Webb's Vision Series

Vision Series 24.11.15

Lot 28 Philip Trusttum, Hannah’s Toys. Estimate: $7,000 - $10,000 Lot 2 Ingmar Relling ‘Siesta Chair’ for West Nova. Estimate: $900 - $1,200

Lot 4 Stephen Bambury And the Fundamental Reality $12,000 - $15,000 Sintesi bookcase unit and accessories courtesy of Studio Italia.

a rt at w e b b’ s Aleksandra Petrovic apetrovic@webbs.co.nz +64 9 524 6804 Caolán Mcaleer cmcaleer@webbs.co.nz +64 9 524 6804 Sophie Wallace swallace@webbs.co.nz +64 9 524 6804 Jessica Douglas jdouglas@webbs.co.nz +64 9 524 6804 Kate Shapiro kshapiro@webbs.co.nz +64 9 524 6804 Subscription Enquiries frontofhouse@webbs.co.nz Advertising Enquiries marketing@webbs.co.nz 23-25 Falcon Street Parnell, Auckland 1052 PO Box 99251, Newmarket Auckland 1149, New Zealand +64 9 524 6804 www.webbs.co.nz Cover Image Lot 4 Allen Maddox, Just the Number for your Dog’s Good Looks. Estimate: $5,000 - $7,000.

Lot 53* An American mid-century modern floor lamp. Estimate: $700 - $900.

Lot 51 A pair of vintage Barcelona style chairs, $1,000 - $2,000

Introduction 7.

Viewing Times 9.

A Curator’s Agenda 10.

Webb’s at Frieze 16.

Rare spirits & fine wine catalogue 22. vision Catalogue 30.

Conditions of Sale for Buyers 66.

Index 67.

Webb’s Parking map 68.

New website launching December 2015

www.webbs.co.nz

Lot 57 Tim Wilson, Matukituki. Estimate: $8,000 - $10,000.

Lot 28* A Johannes Anderson Danish Sideboard. Estimate: $6,500 - $7,500

Introduction

This Vision auction presents a collection of middle-tier artworks and furniture of a modernist 20th century design.

This auction will take place on the 24th of November and has been selected by Webb’s specialists for those who desire pieces by esteemed artists and designers, with a focus on works priced at mid-market levels.

In December, we are pleased to present another Discovery series auction, which ranges from entry-level pieces to middle-tier ones. This diverse collection of art is suitable for all emerging and established art collectors.

Looking forward to 2016, our Paramount sale returns in March 2016, offering a selection of museum-quality works by leading and established New Zealand artists.

JAGUAR F-TYPE

THE CAR YOU NEVER KNEW YOU ALWAYS WANTED.

You know that car you always wanted as a kid?

That car you dreamed of one day owning?

This is better. The Jaguar F-TYPE Coupé.

550 hp, 0-100 kph in 4.2 seconds and dynamic, responsive handling. It’s time to rethink your current dream car. F-TYPE Coupé from $125,000.† jaguar.co.nz

†

Including GST and excludes on road costs.

vi e w i n g t i m e s Viewing Tuesday 17 November

9am – 5.30pm

Wednesday 18 November

9am – 5.30pm

Thursday 19 November

9am – 5.30pm

Friday 20 November

9am – 5.30pm

Saturday 21 November

11am – 3pm

Sunday 22 November

11am – 3pm

Monday 22 November

9am – 5.30pm

Tuesday 23 November

9am – 12pm

Auction Tuesday 24 November, 6.30pm

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.

Vision

webb’s presents

A Cur ator’s Agenda A Residency Report from Sophie Wallace

10

CATALOGUE 528

WEBB’S

Sophie Wallace joined Webb’s in June having returned from a year in New York where she worked in the global Communications and Marketing team at Pace Gallery. She was recently selected as one of ten emerging

Curators’ Agenda: Vienna 2015 presents emerging curators with an opportunity to experience firsthand the richness and diversity of Vienna’s contemporary art scene.

Workshops with industry professionals, studio visits with artists, and guided tours of Vienna Contemporary, Parallel and Vienna Fair, provided us with a comprehensive sweep of the city’s abundant cultural scene.

curators from around the world to participate

Until the end of World War I, Vienna was a centre for the

in Curators’ Agenda: Vienna 2015, an

hub, brimming with artistic potency. The fall of the Berlin

intensive five-week curatorial residency.

Habsburg Monarchy. Today, it is an economic and cultural Wall in 1990 saw artists from Eastern Europe migrate to the centrally located city where they could find cultural funding and free education. Even today, artists that are second or third generation migrants to Vienna integrate heritage and history into their contemporary practice, thus connecting socio-political issues from different geographical locations with Vienna’s own local scene.

Migration is a central theme to much of the art currently taking shape in Vienna, where hundreds of thousands of refugees are relocating to the city. During a visit to Dejan Kaludjerovic’s studio, the Serbian artist explained his installation, Europoly (2004).

Museums Quartier. Photo Credit: Sophie Wallace.

CATALOGUE 528

11

Exhibition poster, I moved on until I went back.

WEBB’S

Modelled on Monopoly, the work requires contestants to win

exhibitions in leading contemporary museums and galleries,

European visas instead of properties. Another Serbian artist,

ran contemporaneously with the residency. Among

Borjana Ventzislavova, presented her fifteen-channel video

the highlights was Harald Falckenberg’s Sales in the

installation, where children from around the world discuss

Side Rooms exhibition at Galerie Krinzinger, which

issues of migration and dream of a world without borders.

focused on the importance of the wall label, a device

The topic of migration was also palpable at Vienna’s art fairs, with many symposiums discussing the ways in which the art world was responding to changes and challenges in society. At Vienna Contemporary, Bassam El Baroni, curator and critic, and Séamus Kealy, director at Salzburger Kunstverein, noted

increasingly omitted from display. Established by powerhouse dealer Dr. Ursula Krinzinger in 1971, the gallery is heralded for substantiating performance art in the 1970s through artists such as Marina Abromović. Dr. Krinzinger, now 75, still attends 15 art fairs each year.

that while art is ultimately a commodity, it has the opportunity

In contrast to commercial galleries, Andrea Löbel of

to respond to prevalent problems. Independent curator, Boris

Kunsthalle Exnergasse shared 20 years of history of this

Kostadinov, emphasised the responsibility of the curator as one

renowned not-for-profit space. Each year, an advisory

to engage in society, politics and culture and conceive original

panel welcomes submissions from artists and curators.

concepts for responding to a particular moment in time.

Fame or anonymity is irrelevant, with the panel instead

Vienna’s Museums Quartier conveniently houses the city’s major museums in close proximity. The residency, which included workshops with leading institutional curators—Dr. Rainer Fuchs at The Museum of Modern Art (MUMOK), Dr. Antonia Hoerschelman at The Albertina, Jasper Sharp at Kunsthistorisches Museum and Marlies Wirth at the Austrian Museum of Applied

selecting exhibitions that are most original in content and idea. Another informative workshop was held with Ursula Maria Probst, curator at Fluc, Vienna’s pioneering underground club and gallery. Fluc has become somewhat of an institution in Vienna’s cultural scene, funding its extensive programme through concerts and grants from The Arts and Culture Division of the Federal Chancellery of Austria.

and Contemporary Art (MAK)—provided us with an

Towards the end of the residency, we curated an exhibition

opportunity to understand museums in theory and practice.

in conjunction with the students of the University of

In addition to working with institutional curators, the residency included workshops with directors from commercial galleries and not-for-profit spaces. A relatively new collection of photography galleries in The Ankerbrotfabrik, an old bread factory in the 10th district, has become a destination point on the city’s art map. Directors at Anzenberger Gallery, OstLicht Gallery (which has more than 85,000 photographs in its private collection) and Hilger NEXT gallery all placed a clear emphasis on photography as the most contemporary and current medium.

