The Collection of Nadene Milne

From the Collection of Nadene Milne

CATALOGUE MW23

Board of Directors Jack Gringlas (OAM) Chairman Charles Leski Deputy Chairman

Paul Sumner Chief Executive Officer

Specialist Enquiries

Sophie Coupland 022 510 8766 sophie.coupland@mossgreen-webbs.co.nz Briar Williams 027 345 6765 briar.williams@mossgreen-webbs.co.nz

Collections and Shipping

Jessica Douglas 09 524 6804 jessica.douglas@mossgreen-webbs.co.nz

Marketing & Communications

Kate Shapiro 09 524 6804 kate.shapiro@mossgreen-webbs.co.nz

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MOSSGREEN-WEBB’S AUCTION HOUSE

WORKS FROM THE COLLECTION OF NADENE MILNE

From the Collection of Nadene Milne

Monday 28 November 2016, 6.30pm

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WORKS FROM THE COLLECTION OF NADENE MILNE

Public Programme Evening Preview Tuesday 22 November

6.00pm – 8.00pm

Join us to hear Peter Shand discuss how today’s art discourse is demonstrated in the contemporary works presented in the November auctions. Nadene Milne will also introduce key themes in her collection. Wines thanks to Amisfield, catering thanks to Non Solo Pizza.

Nadene Milne Discusses Her Collection Sunday 27 November

2.00pm

Join us to hear Nadene Milne discuss her collection of contemporary art. Nadene's informal presentation will examine the collecting principles of a respected primary market gallerist.

Viewing Tuesday 22 November

9.00am – 8.00pm

Wednesday 23 November

9.00am – 5.30pm

Thursday 24 November

9.00am – 5.30pm

Friday 25 November

9.00am – 5.30pm

Saturday 26 November

11.00am – 3.00pm

Sunday 27 November

11.00am – 3.00pm

Monday 28 November

9.00am – 12.30pm

Buyer's Premium A buyer's premium of 17.5% will be charged on all items in this sale. GST (15%) is payable on the buyer's premium only.

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FRONT COVER

Lot 17 Edwards + Johann On the seam of things — sure to spill (detail) $4,000—$6,000 — Pg. 5

MOSSGREEN-WEBB’S AUCTION HOUSE

WORKS FROM THE COLLECTION OF NADENE MILNE

From the Collection of Nadene Milne Mossgreen-Webb’s is delighted to be offering a selection of works from the collection of Nadene Milne for sale this month. Offered is a diverse and intimate survey of Nadene's private collection.

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The contemporary New Zealand art chronicle has been, and continues to be, shaped by a number of voices: artists, critics and institutions. The narratives of our key artists are communicated to us through, in the first place, that critical primary-market medium: the dealer gallery. For the last 15 years, Nadene has been on a quest to educate and engage, and to make contemporary art accessible.

Nadene first started looking seriously at art in Christchurch during the early ’90s: a period that proved to be a turning point. Engagement with art discourses and the ways in which complex ideas can be represented visually set her on a life course. Nadene explains, “I found that through what often looked like a difficult aesthetic was a doorway to everything— philosophy, science, politics, sociology and history. I was never afraid to ask ‘what does this mean?’ and found in art a sense of community and generosity.” Fuelled by curiosity, she went on to start a serious collection of her own at age 26, acquiring works, which she would negotiate to pay off over a number of years, and forming relationships with prominent New Zealand dealers, artists and institutions along the way.

Nadene’s connoisseurship for art grew organically and exponentially from this point. She describes her collecting ethos as having “a love for beauty, and that doesn’t mean pretty. I’m interested in mastery of materials and medium, and in the conceptual backstory of a work.” The desire to integrate both an emotional and an intellectual practice applies to both her gallery operation and her personal collection. This is evident in the fine selection of works from her collection on offer in this sale. That collection is focused largely on the generation of artists who stood upon the shoulders of the pioneering New Zealand modernists: those who, in Nadene’s words, “helped us to form our own narrative and give us our own history”. Central to her collecting approach is a belief that Pg. 8 —

good artists record history as it evolves, tell us about who we are and provide a discourse on our socio-political landscape.

In the words of Hamish Keith, “Nadene Milne places the best and some of the most advanced contemporary practice in New Zealand. She has a relationship with the art community that is informed, passionate and coherent.” Most critically, Nadene views her role as a dealer as being closely intertwined with a responsibility to educate. From day one, this has informed the machinations of the gallery, to which she has applied an inclusive, community-based model.

