland Museum, Nijmeegs Volkenkundig Museum Netherlands, Te Tuhi, Sargent Gallery, Dowse Art Museum

SWEE ffi A Woman about to make her Mark.

2007 Awarded New Zealand Arts Foundation Icon; 1998 Awarded CNZM - Companion of New Zealand Order of Merit for services to Photography

SPECIALIST IN 19 - 21ST CENTURY FINE ART TELEPHONE 09 302 4108

FAX 09 302 4109

WEBSITE FHEGALLERIES.COM

GALLERIES