Applied Arts. Titled I moved on until I went back, the exhibition brought together nine artists whose work explores landscape as an expanded idea, referencing concepts of time, traces, memory and importantly, migration. This experience enabled me to gain an appreciation for the intellectual processes behind exhibition design as well as the challenges of curating in an increasingly globalised world.

I endeavour to use these skills to develop and implement innovative exhibition programming with a long-term focus on wider audience engagement and accessibility.

The seventh iteration of curated by_vienna, a monthlong project that invites international curators to present

CATALOGUE 528

13

a valued collection Specialist valuers of fine art, antiques and collectables, books and historical documents, artefacts, wine and household goods.

A dedicated and experienced team of in-house experts use daily market research and an extensive database of international sales records to ensure a prompt, accurate, competitively priced and confidential valuation service. Home or site visits, both locally and internationally, can be arranged by appointment.

Webb’s provide comprehensive valuation services for: • Insurance • Market • Post-Loss

• Family Estate Division • Relationship Property Division • Financial Reporting

Contact: Antonia Milsom 09 524 6804, amilsom@webbs.co.nz 23-25 Falcon Street, Parnell

24.03.16

CONSign now

paramount Entries are now invited for Webb’s Paramount auction, to be held in March 2016. Webb’s Paramount auction will present significant artworks by some of New Zealand’s foremost practitioners. Early consignments into this auction include works by Gretchen Albrecht, Tony Fomison, Bill Hammond, Pat Hanly and Colin McCahon.

Nationwide in-person appraisals are available free of charge. We encourage you to make an appointment to experience the approach that has defined Webb’s since 1976.

Gretchen Albrecht Budding Landscape $25,000 - $35,000 (Paramount 2016 Auction)

Vision

webb’s at

Frieze

by Antonia Milsom

16

CATALOGUE 528

WEBB’S

Sol Calero, La Escuela del Sur, 2015. A Studio Voltaire commission. Installation view Studio Voltaire, London.

Photo credit: Antonia Milsom.

CATALOGUE 528

17

Vision

Each October, for one week the world’s leading

Italian collector and shoe designer, Ernesto

collectors, curators, critics, and other art world

Esposito. This collection was led by Andy Warhol’s

professionals descend upon London for one of

impressive Vesuvius realising £1.4 million, along

the top events in the global art calendar: Frieze.

with an Estella Olive West, which realised over

“Together with Art Basel, Frieze facilitates a

double its estimate to achieve £1.3 million.

place to meet with many colleagues, artists and collectors from around the world,” Curator Björn Geldhof notes. Throughout the week London hosts a series of events, the two major ones being Frieze London and Frieze Masters.

John Ruffman held his first major solo exhibition in the United Kingdom in a converted Methodist Chapel, which also houses the Zabludowicz Collection. Ruffman’s exhibition transformed the spaces of the chapel into areas where viewers were invited to interact with video and sculptural installations. One example was an opportunity to climb into a pit of plastic balls to view an installation, another was a large-scale artificial hedge-maze populated with digitally manipulated sculptures. This was one of many video exhibitions presented during the week, exemplifying the popularity of video work and the digital direction of 21st century art.

Another solo artist who stood out was Rachel

Kemang Wa Lehulere, Voice, chalk on wall-mounted blackboard, 2015. Commissioned by Gasworks. Courtesy the artist.

Photo credit: Antonia Milsom

Rose. At a talk by the artist she discussed her work

Frieze London brings together a list of over 160

the tent, there’ll be theatre lights and there will be

of the world’s leading contemporary galleries in a

PA speakers. The lights will be distributing light

bespoke structure uniquely suited to experiencing

within the spectrum that a particular animal, say a

and discovering new art. Showcasing works from

fox, sees within. Then with the sounds: songs that

27 countries, Frieze London also includes Live

we know and recognise [will be] filtered through

(performance and participation) and Focus (a

frequencies that a fox would hear within. Every

destination for young talent and new works from

day it will be a different animal... It’s not the sounds

across the globe). In only its fourth year, Frieze

they express,” she emphasises, “it’s the sounds they

Masters is a relative newcomer showcasing works

intake. If you were listening to Justin Bieber on

from antiquity to prominent 20th century art. This

your boom box in the park, this is what it would

is the first year that Frieze Masters has included two

sound like.” Rose, a New York-based artist, was

new sections: Collections (dedicated to remarkable

the recipient of the 2015 Frieze Artist Award and

collections of historical art and objects) and

as a result she also produced a major commission

Spotlight (20th century solo presentations from

of a scale-model of the Frieze London structure.

artist working all around the world). Many public institutions and commercial galleries throughout London also participated in Frieze Week, opening brand new exhibitions and hosting artist talks.

at Serpentine Gallery. “It’s very basic. You go in

Victoria Siddall, the director of Frieze London, had a clear vision to present depth and diversity at the fair by showcasing all that art has to offer.

“Many people come with no intention of buying,

A mix of sales held at Sotheby’s, such as

and thinking they couldn’t, but there are things

Contemporary Day and Contemporary Evening,

within reach for many people,” Siddall explains.

marked the start of our schedule for Frieze Week.

“Some of the editions start at £50 and they

Contemporary Evening included five works from

are by great artists. And there will be Picassos

18

CATALOGUE 528

WEBB’S

for millions ... it is about getting that range and

moments in their careers. In terms of private

diversity under one roof.” As a result, the fair

patronage, a number of New Zealanders welcomed

attracts a range of audiences – not just for the

artists and collectors into their London homes,

avid collector, but also those starting out.

in order to connect and form relationships.

A few weeks before Frieze London commenced,

New Zealand was strongly represented at

Damien Hirst’s brand new gallery, Newport Street

Frieze London by Hopkinson Mossman. This

Gallery, opened its doors. This public gallery

Auckland gallery showcased Berlin-based New

features exhibitions of work from Hirst’s extensive

Zealand artist Ruth Buchanan. Her installation

private art collection, which he has titled Murderme.

24 Hour Body was inspired by a system of social

Newport Street Gallery’s inaugural exhibition,

organisation emphasising language place within

titled John Hoyland: Power Stations, was curated

it. “Ruth Buchanan’s work explores language as

by Hirst himself and is the first major exhibition

a powerful system of social organisation. Her

of Hoyland’s work since his death in 2011. Hirst

works find physical formats for language – as

carefully organised the six interconnecting galleries

spatial structures, prints, texts, collections of

to span from the mid-1960s (colour) through

objects, sculptures, weavings, films, perfomance,

to the 1970s (textured) and lastly finishing with

and audio recordings – but also develops

his spatially complex paintings of the 1980s.

a semantic that is in itself organised like a

An interesting component to Frieze was the patronage, from small-scale arts organisations

language”, explains Sarah Hopkinson and Danae Mossman, directors of Hopkinson Mossman.

with private funders and foundations that provide

Both public and commercial spheres were

a springboard for emerging artists, to private

seamlessly linked throughout the seven days

patrons who open their homes in support of

in London. All those involved in Frieze Week

young artists. Studio Voltaire, Gas Works and

showcased a diverse and complex array of art,

Chisenhale Gallery were among the few public

encompassing geographical diversity and providing

spaces that commission and exhibit work by

a platform to show a wide range of artists.

emerging or under-represented artists at pivotal

Ugo Rondinone, clouds + mountains + waterfalls, 2015. Installation View Sadie Coles HQ, London. Phoo credit: Antonia Milsom

CATALOGUE 528

19

Vision

Renowned Australian auction house to acquire Webb’s

20

CATALOGUE 528

Billy Apple, Sold, installation view, Peter Webb Galleries.