It is clear, in speaking with Nadene, that the provision of context for and education about the artists and works she displays—i.e. the accessibility of contemporary practice and its appreciation—is at the forefront of her concerns. Her Arrowtown gallery, located in an 1860s colonial building, has hosted countless openings and talks by curators and artists since its opening in 2001.

In light of this inclusive, community-focused approach to art appreciation, Nadene has been something of an advocate and mentor for women in the New Zealand art scene. Currently, young artist and Elam graduate Tarquin Prince-Pike manages the Arrowtown gallery whilst Christchurch-based artist and arts management professional Sharnaé Beardsley is gearing up to manage a second venture, due to open in Christchurch.

Nadene’s vision for the future is not only to engage with the here and now of New Zealand practice, but to contribute actively to the formation and dissemination of this practice within the larger world. By working to break down barriers within the art world, she is strengthening the interface between dealers, collectors, curators and art writers, with the hope of generating a stronger sense of community. We have much to look forward to with the start of her new venture in Christchurch.

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WORKS FROM THE COLLECTION OF NADENE MILNE

MOSSGREEN-WEBB’S AUCTION HOUSE

1. Fiona Pardington Still Life with Dead Hibiscus, Pear and Monarch archival ink jet print, edition of 10, 2012 410mm x 545mm $5,000—$7,000

3. Neil Pardington Diadema sp, Auckland Museum Tamaki Paenga Hira #1 c-type print, edition 2/10, 2013 1380mm x 980mm $5,000—$8,000

2. Fiona Pardington Tui polaroid to digital c-type print on fuji flex paper, edition of 5 448mm x 600mm $5,000—$9,000

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WORKS FROM THE COLLECTION OF NADENE MILNE

MOSSGREEN-WEBB’S AUCTION HOUSE

4. Neil Pardington Kotahitangi, Moeraki #1 pigment print on Hahnemüle Photo Rag Baryta 315gsm, edition 5/15 signed NEIL PARDINGTON on original artist’s label affixed verso 790mm x 990mm $3,500—$6,000

6. Rohan Wealleans Little Lady acrylic, paper on trading card in Perspex frame, 2014 inscribed LITTLE LADY, signed and dated 2014 in silver pen verso 193mm x 170mm x 94mm $800—$1,200 PROVENANCE Purchased from Hamish McKay Gallery, Wellington.

7. Séraphine Pick Night and Day ink on paper, diptych, 1996 signed S.PICK and dated 96, signed PICK and dated 96 180mm x 125mm each $500 —$800 PROVENANCE Purchased from Hamish McKay Gallery, Wellington.

5. Bill Culbert Bucket, Croagnes c-type print, edition of 75 455mm x 610mm $2,000—$4,000 PROVENANCE This edition was produced to support the exhibition of Front Door Out Back by Bill Culbert, New Zealand’s representative at the Venice Biennale, 2013.

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WORKS FROM THE COLLECTION OF NADENE MILNE

MOSSGREEN-WEBB’S AUCTION HOUSE

9. Gregor Kregar I Disappear hand glazed porcelain, 10 pieces in Perspex display case 220mm x 602mm x 100mm $2,000—$3,000 PROVENANCE Purchased from Gow Langsford Gallery, Auckland.

10. Yuk King Tan Untitled (Monkey) dyed silk and resin sculpture 5070mm x 175mm $4,000—$6,000 PROVENANCE Purchased from Jonathan Smart Gallery, Christchurch.

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11. Anne Noble Swan No. 1 silver gelatin print signed and inscribed Swan 1990 B/w Silver Print. Print made 1997. from the Series SONG… without words. 1989–90. in black ink on label affixed verso 244mm x 372mm $2,000—$3,000

12. Peter Trevelyan Untitled Lead Sculpture 0.5mm graphite, found book 230mm x 155mm x 45mm $1,200—$1,800

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PROVENANCE Purchased from Bartley + Company Art, Wellington.

8. Anne Noble White Veil of a Novice selenium toned silver gelatin print, edition 1/30 135mm x 200mm $4,000—$5,000

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WORKS FROM THE COLLECTION OF NADENE MILNE

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13. Francis Upritchard Yoga Sleeping Pose watercolour on paper, 2011 inscribed Yoga sleeping Pose F. UPRITCHARD 2011 in pencil lower right 205mm x 278mm $2,500—$3,500 PROVENANCE Purchased from Hamish McKay Gallery, Wellington.

