New Zealand’sPremier Auction House18 Manukau RoadNewmarket, PO Box 99251Auckland, New Zealand0800 22 00 77+649 524 6804+649 524 [email protected]
www.webbs.co.nz
©
CONTEMPORARY/MODERN & HISTORICALPHOTOGRAPHY_
IMPORTANT NOTE: BUYER’S PREMIUM A buyer’s premium of 12.5% will be charged on all lots in this catalogue. GST of 12.5% is payable on the buyer’s premium only.
CONDITION, AGE OF PHOTOGRAPHS AND DESCRIPTIONS OF PRINT TYPES The condition of items is not detailed in this catalogue. Buyers must satisfy themselves as to the condition of lots on which they bid and should refer to clause 6 in the Conditions of Sale for buyers printed at the rear of this catalogue. Webb’s is pleased to provide intending buyers with condition reports on any lots. In most cases, unless noted, the prints in this catalogue are vintage or printed within a few years of the creation of the negative or digital fi le. Webb’s however, provides no guarantee to this effect and buyers must satisfy themselves as to the age of the prints. Webb’s staff members are pleased to provide intending buyers with their opinions and provenance information, if available. The information contained in this publication as to the photographic medium is the opinion of Webb’s experts. Due to the inherent diffi culty in distinguishing some photographic processes, Webb’s is unable to guarantee their accuracy and intending buyers must satisfy themselves as to the exact nature of the print medium.
ILLUSTRATED Cover: Lot 27 YVONNE TODD Crisis #6; Inside front cover: Lot 152 GEORGE PULMAN (1826 - 1871) Te Koata; Inside back cover: Lot 146 GEORGE PULMAN Tatooed Man with White Feather.
DAY 1 WEDNESDAY 23 JULY 2008, 6.30PM Lots 1 – 125: Contemporary/Modern Photography
DAY 2 THURSDAY 24 JULY 2008, 6.30PM Lots 126 – 224: Historical Photography & Utu Film Stills
PREVIEW:WEDNESDAY 16 JULY 6.00PM – 8.00PM
VIEWING:THURSDAY 17 JULY 9.00AM – 5.30PM
FRIDAY 18 JULY 9.00AM – 5.30PM
SATURDAY 19 JULY 11.00AM – 3.00PM
SUNDAY 20 JULY 11.00AM – 3.00PM
MONDAY 21 JULY 9.00AM – 5.30PM
TUESDAY 22 JULY 9.00AM – 5.30PM
WEDNESDAY 23 JULY 9.00AM – NOON
VIEWING (LOTS 126 – 224):THURSDAY 24 JULY 9.00AM – NOON
1IN FOCUS
PHOTOGRAPHY_INFOCUSWebb’s annual photography sale,
technically our 30th anniversary stand-
alone photography sale, comprises
four quite different areas of collecting:
Contemporary New Zealand; a fi ne
selection of historical works; the
complete set of fi lm stills from Utu;
and a selection of foreign images.
Rare to the New Zealand market is
a work by Edward Weston from the
Oceano series (lot 50), as well as
a superb collection of international
works by the likes of Lucien Clergue,
Herb Ritts, Helmut Newton, Josef
Vetrovsky, Guy Bourdin and Mark
Seliger. The beauty of the female
form is celebrated in several works
from the 1930s through to modern
celebrity portraiture.
Portraits by New Zealand photographers
depicting local fi gures include
documentary images by Glenn Jowitt,
Les Cleveland and Marti Friedlander,
whose image of Tony Fomison (lot 26)
is a bitter-sweet aide-mémoir. Richard
Collins’ startlingly domestic image of
Colin McCahon standing on the corner
of Newton Road (lot 98), reminds us of
the artist as the man, and Gil Hanly’s
capturing of the enigmatic Dame
Whina Cooper (lot 99) and the late Roy
Dalgarno (lot 107) are typical examples
of her focus on people and politics.
The unique, large-scale cibachrome
Incubus (lot 29) is by Boyd Webb, an
international expatriate artist, whose
interests in growth and decay, life and
death, are well represented in this
image. Originally trained as a sculptor,
his fantastical creations merge fantasy,
surrealism and reality. In light of recent
debate around genetic engineering,
these images are as relevant today as
they were when fi rst conceived in the
late 1980s.
The sale includes a wealth of vintage
prints by Peter Peryer including Sand Shark (lot 39), St Bathans (lot 38) and
Edward Bullmore’s Launch (lot 13).