Peter Webb Galleries Limited is pleased to announce that

Mossgreen was established in 2004 and is now

its NZX listed parent company, Bethunes Investments

the largest auction house in Australia.

Limited (BIL.NZX), has entered into a conditional agreement to sell Webb’s to Mossgreen, a renowned Australian auction house. Mossgreen is expected to take operational control of Webb’s on 1 January, 2016.

Mossgreen CEO, Paul Sumner, commented “We are very excited by the opportunities that this acquisition will create, as Mossgreen and Webb’s become the first truly transTasman auction house. We look forward to developing the

Mossgreen is the leading destination in Australia to buy,

clear synergies that already exist between these two strong

sell and enjoy rare and valuable objects. They are 100%

and well-respected auction brands, and to sharing our

Australian-owned with three main areas of operation:

combined expertise and experience with our clients”.

•

•

Auctions of single-owner collections, fine art,

For further information about Mossgreen please

decorative arts, jewellery and collectables.

visit www.mossgreen.com.au.

A gallery, representing some of Australia’s finest Contemporary artists.

•

Tearooms, in partnership with Peter Rowland Catering.

rare spirits & Fine wine Tuesday 24 November 2015, 6pm

Prior to Vision series

Vision

K ey Ratings

We have used ratings from a number of well known wine writers. RP (Robert Parker), WE (Wine Enthusiast), WS (Wine Spectator), ST (Stephen Tanzer), BC (Bob Cambell MW) and JH (James Haliday) scores are a rating out of 100. JR (Jancis Robinson MW) and D (Decanter) are scores out of 20.

Ullage

The term that refers to the gap between the bottom of the cork and the fill level of the wine. All wines listed in this catalogue have Ullage level of “Into Neck� or higher. If the level is lower it is stated in the catalogue.

TS (Top shoulder) - A good level in any wine 20 years or older.

US (Upper shoulder) - Indicates slight natural reduction through easing of the cork and evaporation through cork and capsule.

MS (Mid-shoulder) - Indicates some weakening of the cork and therefore some risk. This is not unusual in wines over 50 years old and estimates will take this into account.

LMS (Low-mid shoulder) - Indicates high risk and will attract low estimates.

*

Vendor is from the trade and/or a party/entity associated with a Director of Peter Webb Galleries Limited.

RL Replacement Label OWC Original Wood Case IN Into Neck TS Top Shoulder Fill US Upper Shoulder Fill MS Mid-Shoulder Fill LS Low Shoulder Fill 24

CATALOGUE 528

TC Torn Capsule CC Corroded Capsule OX Oxidized Capsule NC No Capsule FL Faded Label TL Tattered Label TOL Torn Label

STOL HSL BSL TSL SOL

Slightly Torn Label Heavily Stained Label Bin Stained Label Tissue Stained Label Soiled Label

WEBB’S

New Zealand Lot 1. (2) 2005 Dry River ‘Craighall’ Riesling~Martinborough $35 - $50

Lot 9. (2) 2004 Dry River ‘Lovat’ Gewurztraminer~Martinborough $45 - $65

Lot 2. (1) 2002 Stonyridge Larose~Waiheke $80 - $120

Lot 10. (3) 2004 Dry River ‘Lovat’ Gewurztraminer~Martinborough $45 - $65

Lot 3. (1) 1997 Te Mata Coleraine~Hawkes Bay $70 - $110

Lot 11. (1) 2004 Dry River ‘Lovat’ Gewurztraminer~Martinborough $45 - $65

Lot 4. (2) 2007 Ata Rangi ‘Kahu’ Botrytis Riesling~Martinborough 375ml $30 - $40

Lot 12. (1) 2008 Framingham Noble Riesling~Marlborough 375ml $25 - $35

Lot 5. (2) 2009 Dry River Pinot Gris~Martinborough $30 - $50 Lot 6. (3) 2009 Dry River Late Harvest Riesling~Martinborough $40 - $60 Lot 7. (2) 2009 Dry River Pinot Gris~Martinborough $30 - $50 Lot 8. (2) 2005 Dry River ‘Craighall’ Riesling~Martinborough $35 - $50

Lot 13. (1) 2005 Dry River Late Harvest Riesling~Martinborough $40 - $60 Lot 14. (3) 2005 Kumeu River ‘Mates’ Chardonnay~Kumeu $50 - $70 Lot 15. (4) 2008 Dry River Gewurztraminer~Martinborough $35 - $55

Lot 17. (1) 1992 Corbans ‘Cottage Block’ Merlot~Hawkes Bay Limited Edition 150cl $60 - $80 Lot 18. (2) 2005 Framingham Noble Riesling~Marlborough 375ml $25 - $30 Lot 19. (3) 1995 Dry River ‘Craighall’ Botrytis Riesling~Martinborough 375ml $30 - $50 Lot 20. (3) 2008 Dry River Pinot Gris~Martinborough $30 - $50 Lot 21. (2) 2007 Ata Rangi ‘Kahu’ Botrytis Riesling~Martinborough 375ml $30 - $40 Lot 22. (1) 2008 Framingham Botrytis Gewurztraminer~Marlborough 375ml $25 - $35

Lot 16. (4) 2010 Dry River Viognier~Martinborough $30 - $50

Australia Lot 23. (11) Penfolds Grange Vertical 1987-1997~South Australia $400 - $500 Lot 24. (1) 2000 Penfolds Grange~South Australia JH96 $400 - $500 Lot 25. (4) 2002 Jim Barry Armagh~Clare Valley (BSL) RP98 $180 - $250 Lot 26. (1) 1992 Jim Barry Armagh~Clare Valley (BSL) RP97 $180 - $250 Lot 27. (1) 1978 Penfolds Grange~South Australia (IN) RP93 $400 - $500 Lot 28. (1) 1988 Grant Burge Meshach Shiraz~Barossa (IN) $120 - $180

Lot 29. (2) 1996 Penfolds Bin 707 Cabernet Sauvignon~South Australia (BSL) JH97 $140 - $200

Lot 34. (1) 1992 Penfolds Grange~South Australia Recorked JH96 $400 - $500

Lot 30. (1) 1996 Penfolds Grange~South Australia RP95 $400 - $500

Lot 35. (1) 1991 Penfolds Grange~South Australia Recorked RP95 $400 - $500

Lot 31. (2) 1989 Penfolds Grange~South Australia RP93 $400 - $500 Lot 32. (6) 1997 Penfolds Grange~South Australia OWC RP94 $400 - $500 Lot 33. (2) 1992 Penfolds Grange~South Australia JH96 $400 - $500

Lot 36. (6) 1991 Penfolds Grange~South Australia OWC RP95 $400 - $500 Lot 37. (1) 1990 Penfolds Grange~South Australia Recorked RP95 $400 - $500 Lot 38. (1) 2001 Penfolds Grange~South Australia RP98 $400 - $500 CATALOGUE 528