14. Peter Madden Feet plaster, acrylic paint and gold and silver leaf 220mm x 117mm x 50mm $1,500—$2,500 PROVENANCE Purchased from 64zero3 Gallery, Christchurch.

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15. Peter Robinson Defunct Mnemonics 2012/13 wool felt and wood dowel 910mm x 45mm x 45mm $3,000—$5,000 PROVENANCE Purchased from Hopkinson Mossman, Auckland.

16. Gavin Hipkins The Village (Falls) c-type print, edition 2/5, 2006 title inscribed THE VILLAGE (FALLS), dated 2006, inscribed 2/5 and signed in pencil verso 1485mm x 490mm $2,500—$4,500

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WORKS FROM THE COLLECTION OF NADENE MILNE

MOSSGREEN-WEBB’S AUCTION HOUSE

Edwards + Johann

While relatively common overseas, collaborative artistic duos— Gilbert & George, Pierre et Gilles etc.—in New Zealand art they are quite rare. Christchurch-based Edwards + Johann are an exception.

New Zealand-born Victoria Edwards and German-born Ina Johann have been working together on projects together since around 2008. While elements of their individual practices can be discerned in these joint works, for the most part they seem to be operating as two halves of a single brain, one eye and hand each, negotiating, pushing and pulling.

Edwards+Johann have exhibited around New Zealand and in Australia and Europe, and have been the recipients of artist residencies in Australia, France and Switzerland. The subtexts of the work, executed with immaculate visual sensibility, are play and a kind of open-ended ambiguity. This ranges from surreal costumes and theatrical tableaux and collaging found materials, through to lines taken for works and absurdist oppositions. The two-part work On the seam of things—sure to spill (2013), for example, painting on glass over a photograph, a hand—tinted the colour of a pink rubber glove one might use to wash the dishes—delicately, in a baroque gesture, seems to hold aloft an ambiguous organic form that resembles an island or a cloud streaming water. This cascade— paint on the glass—continues in the accompanying image (a sort of vertical diptych) containing an elaborate form which reads as a human figure in a bizarre costume, a questing knight for a universe unlike ours perhaps, but is so covered up it’s impossible to be certain of its humanity. On the seam of reality, waiting for it to spill.

17. Edwards + Johann On the seam of things - sure to spill painting on glass over photograph, diptych (series 2 no 2), 2013 signed EDWARDS + JOHANN and inscribed series 2 / no 2 in black ink on original Edwards + Johann label affixed verso, original Nadene Milne gallery label affixed verso 1310mm x 990mm overall; 655mm x 990mm each $4,000—$6,000

The early work Stumblings #8 (2009/10) is a drawing on a collage of found historical images of people, mostly women, engaged in ordinary pursuits—playing tennis, working at a desk, having surgery —but chopped around, collaged, and merged with furniture à la Max Ernst’s La femme 100 têtes. There is a clear channelling of the European surrealist avant-garde of the early twentieth century, but also a Terry Gilliam-esque sense of humour tempered with a feminist awareness. The women are not merely passive actors despite their predicaments. The perky blood-red lines that appear doodled through the work stand alone as abstract forms, interact with the images as a ground line or a sort of ribbon, even being pushed down by a languidly intruding gloved hand that is almost certainly a surrogate for the artists. The title speaks to the random aspects to Edwards + Johann’s practice, which help generate the atmosphere of oddness that pervades them.

The photographic print The accidental rebels—Magenta (2013) dips into more formally abstract and pop art territory. A rock floats against a lurid candy-magenta background (the backgrounds of the complete series cover all the CMYK primaries). There is massive guilt-free retinal appeal, but at the same time, transformed by absence of context, there are suggestions of a floating mountain out of a Magritte painting, or a rather staged-looking asteroid hanging in a fluorescent void. These images symbolise Edwards + Johann’s interest in what they call “the third space” of blurred boundaries, uncertainty, ambiguity and slippage between more concrete realities. Of the three, is perhaps the most direct expression of their exploration of ambiguity.