Peryer stumbled upon this vessel,
The Honeypot, on the banks of a
Rotorua lake and this is believed to
be the fi rst print in the edition.
Laurence Aberhart’s View (lot 20) is
a collection of ten classic images
collated into a portfolio of which three
of the ten editions are held in public
collections. Purchased directly from
the artist in its year of production,
this is the fi rst example to have been
offered on the auction market as
a complete portfolio.
Yvonne Todd’s work is represented by
two images, the early Crisis #6 (lot 27)
from 1999 and the eerie self-portrait as
Martha or Self Portrait as an Anorectic (sic) (lot 24) (illustrated right). At fi rst
glance, both appear to be sympathetic
depictions of traditionally beautiful
subjects, roses and women. Further
viewing reveals an altogether different
sort of sentiment.
Fiona Pardington has always used the
people closest to her as her subjects:
her partner, her children or herself.
A combination of convenience and
closeness allows her to explore the
intimacy each relationship entails.
The early fetishised images of men
such as Footman (lot 84) and Heavy Penance (lot 32) are overtly sexualised.
She plays with stereotypical gender
politics. The more recent Hei Tiki (lot
4) is an inanimate object imbued with
spirit and personality, and the image of
Akura’s Lips (lot 92) portrays her now-
grown daughter as a powerful sexual
female image of the next generation.
On Day 2, 24 July, a fi ne collection
of early New Zealand images from
a private collection will be offered.
The collection consists of early
scenes of cities including Auckland,
remarkable studio portraits of Maori,
documentary images of people and
places, and special-interest subjects
that make this the most pristine and
complete collection of historical
photographs offered to the market
since the Marshall Seifert collection,
offered by Webb’s in 2005.
Also going under the hammer is a
unique collection of 34 fi lm stills from the
1983 fi lm Utu, directed by Geoff Murphy
and photographed by Victoria Ginn.
The fi lm follows Te Wheke a warrior
scout, who upon discovering the military
blunder that wiped out his village, seeks
utu, or revenge. With a growing band
of rebels, he engages in guerilla warfare
against the white man, who retaliates
with equal savagery.
You can read more about both collections
on page 8 of this catalogue. EMMA FOX
LOT 24 YVONNE TODD Martha or Self Portrait as an Anorectic (sic) • LED print from an edition of three • 220mm x 170mm • $4,500 – $6,500
2
3IN FOCUS
4
GIOVANNI INTRA ESTATE_
NOV 3
CONTEMPORARYART_Further entries now invited
OCT 21Contact:
Emma Fox +649 529 [email protected]
Jonathan Organ +64 21 503 [email protected]
Works from the
GIOVANNI INTRA With Care • gelatin silver print • 340mm x 300mm • $300 – $500
5IN FOCUS
{ S u i t e }19th – 21st Century Fine Art
69 Owen StreetNewtown, WellingtonThursday–Friday 11am–5pmSaturday 11am–4pmwww.suite.co.nz
Callum Arnold
Bishop & Bagnall
Mike Davison
Desiree Dolron
Arie Hellendoorn
Frits Klein
Fiona Pardington
Neil Pardington
Richard Reddaway
Elspeth Shannon
Anoek Steketee
E Mervyn Taylor
Terence Taylor
Ans Westra
Desiree DolronCerca Animas 2002-3Fuji Crystal Archive print
IMPORTANT WORKS OF ART_
SEPT 22Further entries now invited
Contact:
Emma Fox +649 529 [email protected]
Jonathan Organ +64 21 503 [email protected]
PETER ROBINSON Big Bang White Heat IV • acrylic on linen • 1600mm x 1600mm • $20,000 – $30,000
7IN FOCUS
HISTORICAL PHOTOGRAPHY & UTU FILM STILLS_A COLLECTION OF IMPORTANT HISTORICAL PHOTOGRAPHS
This important collection of historical
New Zealand images, comprising 89
lots, was assembled over a period
of approximately ten years by an
Australian collector. As he had family
connections going back to the East
India Company, he was fascinated
by the imagery that had come out
of Australasia, the Orient, colonial
India and China. This impulse led his
becoming a highly knowledgeable
collector of oriental antiques, and
spurred an interest in the exotic
from his unique colonial standpoint.
He has, over the past decade, collected
early photographs from Australasia
and the Pacifi c, seeking out the fi nest
and rarest images, revealing portraits
and scenes that can add depth and
detail to the histories of these places
and people. He found New Zealand
imagery compelling because of the
connections to be made with his
Tasmanian colonial background.