25

Italy Lot 39. (1) 2006 Allegrini Amarone~Veneto $90 - $110

Lot 41. (1) 1997 Marchesi Antinori Tignanello~Tuscany 150cl RP94 $400 - $500

Lot 44. (1) 2006 Altesino Brunello di Montalcino~Tuscany ST94 $70 - $90

Lot 40. (1) 2000 Tenuta dell’Ornellaia~Bolgheri 300cl RP93 $1,300 - $1,500

Lot 42. (1) 2006 Antinori Tenuta Guado al Tasso~Bolgheri WE97 $100 - $130

Lot 45. (1) 2003 Falletto Barolo~Piedmont 300cl ST91 $650 - $750

Lot 43. (1) 2004 La Fortuna Brunello di Montalcino~Tuscany RP92 $70 - $90

France-Champagne Lot 46. (1) 1975 Perrier Jouet Belle Epoque~Champagne 300cl $1,300 - $1,400

France-Bordeaux Lot 47. (1) 1947 Château d’Yquem~Sauternes WS97 $4,500 - $5,500

Lot 56. (1) 1979 Chateau Mouton Rothschild~Pauillac (CC) (US) $400 - $500

Lot 64. (1) 1994 Chateau Latour~Pauillac RP94 $650 - $750

Lot 48. (1) 1999 Petrus~Pomerol (IN) $2,500 - $3,500

Lot 57. (1) 1980 Chateau Mouton Rothschild~Pauillac (TS) $400 - $500

Lot 65. (1) 2003 Chateau Haut Brion~Pessac Leognan RP95 $550 - $650

Lot 58. (1) 1989 Domaine de Montazeau~Bergerac (IN) $60 - $80

Lot 66. (1) 2003 Chateau Pavie~St Emilion RP99 $400 - $500

Lot 59. (2) 1993 Chateau Margaux~Margaux JR17/20 $450 - $550

Lot 67. (1) 1989 Chateau Pichon Longueville ‘Baron’~Pauillac 600cl RP95 $2,500 - $3,000

Lot 49. (1) 1994 Chateau LafiteRothschild~Pauillac WS93 $800 - $1,000 Lot 50. (1) 2005 Chateau Prieure Lichine~Margaux RP90 $90 - $110 Lot 51. (6) 2002 Chateau Tertre Roteoeuf~St Emilion $130 - $170 Lot 52. (1) 1994 Chateau Cheval Blanc~St Emilion $450 - $550 Lot 53. (1) 2004 Petrus~Pomerol (IN) $2,200 - $3,200 Lot 54. (1) 1958 Chateau CardinalVillemaurine~St Emilion (TS) $50 - $70 Lot 55. (3) 1988 Chateau Lafleur Petrus~Pomerol (IN) $250 - $300

Lot 60. (1) 1996 Chateau Pichon Longueville ‘Lalande’~Pauillac 150cl RP96 $550 - $650

Lot 68. (1) 2005 Chateau Figeac~St Emilion 300cl WS95 $850 - $950

Lot 61. (1) 1995 Chateau Grand Puy Lacoste~Pauillac 150cl RP95 $350 - $450

Lot 69. (1) 1990 Chateau Latour~Pauillac RP94 $1,100 - $1,300

Lot 62. (1) 2003 Chateau Haut Brion~Pessac Leognan 150cl RP95 $1,100 - $1,300

Lot 70. (1) 2001 Chateau Latour~Pauillac RP95 $750 - $850

Lot 63. (1) 2002 Chateau Latour~Pauillac RP96 $750 - $850

WEBB’S

France-Burgundy Lot 71. (1) 1995 Les Caves des Hautes Cotes CharmesChambertin Grand Cru $300 - $400 Lot 72. (1) 2005 Sylvie Esmonin Gevrey Chambertin~’Clos St Jacques’ 1er Cru $300 - $400 Lot 73. (1) 1993 de Vogue Musigny~Vieilles Vignes Grand Cru $1,100 - $1,200 Lot 74. (1) 2001 Rousseau Chambertin~Clos de Beze Grand Cru 150cl $2,800 - $3,200

Lot 75. (1) 2005 JF Mugnier Bonnes Mares Grand Cru $1,000 - $1,200 Lot 76. (1) 2005 Geanet-Pansiot Charmes Chambertin Grand Cru $300 - $400 Lot 77. (1)1999 Geanet-Pansiot Charmes Chambertin Grand Cru $340 - $440 Lot 78. (1) 2005 Esmonin Chambertin~Clos de Beze Grand Cru $400 - $500 Lot 79. (1) 2005 JF Mugnier Musigny Grand Cru $3,000 - $4,000

Lot 80. (1) 2005 Rousseau Chambertin~Clos de Beze Grand Cru 150cl $4,000 - $5,000 Lot 81. (1) 2002 Geanet-Pansiot Charmes Chambertin Grand Cru $300 - $400 Lot 82. (1) 2005 Drouhin Griotte Chambertin Grand Cru $550 - $650 Lot 83. (1) 2005 Rousseau Gevrey Chambertin~Clos St Jacques 1er Cru $2,000 - $3,000 Lot 84. (1) 2006 William Ferve ‘Le Clos’ Chablis ST96 $110 - $140

Other Lot 85. (1) 1971 Inglenook Cabernet Sauvignon~Napa Valley (IN) $30 - $50

Lot 86. (1) 1975 Dow’s Vintage Port $100 - $140

Spirits Lot 87. (1) Smirnoff No21 Vodka 100cl $30 - $50

Lot 93. (1) Khabarovskaya Vodka~Russia 70cl $30 - $50

Lot 99. (1) St Petersburg Vodka~Russia 50cl $30 - $50

Lot 88. (1) Smirnoff Silver 90.4~USA 75cl $30 - $50

Lot 94. (1) Polmos Poznan Vodka~Poland 75cl $30 - $50

Lot 100. (1) Bardinet Vodka~France 70cl $30 - $50

Lot 89. (1) Graffiti Vodka~United Kingdom 100cl $30 - $50

Lot 95. (1) Galileo Vodka~Poland 70cl $30 - $50

Lot 101. (1) Russian Standard Vodka~St Petersberg 100cl $30 - $50

Lot 90. (1) Lithuanian Original Vodka 70cl $30 - $50

Lot 96. (1) Vertical Vodka~France 70cl $30 - $50

Lot 102. (1) Skyy Vodka~USA 100cl $30 - $50

Lot 91. (1) Chopin Vodka~Poland 75cl $30 - $50

Lot 97. (1) White Wolf Vodka 50cl $30 - $50

Lot 92. (1) Royalty Vodka~Holland 1000ml 100cl $30 - $50

Lot 98. (1) Krolemska Vodka~Poland 70cl $30 - $50

Lot 103. (1) Russian Vodka 50cl $30 - $50 Lot 104. (1) Ctapar Moscow Vodka~Russia 75cl $30 - $50 Lot 105. (1) Ursus Vodka~Iceland 100cl $30 - $50 CATALOGUE 528

27

Vision

Spirits Continued Lot 106. (1) Rubiskaya Vodka~France 70cl $30 - $50

Lot 112. (1) Belvedere Vodka~Poland 75cl $30 - $50

Lot 119. (1) Grey Goose~France 100cl $30 - $50

Lot 107. (1) Pieprozowka Vodka au Poivre~Poland 75cl $30 - $50

Lot 113. (1) Viking Vodka 70cl $30 - $50

Lot 120. (1) Gorbatschow Vodka~Germany 100cl $30 - $50

Lot 108. (1) Boryska Vodka~Italy 70cl $30 - $50 Lot 109. (1) Tchaikovski Lemon Vodka~Russia 50cl $30 - $50 Lot 110. (1) Absolut Citron~Sweden 100cl $30 - $50 Lot 111. (1) Akito Shochu~Japan 75cl $30 - $50