ANDREW WOOD

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WORKS FROM THE COLLECTION OF NADENE MILNE

MOSSGREEN-WEBB’S AUCTION HOUSE

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18. Edwards + Johann The accidental rebels - Magenta c-type print, edition 1/10, 2013 signed EDWARDS + JOHANN in black ink on original Edwards + Johann label affixed verso, Nadene Milne gallery label affixed verso 1000mm x 745mm $2,500—$4,500

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Stumblings No. 8 drawing and collage on Fabriano Artistico Cotton Rag, 2009 inscribed STUMBLINGS NO. 8 and dated 2009 in pencil lower left, signed EDWARDS + JOHANN in pencil lower right, signed EDWARDS + JOHANN in black ink on original Edwards + Johann label, Nadene Milne gallery label affixed verso 255mm x 280mm $500—$800

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20. Edwards + Johann Rabbit acrylic and newspaper collage on paper 350mm x 162mm $800—$1,200

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WORKS FROM THE COLLECTION OF NADENE MILNE

MOSSGREEN-WEBB’S AUCTION HOUSE

21. Peter Madden Tree Sculpture collage, gold leaf, painted objects 400mm x 455mm x 235mm $2,500—$4,000 PROVENANCE Purchased from 64zero3 Gallery, Christchurch.

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22. Ben Webb Study 10I04 acrylic on paper title inscribed and signed in pencil lower left; title inscribed, signed and inscribed vilm an Dunedin [illegible] 0.1 .4 II 03 in marker pen verso 760mm x 560mm $1,000—$2,000

23. John Reynolds The Value of Things oil paint marker on acrylic enamel on canvas, 2003 inscribed THE VALUE OF THINGS in oil paint marker; inscribed THE VALUE OF THINGS, dated 2003 and inscribed (from La Rochefoucauld’s MAXIMS. #244) oil paint marker on acrylic enamel on canvas 500 x 400 in marker pen verso 505mm x 405mm $2,000—$3,000 PROVENANCE Purchased from Sue Crockford Gallery, Auckland.

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WORKS FROM THE COLLECTION OF NADENE MILNE

MOSSGREEN-WEBB’S AUCTION HOUSE

24. Stephen Bambury Apollo acrylic resin and pencil on two aluminum panels, 2004 panel one: signed S.BAMBURY and dated 04 in blue oil marker verso; inscribed APOLLO and inscribed ©2004 PANEL 1 OF 2 STEPHEN BAMBURY 2004 ACRYLIC, RESIN AND PENCIL ON ALUMINIUM in marker pen verso panel two: signed S.BAMBURY and dated 04 in blue oil marker verso; inscribed APOLLO and inscribed ©2004 PANEL 2 OF 2 STEPHEN BAMBURY 2004 ACRYLIC, RESIN and PENCIL ON ALUMINUM in marker pen verso 780mm x 780mm $10,000—$15,000 Pg. 24 —

25. Francis Upritchard A Beat digital pigment print with silkscreen and embossing, edition of 50, 2013 signed and numbered verso 420mm x 280mm $800—$1,200

26. Richard Lewer Untitled #20 langridge pigment ink on sandpaper, 2016 signed R LEWER on label affixed verso, SPA_CE and sullivan+strumpf labels affixed verso 280mm x 230mm $1,500—$2,500

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WORKS FROM THE COLLECTION OF NADENE MILNE

MOSSGREEN-WEBB’S AUCTION HOUSE

27. Mary-Louise Browne Trainspotting ink on paper 3950mm x 1550mm $5,000—$10,000

28. Damian Hirst The Souls III— Gunmetal/African Gold/Cool Gold three colour foil block on 300gsm Archives 88 archival paper, edition 7/15, 2010 signed DAMIEN HIRST lower right and inscribed 7/15 lower left in pencil; title inscribed THE SOULS III—GUNMETAL/ AFRICAN GOLD/COOL GOLD and dated 2010 on original Gow Langsford Gallery label affixed verso 775mm x 570mm $9,000—$12,000

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WORKS FROM THE COLLECTION OF NADENE MILNE

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29. Michael Hight Lake Aviemore oil on canvas, 2003 inscribed Lake Aviemore in brushpoint lower right 545mm x 1500mm $15,000—$20,000 Pg. 28 —

30. Chris Heaphy After the Big Bang, Mangai powder coated steel, 22 pieces 1300mm x 1400mm (variable) $5,000—$7,000 — Pg. 29

WORKS FROM THE COLLECTION OF NADENE MILNE

MOSSGREEN-WEBB’S AUCTION HOUSE

Seung Yul Oh

Seung Yul Oh is at the forefront of New Zealand’s influential generation of young artists, and the crystallisation of his international reputation in recent years is testament to the vital role he holds in our contemporary artistic discourse. MossgreenWebb’s is delighted to be offering three works by the artist as part of the current sale. What is particularly exciting about this selection of works is that they cover three quite distinct aspects of the artist’s practice. Collectively, they offer insight into the playful, tactile, multisensorial, modular plasticity of Seung Yul Oh’s art.

Udon is a brilliant example of the artist’s hyper-realistic, sculptural depictions of Korean food. The glossiness of these dishes gives them a lurid appeal which contributes to the extraordinary experience of encountering the sculpture. As the noodles hang improbably high from the bowl, and the illusion of suspension is created, the work recalls the “display model” bowls of food one might see in the window of a Korean restaurant. One of the artist’s most charming and celebrated characters is PokPo, a fiberglass mouse transfixed in a pose which strikes some undefinable space between panic, despair, awe and incredulity. Pokpo offers a temporary escape from reality; as this cartoon mouse is inserted into the immediacy of our space, a sense of unease and uncertainty is simultaneously invoked.

Finally, Periphery II is a wonderful testament to Seung Yul Oh’s complex relationship with, and mastery of, space. The space generated within the bounds of four bordering strips of colour is meditative, infinite, sublime.

Earlier this year, a significant retrospective of Seung Yul Oh’s work was held at City Gallery, Wellington, and affirmed the important role that his diverse practice holds in the articulation of our contemporary narrative. Particularly in the evolution of our artistic identity to encompass a more progressively-diverse understanding of the ‘New Zealand experience’, the work of this Korean-born Aucklander has much to offer, and we have much to learn from it.

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31. Seung Yul Oh PokPo fiberglass and two-pot car paint, plinth, 2012 750mm x 500mm x 500mm $10,000—$15,000 PROVENANCE Purchased from Starkwhite, Auckland.

32. Seung Yul Oh Udon silicone, epoxy, resin and steel, edition of 5, 2013 1540mm x 300mm x 185mm $3,000—$5,000 PROVENANCE Purchased from Starkwhite, Auckland.

33. Seung Yul Oh Periphery II acrylic on canvas inscribed PERIPHERY 2013 (3), signed SEUNG YUL OH and dated 2013 verso 605mm x 450mm $2,000—$3,000 PROVENANCE Purchased from Starkwhite, Auckland.

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WORKS FROM THE COLLECTION OF NADENE MILNE

MOSSGREEN-WEBB’S AUCTION HOUSE

Sam Harrison

Presented in the catalogue are two exceptional woodcuts by Sam Harrison. Vincent and Gerrard are works which explore Harrison’s fascination with the human figure, and, in the case of Vincent, showcase the biblically-inclined referential concerns which have been central to his work in recent years. Certainly this latter quality, combined with the visual impact of such a beautifully-rendered woodcut, instils something of a Renaissance timelessness to the work. In this sense, Harrison’s work can, and should be, considered in the scheme of its irrevocable link and homage to the timelessness of the art historical tradition in which he is playing a part.

More than anything, the most striking aspect of these woodcuts relates to the stunning detail and mastery of light and dark through which Harrison has rendered his subjects. These belie the artist’s extensive technical finesse. There is no doubt that these portraits have been painstakingly sketched, such is the level of detail which, on the large scale these works are presented, has a powerful

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impact. For Harrison, the actual process of realising such a striking combination of anatomical accuracy and neoclassical luminescent drama starts with the execution of detailed graphite sketches—using life models—before meticulously carving through the drawing.

The influence of Renaissance and Neoclassical expressionism, as articulated by the artist himself, is readily apparent in the final product.

These works also offer insight into something of Harrison’s sculptural mastery, for the ability to navigate the carving of lines and ridges, casting light and shade in such varying degrees of depth can only be the result of an innate, sensory understanding of the human body. Given that sculpture comprises the other main component of the artist’s practice, this ability to use the wooden block as a means of transformation and creation is both poetic and fitting.