28

CATALOGUE 528

Lot 114. (1) Belvedere Vodka~Poland 75cl $30 - $50 Lot 115. (1) Ciroc Vodka~France 100cl $30 - $50 Lot 116. (1) Smirnoff~Russia 70cl $30 - $50 Lot 117. (1) Putinka Vodka~Russia 50cl $30 - $50 Lot 118. (1) Altai Vodka~Siberia 70cl $30 - $50

Lot 121. (1) Rossi Dasiago Vodka Citron~Italy 70cl $30 - $50 Lot 122. (1) Rossi Dasiago Vodka Peach~Italy 70cl $30 - $50 Lot 123. (1) Smirnoff Silver Private Reserve~USA 75cl $30 - $50 Lot 124. (1) Ciroc Vodka~France 100cl $30 - $50

03.12.15 Discovery Series Catalogue online Friday 20 November Viewing starts Thursday 26 November Auction

Murray Hedwig Gathering Storm, Desert Road, 2006 $1,500 - $3,000

Thursday 3 December, 6.30pm

Lot 7 Grete Jalk ‘Model 118’ sofa for France and Daverkosen in teak and blue linen. Estimate: $3,000 - $3,800

vi s i o n s e r i e s Tuesday 24 November 2015, 6.30pm

Viewing from Tuesday 17 November

32

CATALOGUE 528

1 Séraphine Pick

Untitled (Stag Man) graphite and acrylic on board signed and dated ‘93 verso 200mm x 200mm $1,500 - $2,500

2w Ingmar Relling ‘Siesta Chair’ for West Nova

3 Michael Smither

Painting 3

acrylic on paper signed; title inscribed on John Leech Gallery label affixed verso 572mm x 894mm

Cream leather with plywood construction, Norway. c. 1960. $900 - $1,200

EXHIBITED Michael Smither, John Leech Gallery, Auckland, 8 - 25 May, 1973 $2,000 - $3,000

CATALOGUE 528

33

34

CATALOGUE 528

4 Allen Maddox

5 Stephen Bambury

Just the Number for your Dog’s Good Looks

Hanoi (Spirit Street)

oil on cotton title inscribed, signed and dated 4.6.76 and inscribed Blue 915mm x 435wmm (widest points)

23K gold, schlagmetal, size and acrylic on aluminium on board, diptych title inscribed, signed and dated 2003 and inscribed 23K gold, schlagmetal, size & acrylic on 2 x aluminium panels on wood panel verso 172mm x 340mm

PROVENANCE Acquired by the present owner from Denis Cohn Gallery c.1978.

$6,000 - $9,000

$5,000 - $7,000

CATALOGUE 528

35

36

CATALOGUE 528

6 Don Driver

Duraband 5

nylon webbing tape, cotton thread on PVC vinyl sheet title inscribed, signed and dated 1987 verso 1402mm x 2260mm

PROVENANCE Commissioned by the present owner from the artist in 1987. $10,000 - $15,000

Commissioned in 1987, Duraband 5 is a skillfully executed work, highlighting Driver’s strength as a colourist alongside his ability to transform and elevate mundane, humble materials to the higher status of tactile artistic objects.

By accumulating and utilising the superfluous materials abundant within rural communities, Driver explores the inherent magic and mystery of these items, leading the viewer into an exploratory critique of New Zealand’s agricultural identity.

In Duraband 5, webbing tape, usually the discarded by-product of commercial packaging, especially once torn or ripped in order to revel the contents of the package, is stitched to a large gold vinyl sheet. The tape bounces,

flutters and sways, revealing and concealing the lustrous shine of the backing material.

The overall effect alludes to the sleight of hand employed by magicians, a hobby that occupied much of Driver’s childhood.

The curling, circular forms created by the gravitational pull on the webbing tape of Duraband 5 act as portals of vision for the viewer, further heightening the sense of transformation. The work could be viewed as Driver’s interpretation of a kakahu, or feather cloak, with each strand of webbing tape acting as a feather from the children of Tāne, flittering between the physical world and the spiritual world beyond.

ALEKSANDRA PETROVIC

CATALOGUE 528

37

7w Grete Jalk ‘Model 118’ sofa for France and Daverkosen in teak and blue linen Danish, c. 1964.

L 2000mm $3,000 - $3,800

38

CATALOGUE 528

8 Peter Stichbury Untitled acrylic on linen signed; title inscribed, signed and dated 1999 verso 600mm x 600mm $15,000 - $25,000

CATALOGUE 528

39

9 Ralph Hotere Requiem

watercolour and ink on paper title inscribed, signed and dated 7.60 695mm x 500mm $20,000 - $25,000

40

CATALOGUE 528

Requiem is part of a series of work produced by Ralph Hotere from 1973 to 1974. A requiem is a musical composition and sung mass for the dead, most apparent in the Roman Catholic Church. Each of the works in this series feature subdued colours, overlaid with a precise pinstripe pattern to convey a quiet, contemplative atmosphere. A sense of rhythm and poetic fluidity permeates the work and reveals the influence of not only the

musical compositions of a requiem but Hotere’s friend and composer Anthony Watson, who passed away the same year the work was produced. The series is also pervaded with the memory of his mother, Ana Maria Hotere, resulting in a deeply personal litany of loss and grief.

KATE SHAPIRO

10w Don Binney Manunui, Otakamiro screenprint, artist’s proof title inscribed, signed and dated 2010 751mm x 558mm $7,000 - $10,000

CATALOGUE 528

41

42

CATALOGUE 528

11 Michael Smither Dunedin Headlands Cross oil on hardboard title inscribed, signed and dated 1970 - 71 verso 455mm x 455mm $15,000 - $20,000

In Dunedin in 1970, Michael Smither took up the Frances Hodgkins Fellowship, established in 1966 by noted scholars Charles Brasch and his cousins Mary, Dora and Esmond de Beer. During this tenure, Smither kept a studio in Castle Street alongside Ralph Hotere and a young Jeffrey Harris.

This oil on board piece contrasts cubist-influenced curved lines and subtle tonal graduations with the sharp angular shape of the canvas. The cross shaped canvas board echoes Smither’s Catholic upbringing and the same

shape would be replicated again in subsequent works in 1970, which were tributes to the recently deceased Rita Angus, who had a strong influence on Smither. The artist wrote, “I decided to take the Otago landscape we [Rita Angus and I] both enjoyed and introduce it into the cruciform shape as a memorial to her.

I made many drawings and at an early stage decided to extend the idea into a series of 12, relating to the Catholic tradition of the Stations of the Cross”.