RACHEL KLEINSMAN

34. Sam Harrison Vincent woodcut print on paper (IMP), edition 1/7, 2010 signed SAMUEL HARRISON lower right and inscribed 1/7 IMP in pencil lower left 800mm x 2600mm $9,000—$12,000

35. Samuel Harrison Gerrard woodcut print on paper (IMP), edition 2/16, 2010 signed SAMUEL HARRISON lower right and inscribed edition 2/16 in pencil lower left 1200mm x 890mm $4,000—$5,000 — Pg. 33

WORKS FROM THE COLLECTION OF NADENE MILNE

MOSSGREEN-WEBB’S AUCTION HOUSE

36. John Pule If You Leave First I Will Follow oil and oil stick on canvas, 2012 inscribed IF YOU LEAVE FIRST I WILL FOLLOW lower left, dated 2012 and signed JOHN PULE in brushpoint lower right 1050mm x 1050mm $17,000—$25,000 Pg. 34 —

37. Sam Taylor-Wood Studio Hare c-type print, edition 76/100 332mm x 264mm $700—$1,500 PROVENANCE Purchased from White Cube, London, 2011.

38. Max Gimblett Enso Circling sumi ink on Thai Garden plain smooth handmade paper, 2011 signed MAX GIMBLETT, applied artist’s stamp and dated 2011 in ink lower right; inscribed ENSO CIRCLING in ink verso $4,000—$6,000 — Pg. 35

WORKS FROM THE COLLECTION OF NADENE MILNE

MOSSGREEN-WEBB’S AUCTION HOUSE

Kelcy Taratoa

Kelcy Taratoa’s art offers a glimpse into a fantasy digital-scape in Aotearoa, one that is wholly the artist’s own and through which he compels us into a conscious process of self-exploration.

Episode 006 belongs to a series entitled Who Am I? Effecting a high-contrast comic book style, these works possess a powerful sense of sequentiality which leave the viewer in a sort of limbo.

Episode 006, for example, is a snapshot representing just one part of a narrative which has been preceded by, and will be succeeded by, other scenes of equal importance. Stylistically speaking, the works draw on the visual traditions of both pop art and contemporary graphic media.

Taratoa’s experience as a Maori artist is central to understanding his artistic impetus, and just as he explores his own cultural identity, he also looks to challenge our own collective process of selfidentification, discernment and the manner in which we actively curate our image and identity. Further, though the use of digital media in the production of his works is not necessarily a statement Pg. 36 —

39. Kelcy Taratoa Episode 006 acrylic on canvas, 2004 1677mm x 2134mm $12,000—$16,000

in and of itself, it does raise the question of our relationship with, and dependence on technology. Taratoa himself has described his work as offering a social critique, a challenge to the way in which we present ourselves and interact. The disturbia of Who Am I? plunges the viewer directly into this identity-based quandary, and compels engagement with the artist’s own existential doubts and questions.

Taratoa’s work comprises collages of images, symbols and scenes conceived of both the fictitious realm and the artist’s own creation and as such is deeply personal, and in some senses cryptic.

Each work exists in a state of flux: both cohesive and completely disjointed, each different element has the potential to speak to us collectively as a ‘found’ aspect plucked from popular culture, whilst at the same time representing something of a mind map for the artist.

RACHEL KLEINSMAN

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40. Julia Morison Amalgame 89 acrylic, mixed media and gold leaf on board, 1993 inscribed AMALGAME, signed MORISON and dated 93 in vivid verso 310mm x 555mm x 25mm $3,500—$5,000

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41. Russell Moses Matauri Bay Site Pacific acrylic on nine wood panels, 2002 1053 x 3213mm signed R MOSES, dated 02, inscribed MATAURI BAY SITE PACIFIC and numbered in marker pen on each panel verso $2,500—$5,000

42. Max Gimblett Untitled glazed ceramic, 2007 signed MAX GIMBLETT and dated 2007 80mm x 300mm $1,200—$1,800

43. Dane Mitchell Ceramic Fields (Night Sky) 180 degrees by 210 degrees ash fired ceramic, 2012 120mm x 400mm x 400mm $1,500—$2,500

44. Mark Mitchell 141—Vane mid-fired ceramic vessel, terra sigilatta, oxides and gold leaf 230mm x 370mm x 270mm $1,200—$1,800

PROVENANCE Purchased from Hopkinson Mossman, Auckland.

PROVENANCE Purchased from Avid, Wellington.

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45. Locust Jones Untitled woodcut, diptych, 2007 signed Locust Jones and dated 07 in pencil lower right on each work 990mm x 1700mm overall; 990mm x 850mm each $2,500—$4,000

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46. Max Gimblett The King & The Queen pencil, ink, acrylic polymer, oilsize, Swiss gold leaf on Arches Aquarelle 300gsm watercolour paper, 2010 signed MAX GIMBLETT, applied artist’s stamp and dated 2010 in pencil lower right; inscribed THE KING AND QUEEN verso in ink pen 584mm x 762mm $4,000—$6,000

47. Simon Kennedy Sister of Mercy (Allie Mae Burroughs, photographed by Walker Evans, 1935) oil on canvas, 2009 512mm x 402mm $3,000—$4,000

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48. Russell Moses Aramoana Moon Dance acrylic on aluminium plate, 2006 signed R MOSES, dated 06, inscribed ARAMOANA MOON DANCE For Nadene Best Wishes in marker pen verso 300mm x 300mm $600—$1,000

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49. Joyce Campbell Ice Ghoul silver gelatin print, 2006 415 x 566mm $3,000—$5,000

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PROVENANCE Purchased from Two Rooms, Auckland.

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50. Richard Killeen Hoower UV inkjet on vinyl corflute, 2014 printed 292 HOOWER Richard Killeen 2014 lower centre 280 x 194mm $500—$1,000

51. Richard Killeen Flowandle UV inkjet on vinyl corflute, 2014 printed 64 FLOWANDLE Richard Killeen 2014 lower centre 578 x 404mm $1,000—$2,000

PROVENANCE Purchased from Brett McDowell Gallery, Dunedin.

PROVENANCE Purchased from Brett McDowell Gallery, Dunedin.

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52. Lonnie Hutchinson Sista III screenprint, edition 7/30, 2004 signed LONNIE HUTCHINSON lower right, editioned 7/30 and dated 2004 in pencil lower left, inscribed SISTA III in pencil lower centre 968mm x 758mm $1,000—$1,500

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53. John Pule Fekumaikia Takaia lithograph, edition 4/10, 2004 signed JOHN PUHIATAU PULE lower left, dated 2004 lower right and inscribed TAKAIA 14/40 in pencil lower centre 720mm x 590mm $2,000—$3,000

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54. Michael Smither Thomas with Ball screenprint, 1979 signed MDS in pencil lower right, printed New Zealand Association of Child Care Centre 1979 International Year of the Child bottom centre 640mm x 540mm $1,500—$2,500

55. John Reynolds Stations of the Cross, Anawhata lithograph, edition 10/18, 1992 signed REYNOLDS and dated 1992 lower right, inscribed 10/18 lower left, and title inscribed STATIONS OF THE CROSS, ANAWHATA in pencil lower centre 715mm x 525mm $600—$1,200 — Pg. 43

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59. Photographer Unknown North Attic Window #1 Aurora (The Interior of Ralph Hotere's Studio, Observation Point, Port Chalmers) black and white, resin-coated photographic print, 2002 signed (indecipherable) and dated 02 and inscribed NORTH ATTIC WINDOW #1/ AURORA 1994 in pencil verso, original Webb’s label affixed verso 125mm x 200mm $300—$500

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56. Michael Smither Marslight screenprint, edition 4/15, 1999 signed MDS and dated 1999 lower right, title inscribed MARSLIGHT and editioned 4/15 in pencil lower left 370mm x 315mm $1,000—$2,000

57. Yvonne Westra Realm archival ink jet print, 2002 signed YVONNE WESTRA, dated 02 in pencil lower right, inscribed REALM and editioned 1/10 in pencil lower left 1370mm x 935mm $2,000—$3,000

60. Photographer Unknown North Attic Window #3 Aurora (The Interior of Ralph Hotere's Studio, Observation Point, Port Chalmers) black and white, resin-coated photographic print, 2002 signed (indecipherable) and dated 02 and inscribed NORTH ATTIC WINDOW #3/ AURORA 1994 in pencil verso, Webb’s label affixed verso 135mm x 130mm $300—$500

58. Jason Greig Gideon 1/1 mono print IMP, 2007 signed JASON GREIG, dated 2007, inscribed 1/1 mono IMP. GIDEON in pencil along bottom; signed JASON GREIG and inscribed 1/1 mono print IMP “GIDEON” in pencil verso 175mm x 170mm $1,500—$2,500

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Pg. 44 —

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61. Michael de Hammel James K Baxter, Outside The Globe Theatre, Dunedin gelatin silver print, circa 1970 355mm x 265mm $3,500—$4,500

PROVENANCE Purchased from Hamish McKay Gallery, Wellington.