Caolán McAleer

CATALOGUE 528

43

12 Gavin Chilcott Amphora with Landscape, Plane, Figure & Millstone oil on shaped plyboard title inscribed, signed and dated April 1989; title inscribed and dated 1989 on Martin Browne Fine Art Gallery label affixed verso 2180mm x 1200mm $6,000 - $10,000

44

CATALOGUE 528

13 SĂŠraphine Pick Untitled acrylic, gesso and graphite on paper signed and dated 1994 750mm x 570mm $5,000 - $7,000

CATALOGUE 528

45

14

Rohan Wealleans

Faust Dr Strange

acrylic on paper and perspex title inscribed, signed and dated 2010 on Hamish McKay Gallery label affixed verso 340 mm x 265mm x 125mm

EXHIBITED Hamish McKay Gallery $1,700-$2,000

46

CATALOGUE 528

15w Per Lütken two ‘Beak’ vases for Holmegaard

Smokey and pale blue glass, Denmark, c. 1959.

H 250mm $250 - $350

16

Stephen Bambury

Ghost XI

silver leaf on chemicallytreated aluminium, diptych title inscribed, signed and dated 2004 and inscribed Panel 1 (of 2), silver leaf and chemical actions on aluminium left panel verso; title inscribed, signed and dated 2004 and inscribed Panel 2 (of 2), silver leaf and chemical actions on aluminium right panel verso 170mm x 170mm (each)

$5,000 - $7,000

CATALOGUE 528

47

48

CATALOGUE 528

17 Gordon Walters Untitled gouache on paper signed and dated ‘76 verso 148mm x 117mm PROVENANCE Acquired by the present owner from Peter McLeavey Gallery c.1976. $40,000 - $60,000

It was in 1956 that Gordon Walters first made serious studies concerning the depiction of koru-derived imagery, a design that has become synonymous with the artist. In this small gouache on paper, the artist continues his interest in the Māori motif.

The contrasted vertical rows are deliberately restricted to a limited palette, a feature Walters often used in order to balance the composition and form an interconnected and complementary construction. Here, the yellow and grey-blue bands of colours are identical in shape and size so that the free-flowing design deftly interplays positively and negatively.

These two tones delicately rest beside one another in a dual interplay, where Walters’ iconic minimalistic design is repeated to form a stylised image.

A closer inspection of the curved bulbs reveals slight pencil marks, exemplifying the artist’s manufacture and freehand technique.

He used these curved circular forms and their horizontal bands in order to create an optical illusion: the edges of the stacked rows are cropped, which suggests a canvas that extends beyond the two-dimensional picture frame and into infinity.

JESSICA DOUGLAS

CATALOGUE 528

49

50

CATALOGUE 528

18

Milan Mrkusich

Achromatic, Dark I 1977

acrylic on canvas title inscribed, signed and dated ‘77 verso; label verso inscribed Show Bg. One Man Show 1980, view 5 21st April - 1st May 1760mm x 1430mm

ILLUSTRATED Wright, Alan, Edward Hanfling, Mrkusich: The art of transformation, Auckland, Auckland University Press, 2009, plate 67 $50,000 - $60,000

Achromatic, Dark I 1977 belongs to a period spanning the years of 1977-78, where Mrkusich’s investigations into the grid were refined and contrasted against the artist’s other formalist concern: the surface of the work itself. Delicate lines appear embedded on the surface of the work, creating a band in the lower third of the work comprised of miniature squares. These squares echo the four lines of the frame, and indeed the four edges of the work itself. Mrkusich’s concern here is to manifest the essence and power of the hue, which fills the viewer’s field of vision alongside the materiality of the painted surface.

By creating the surface with a paint roller Mrkusich has removed the traditional mark

of the artist’s brush, which characterised his earlier works, in an effort to distill his working methodology to only the most essential components. While this technique at first detaches the work from the hand of the artist, the grid lines in the lower part of the work betray this by alluding to Mrkusich’s meticulous precision and concentration in their application onto the canvas. The viewer is confronted not just with a monochromatic palette but also an abstract geometric form, where formalist concerns have been elegantly intertwined with aesthetic values.

ALEKSANDRA PETROVIC

19w Peter Hayworth sideboard for Uniflex

In teak and rosewood, United Kingdom. c. 1959.

H 700mm x W 1550mm x D460mm $2,000 - $2,800

CATALOGUE 528

51

20

Ralph Hotere

Untitled (from the Baby Iron series)

acrylic on burnished corrugated iron in Roger Hicken frame signed and dated Port Chalmers ‘83 770mm x 710mm

$40,000 - $50,000

52

CATALOGUE 528

The Baby Iron series comprised works produced by Ralph Hotere from 1983 to 1984 that employ corrugated iron and wood in conjunction with text and symbols. Unlike the Aramoana and Polaris series created during this period, the Baby Iron series is devoid of ardent political content. What is rather more relevant to the interpretation of the series is the substrate on which the works were executed. Narrow panels of corrugated iron with an industrially repetitive sense of uniformity were incised using a blowtorch, much like a painter’s paintbrush. Residual

marks as a side effect of the blowtorching process make the artist’s presence apparent as they shed light on the process with which the work was created. The reflective surface the material creates was likened by New Zealand poet Cilla McQueen (and Hotere’s former partner) to a “hall of mirrors”. 1 KATE SHAPIRO McQueen, Cilla, Baby Iron. In Gregory

1

O’Brien (ed.), Hotere: Out of the Black Window, Godwit: Auckland, 1997. p. 114.

21w Curtis Jere ‘Black Birds’

Wall hanging for artisan house.

Matt black painted steel, USA. c. 1960 L 1350mm $2,800 - $3,800

22w Michael Payne ‘Osaka Expo’ Chair for Nova Interiors

Black leather and plywood on a cast aluminium four castor base. c. 1970. $1,400 - $1,800

CATALOGUE 528

53

23 Philip Trusttum Hannah’s Toys acrylic and collage on canvas 2310mm x 1885mm $7,000 - $10,000

54

CATALOGUE 528

24w Mervyn Williams Strata acrylic and gesso on canvas title inscribed, signed and dated 1982 verso 1210mm x 1210mm $10,000 - $15,000

CATALOGUE 528

55

56

25 John Reynolds

26 John Reynolds

Alien Hand Painting #4

Alien Hand Painting #2

enamel, graphite and ink on canvas title inscribed, signed and dated 2006 verso 1010mm x 1502mm

enamel, graphite and ink on canvas title inscribed, signed and dated 2006 verso 1010mm x 1522mm

$5,000 - $7,000

$5,000 - $7,000

CATALOGUE 528

27 Dick Frizzell Jug with Blue Glass Handle oil on canvas title inscribed, signed and dated 3/7/96 1000mm x 1000mm $8,000 - $12,000

CATALOGUE 528

57

28w A Johannes Anderson Danish sideboard for Christian Linneberg

29

rosewood with contrasting horizontal and vertical grain to the two exterior front doors, with a blond oak interior. interior with adjustable shelving and felt lined pull out drawers. c. 1960.

H 820mm x W2230mm x D 500mm $6,500 - $7,500

58

CATALOGUE 528

Dick Frizzell

BAKE

oil on linen, diptych signed and dated 3/6/98 and inscribed BA on lower right on left panel and KE lower left on right panel 610mm x 610mm (each); 610mm x 1200mm (overall) $10,000 - $15,000

30w Charles & Ray Eames ‘Aluminium Group’ chair for Herman Miller

Cast aluminium base. c. 1960. $1,400 - $1,800

CATALOGUE 528

59

31 Ralph Hotere Patu acrylic on burnished steel signed and dated Koputai 83; signed and inscribed Merata, I Roto I Nga Mauniwitanga O Te Wa Ko Tenei He Taonga Iti verso 525mm x 385mm $30,000 - $40,000

60

CATALOGUE 528

32 Garth Tapper Man with Glasses oil on board signed 264mm x 376mm $5,000 - $8,000

CATALOGUE 528

61

33

Jeffrey Harris

34

Colin Wheeler

Girl on a Swing

oil on canvas title inscribed, signed and dated August 1972 and inscribed oil on canvas verso 400mm x 500mm

Premises of the National Bank Oamaru

oil on board signed and dated Dec 1994 350mm x 454mm

$5,000 - $8,000

62

CATALOGUE 528

$4,000 - $6,000

35

Garth Tapper

Untitled

oil on board signed; signed and dated ‘83 verso 446mm x 555mm $10,000 - $15,000

Garth Tapper moved to Matakatia Bay, Whangaparaoa in the early 1980s after retiring from teaching at Elam. Here Tapper found himself revitalised by life next to the sea – he took to beach life with ease, where he was able to relax with his family. The artist became an observer of those using the beach for activities and recreation, and these figures became interjected into his painting at

this time. In this oil work, which is believed to depict his children, Tapper uses figures much looser than he would normally create. Their playful relaxed poses are contrasted with the vigorous brushstrokes on the sea and shore, creating a fluid movement as they move across the coast.

CAOLÁN MCALEER

CATALOGUE 528

63

36

Sydney Lough Thompson

Pohutukawas and Maori Entrenchments, Mahurangi

oil on canvas signed; title inscribed and inscribed 95 guineas on label affixed verso 530mm x 705mm

$15,000 - $18,000

64

CATALOGUE 528

Sydney Lough Thompson had already rejected the idea of studio practice and embraced the impressionist hallmark of plein air painting by the time he returned to New Zealand in 1933 after long periods in Concarneau, Brittany. The Mahurangi area had become a haven for artists in 1940s and ‘50s, the open landscape and light inspiring a new generation of New Zealand artists as seen in this oil. This work was likely completed

around 1943 when Thompson worked in the North Island along with English born artist Olivia Spencer Bower, who created a watercolour of the same scene. The not yet flowered Pohutukawas tree winds and twists over the horizon dominating the canvas in a muted earthy palette in Thompson’s typical post-impressionist style.

CAOLÁN MCALEER

37w John Gully Lake Tennyson Near Nelson, South Island watercolour on paper signed; title inscribed in another hand verso 462mm x 670mm PROVENANCE Formerly in the collection of Earlsbrae, the colonial home located at 15 Queen Street, Bowray, NSW, Australia, of Sir George Fuller, former premier of New South Wales. $10,000 - $15,000

CATALOGUE 528

65

38

Tom Esplin

Rue Jean Rouen, France

oil on board signed

315mm x 440mm $4,000 - $6,000 39

Garth Tapper

Untitled

oil on board 384mm x 292mm $4,500 - $6,000

40

Tim Wilson

Milford Sound

oil on canvas title inscribed, signed and dated 91; signed and dated 91 verso 750mm x 1000mm

$15,000 - $18,000 41w A rare Gunni Omann Model 18 sideboard

For Omann Jun Mobelfabrik in rosewood with two sliding doors with adjustable shelves and four drawers to the left H 820mm x W 1990mm x D 480mm $8,000 - $9,000

66

CATALOGUE 528

CATALOGUE 528

67

42

Charles Blomfield

White Terraces

oil on canvas signed and dated 1913 420mm x 590mm

PROVENANCE Passed by descent from the artist to the present owner $10,000 - $15,000

68

CATALOGUE 528

Charles Blomfield’s White Terraces depicts an environment now lost to the modern world. This is one of several important works from the artist’s career which helped influence perceptions of the landscape of colonial New Zealand.

The vast silica slopes of Rotomahana were a popular tourist attraction. Until their recent rediscovery submerged beneath the waters of Lake Rotomahana, they were thought to have been destroyed in the volcanic eruption of Tarawera in 1886. Blomfield’s depiction of the terraces captures the contradictions inherent in portrayals of regional landscapes from the 19th century. The landscape seems inhospitable and dangerous due to the frequent volcanic and geyser activity, and yet the space, blue sky and overall majestic impression left by the scene is also suggestive of a paradise awaiting those colonial settlers brave enough to travel to the opposite side of the world.

The drama of this landscape, to which Blomfield returned repeatedly over the

course of his career, is evident in White Terraces. The landscape has been portrayed as a tourist-free idyll and the painting conveys a nostalgia which only increased once it was discovered that the terraces were no longer in existence. For the modern-day viewer, Blomfield’s depiction of the white terraces also provokes reflection on contemporary concerns over conservation and maintenance of the surrounding natural environment.

Images of dramatic landscapes are primary material used in contemporary marketing campaigns which promote New Zealand as a place where settlers from overseas can make their homes, or tourists can come for temporary visits. Blomfield’s White Terraces addresses the multiple narratives and mythologies inherent in defining and representing the landscape of New Zealand.

ALEKSANDRA PETROVIC

43w Mid 20th century ‘Rocket Lamp’

Mahogany with composite shade, upholstered in Dandelion Clocks by Sanderson. By Danske Mobler, New Zealand. c. 1960.

H 1380mm $600 - $800

44w Adrian Pearsall ‘Giant Jax’ Copper table Maron Craft Associates

Shaped glass with walnut base, USA. c. 1960.

H 500mm x W 510mm x D660m

45w Henry Klein sideboard for Bramin Denmark, c. 1960

H 800mm x W 2230mm x D440mm $3,000 - $4,000

$800 - $1,000

CATALOGUE 528

69

46

Guy Ngan

Abstract Form

bronze on stone base 410mm x 200mm x 118mm $2,200 - $3,200

47

Virginia King

Fern

Marine grade 316 stainless steel finished and electroplated on concrete base 2200mm x 750mm x 200mm (widest points); 450mm x 250mm x 250mm (base) $25,000 - $35,000

70

CATALOGUE 528

48

Ralph Hotere

Pine Asleep & Asleep & Spreading Your Arms, from ‘Pine’ a Poem by Bill Manhire

watercolour on paper signed, inscribed & dated Gt Barrier 5/73 585mm x 385mm

$5,000 - $10,000 49

Ralph Hotere

Pine a Tree

watercolour on paper signed, inscribed & dated 11/1/1972 585mm x 385mm $5,000 - $10,000

CATALOGUE 528

71

72

CATALOGUE 528

50

Tim Wilson

Norwester Client Hills Station

oil on beige linen signed and dated 05; title inscribed and dated 04 on Certificate of Authenticity affixed verso 610mm x 905mm $10,000 - $15,000

51w A pair of vintage barcelona style chairs

52

Upholstered in dark brown leather. Some Faults.

Jeffrey Harris

War

$1,000 - $2,000

acrylic on board title inscribed, signed and dated April-June 1970 and inscribed No. 11, $60, 48x48 verso 1200mm x 1200mm $12,000 - $15,000

CATALOGUE 528

73

53

Sydney Lough Thompson

Market Day, Concarneau

oil on board title inscribed on original Ritches Fine Arts label affixed verso 310mm x 370mm

$8,500 - $11,500

74

CATALOGUE 528

54w An American mid century modern floor lamp

Maker unknown. Gilt brass and wood construction. c. 1960 H 1580mm $700 - $900

55

John Barr Clarke Hoyte

56

Simon McIntyre

Untitled

Motto II

watercolour on paper signed

315mm x 520mm

oil on canvas signed and dated ‘93; title inscribed, signed and dated 93 on label affixed verso 1653mm x 1504mm

$5,500 - $7,500

$6,000 - $10,000

CATALOGUE 528

75

57

Tim Wilson

Matukituki

oil on canvas signed and dated 99; title inscribed on Fishers Fine Arts gallery label affixed verso 902mm x 1356mm $8,000 - $10,000

58w Poul Hundevad trolley for Vamdrup

With twin teak trays on a turned wooden frame. c. 1960.