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— Pg. 45

WORKS FROM THE COLLECTION OF NADENE MILNE

MOSSGREEN-WEBB’S AUCTION HOUSE

Terms & Conditions

This sale is being conducted under the Mossgreen-Webb’s conditions of sale for buyers. The conditions are published online at mossgreen-webbs.co.nz and in the November Important Paintings & Contemporary Art catalogue.

The conditions of sale can also be provided by email, upon request.

The buyer’s premium applying to this sale is 17.5% of the hammer price, plus GST (15%) on the buyer’s premium.

Mossgreen-Webb’s Live

63

Mossgreen-Webb’s Live is a free and user-friendly online bidding service created exclusively for our clients.

63. Doc Ross Pacific Wave photographic print on paper signed Doc Ross in pencil lower right, inscribed PACIFIC WAVE in pencil lower left 715mm x 1945mm $2,500—$3,500

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62. Bridget Bidwell Hitch mixed media (alkyd and oil stick) on canvas, 2005 signed B. Bidwell and inscribed HITCH 02—2005 (alkyd + oil stick) on canvas. MIXED MEDIA in marker pen verso 305mm x 305mm $1,800—$2,000 Pg. 46 —

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64. Max Gimblett Enso Circling intaglio sugar lift etching on Velin Cuve BFK Rives Blanc 270gsm paper, Max Gimblett & The Caselberg Trust Print Edition, 2015 signed MAX GIMBLETT, applied artist’s stamp and dated 2011 in ink lower right; inscribed ENSO CIRCLING in ink verso $1,000—$2,000

Once you are registered, you can lodge absentee bids, watch auctions and bid in real time from the comfort of your living room, anywhere in the world. This service offers the convenience of saved searches, lot alerts and multi-lot bidding.

Importantly, there is no additional commission charged for lots purchased via this service. All other live online bidding platforms offered in New Zealand incur a 3% commission fee; previously, this has deterred clients from utilising live online services.

Parking

Viewing days and between auctions We have parking available within our building.

Simply enter the drive and press the buzzer for access.

Auction night parking

mossgreen-webbs.co.nz

We have 25 complimentary client parking spaces available just 1.5 minute walk away at St. John’s car park, 244 Parnell Road.

These carparks will be clearly signposted for your use.

— Pg. 47

MOSSGREEN-WEBB’S AUCTION HOUSE

Index of Artists

Pg. 48 —

Artists Name

Lot

Mitchell, Mark

44

Bambury, Stephen

24

Morisson, Julia

40

Bidwell, Bridget

62

Moses, Russell

41, 48

Browne, Mary-Louise

27

Noble, Anne

8, 11

Campbell, Joyce

49

Oh, Seung Yul

31, 32, 33

Culbert, Bill

5

Pardington, Fiona

1, 2

de Hammel, Michael

61

Pardington, Neil

3, 4

Edwards + Johann

17, 18, 19, 20

Photographer Unknown

59, 60

Gimblett, Max

38, 42, 46, 64

Pick, Séraphine

7

Greig, Jason

58

Pule, John

36, 53

Harrison, Sam

34, 35

Reynolds, John

23, 55

Heaphy, Chris

30

Robinson, Peter

15

Hight, Michael

29

Ross, Doc

63

Hipkins, Gavin

16

Smither, Michael

54, 56

Hirst, Damien

28

Tan, Yuk King

10

Hutchinson, Lonnie

52

Taratoa, Kelcy

39

Jones, Locust

45

Taylor-Wood, Sam

37

Kennedy, Simon

47

Trevelyan, Peter

12

Kileen, Richard

50, 51

Upritchard, Francis

13, 25

Kregar, Gregor

9

Weallens, Rohan

6

Lewer, Richard

26

Webb, Ben

22

Madden, Peter

14, 21

Westra, Yvonne

57

Mitchell, Dane

43

BACK COVER

INSIDE BACK COVER

Lot 31 Seung Yul Oh PokPo $10,000—$15,000

Lot 26 Richard Lewer Untitled #20 $1,500—$2,500