H 580mm x W 750mm x D 510mm $800 - $1,200

76

CATALOGUE 528

59

John Papas

60

Michel Tuffery

Tell Me of Other Cities Other Lands

Moa in Aukalangi

acrylic and found images on paper title inscribed, signed and dated 90 990mm x 980mm

acrylic and plastic tiki on tin signed and dated ‘04; title inscribed verso 89mm x 485mm

EXHIBITED Dowse Art Museum

$2,500 - $3,500

$1,700 - $2,500

CATALOGUE 528

77

61w Jeffrey Harris

Two Figures in a Landscape

oil on canvas c. 1987 1825mm x 3645mm $15,000 - $25,000

78

CATALOGUE 528

Two interwoven motifs are visible throughout the varied body of work undertaken by Jeffrey Harris since he started his career as an artist in 1970: landscapes and people. In an interview conducted in 1981, Harris described his frequent use of these motifs: “it’s never just the landscape. My landscapes are always populated. And it’s normally the people in it who give the picture meaning”. However, subsequent to a move to Melbourne in 1986, the influence of Australian neo-expressionism caused Harris to reconsider the importance of his figures and initiate an ambitious series of large paintings, which, instead, focus on the bright, interwoven fields of colour that had previously been relegated to describing the landscape backgrounds of his paintings.

This work was completed during his time living in Melbourne, and Harris has given the

abstract and the figurative elements of Two Figures in a Landscape equal treatment: a woman, distorted to mirror the contours of a stream of grey behind her, floats above a man in the process of being submerged by encroaching patches of brushwork. Surrounding them, vaguely recognisable objects devolve into geometric shapes, melting into the background that supports them. The psychological space described by the body of works to which Two Figures in a Landscape belongs seems to be jettisoning the figures that inhabit it, flushing them out of its system by way of an intense cocktail of vivid colours and wide, painterly abstract gestures.

SIMON BOWERBANK

62

Stephen Bambury

Of Colour or Material

acrylic and anodised aluminum title inscribed, signed and dated 2003 and inscribed acrylic and anodised aluminium verso 795mm x 795mm

$12,000 - $18,000

CATALOGUE 528

79

C O N D I T I O N S o f sa l e f o r b u y e r s 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 as a bid than the sum nominated by the auctioneer. A bid may be withdrawn before the auctioneer declares that bidding on a lot is closed.

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 Webb’s will apply a buyer’s premium which is charged in addition to the hammer price (unless otherwise stated) together with GST on the premium, which combined sum shall be the total purchase price.

The rate of Buyers Premium is published in each catalogue online in conjunction with the catalogue. Please note that there will be a minimum Buyers’ Premium of 17.5% from 1 April 2015.

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, in clear funds, within 5 working days. Payment is by cash, bank (cashiers) cheque or Eftpos. Personal and private bank cheques will be accepted but must be cleared within 5 working days of completion of the sale. 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. Webb’s has used its skills and experience to ensure the genuineness or authenticity of each lot but, as it is impossible to provide conclusive proof of genuineness or authenticity for most items, buyers should 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 once payment in full has been made. If this is not done, Webb’s will not be responsible if the lot is lost stolen damaged or destroyed. Any payment by cheque will not be considered paid until the payment has cleared. 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.

66

CATALOGUE 518

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 anything 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.

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

However a bid may be withdrawn by the highest bidder at any time before the vendor accepts the bid. Once accepted by the vendor a contract has been formed.

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

inde x o f a r tists Artist Lot Number

Artist Lot Number

American mid century modern floor lamp

54

LĂźtken, Per

15

Anderson, Johannes

28

Maddox, Allen

4

Bambury, Stephen

5, 16, 62

McIntyre, Simon

56

Barcelona style chairs

51

Mrkusich, Milan

18

Binney, Don

10

Ngan, Guy

46

Bolmfield, Charles

42

Omann, Gunni

41

Chilcott, Gavin

12

Papas, John

59

Danske Mobler

43

Payne, Michael

22

Driver, Don

6

Pick, SĂŠraphine

1, 13

Eames, Charles & Ray

30

Pearsall, Adrian

44

Esplin, Tom

38

Relling, Ingmar

2

Frizzell, Dick

27, 28

Reynolds, John

25, 26

Gully, John

37

Smither, Michael

3, 11

Harris, Jeffrey

33, 52, 61

Stichbury, Peter

8

Hayworth, Peter

19

Tapper, Garth

32, 35, 39

Hotere, Ralph

9, 20, 31, 48, 49

Thompson, Sydney Lough

36, 53

Hoyte, John Barr Clarke

55

Trusttum, Philip

23

Hundevad, Poul

58

Tuffery, Michel

60

Jalk, Grete

7

Walters, Gordon

17

Jere, Curtis

21

Wealleans, Rohan

14

King, Virginia

47

Wheeler, Colin

34

Klein, Henry

45

Williams, Mervyn

24

Wilson, Tim

40, 50, 57

Vendor is from the trade and/or a party/entity associated with a Director of Peter Webb Galleries Limited.

w

CATALOGUE 518

67

P a r king at webb ’ s r Yo

Pa

r ne

t

ise

le S

t

St ac

th er

Cr

ea St

Hea

the

e ld

St

t

ro f

tS

S rd

t

Be

d fo

H

fi Gar

r St

A ka

Win

roa

dso

t r S

St

Che

sk Ru

shir

yS

t

ug

nb

oro

De

ce hT

Gib

Sc

gh

C re s re

re s

St

C

re Ao

ar C

Bay Rd

tar

lt i b ra

Bi

w rd

d oo

Cr

es

PARKING IN 100m RADIUS

PARKING IN 200m RADIUS

69 Free Carparks 43 Paid * Carparks 112 Carparks Total

217 Free Carparks 240 Paid * Carparks 457 Carparks Total

* These include parking buildings and pay and display parking.

Ln

ra l

G

Carpark Building

arb

u oro

St Georges

100m Radius

200m Radius

St

arb

d

t

kin

Sc

ll R

St

ka S

t

en

r ne

con

Tik

in S

Ru s

Pa

Fa l

e St

T i ld St

ld St

St Georges Bay Rd

Garfie

B ra

St

df or d

th

St

Ba

r to n

Ear

Chu

ll R

kS

Sa Bird

wo o d

St Ma

int

S

C re s

ry Cl

Cathed

ral Pl

h te p

ens

Av

Peter Hayworth sideboard for Uniflex. Esimate: $2,000 - $2,800

Rohan Wealleans Faust Dr Strange. Estimate: $1,700-$2,000,

JAGUAR XE

STIFF COMPETITION

The new Jaguar XE’s aluminium construction not only makes it light, but also immensely strong and safe. This monocoque platform, combined with suspension derived from the F-TYPE, ensures the XE delivers class-leading handling while retaining a refined, luxurious ride.

It’s the sports sedan redefined. With prices for the new XE starting from $74,900* + ORC it’s stiff competition indeed. Hurry into your nearest dealer to arrange a test drive today. jaguar.co.nz

*Prices for the Jaguar XE Pure start from $74,900