UTU FILM STILLS COLLECTION
Victoria Ginn is a photographer and
author. Ginn’s photographs have
been exhibited at the Museum for
the Performing Arts, New York, and
are represented in the permanent
collections of the Centre Pompidou,
Paris, Te Papa Tongarewa, Wellington,
Dunedin Art Gallery, Dunedin and the
Dowse Art Museum, Lower Hutt.
As the Chief fi lm stills photographer
for Utu, Victoria Ginn presents
34 unique vintage prints from the
fi lm Utu. Directed by Geoff Murphy
in 1983, it stars Anzac Wallace, the
late Bruno Lawrence and Wi Kuki
Kaa. Utu captures a turbulent period
in New Zealand’s history, circa 1870,
during the New Zealand Wars.
EMMA FOX
BURTON BROS. ALFRED BURTON (1843
– 1914) WALTER BURTON (1836 – 1880) Maori Hongi or Salutation (detail) • gelatin silver print • title inscribed and numbered 2543 • 310mm x 425mm • $2,000 – $3,000
HENRY WINKELMANN Maori Canoe, Lake Rotorua (detail) • gelatin silver print • title inscribed • 300mm x 380mm • $1,800 – $2,500
VICTORIA GINN Te Wheke Wearing the Feather Cloak (detail) • c-10 print • signed and dated 1983 and inscribed Utu photographer’s print • 240mm x 240mm • $400 – $600
ERNEST DE TOURETT Auckland, Queen Street • gelatin silver print • title inscribed and numbered 1070 • 310mm x 410mm • $2,000 – $3,000
8
PETER PERYEREXHIBITION& BOOK LAUNCH_
SEPT 30 – OCT 5
Contact:
Emma Fox + 649 529 [email protected]
PETER PERYER Whitebait 2007 • gelatin silver print • 300mm x 300mm
OPENING FUNCTION 30 SEPTEMBER 2008, 6 – 8PMIn conjunction with the launch of Peter Peryer’s book, written by Peter Simpson
and published by the Auckland University Press 2008, Webb’s is holding
an exhibition of new and vintage photographs.
9IN FOCUS
David Griggs + Peter Hennessey + Shane Cotton + Jake and Dinos Chapman + Tony Schwensen
Ricky Swallow + Billy Apple + Brook Andrew + Neo Rauch + Janet Laurence + Cy Twombly
ISSUE 4 AUGUST SEPTEMBER 2008 AUSTRALIA $19.90 NEW ZEALAND $19.90/
Melbourne Art Fair 2008
ARTWORLDA NEW ART MAGAZINE FOR AUSTRALIA & NEW ZEALAND
10
LECTURE SERIES_ JUL 21 Contact:
Emma Fox +649 529 [email protected]
Jessica Pearless +649 529 [email protected]
MONDAY 21 JULY, 6.00PM FOR 6.30PM
RESPONSES TO A DISCUSSION PAPER (REFER TO
PAGES 12 – 13) ON THE EDITIONING AND
COLLECTING OF PHOTOGRAPHS.
PAUL MCNAMARA
JOHN B TURNER
FIONA AMUNDSEN
CLAIRE BRUELL
Chaired By Emma Fox
Every photography sale, we get questions and comments
around issues that are specifi c to collecting photography.
In response we asked Paul McNamara to write a paper
on these issues. It was a subject he had already been
researching and we are pleased to have the fi nal result
in its entirety on pages 12 and 13 of this catalogue.
As a current topic of discussion, Photoforum-nz.co.nz is
fi elding comments and opinions around the question of
limiting editions, with compelling arguments on both sides.
The difference between digital and negative is particularly
interesting, as each hand-printed work will be different, in
a million imperceptible ways, to any other. Digital printing,
on the other hand, is often carried out by someone other
than the photographer, so editioning becomes rather more
important. For our more senior practitioners such as Peter
Peryer and Laurence Aberhart, images were hand printed,
so numbering them seemed a moot point. While for
Marti Friedlander, her encyclopedic memory ensures every
instance of the taking and the making of a photograph is
indelibly etched into her memory, and is now entrusted to
the archives at the Auckland Art Gallery for posterity.
Younger photographers are vigilantly sticking to edition
numbers and artist’s proofs so the integrity of an edition
is maintained. The international model around editions
has a rising scale; as each work in the edition is sold, the
price increases with the artist’s proofs being retained or
reaching twice the original price within the primary market.
With higher prices being achieved for photography in this
country and around the world, some surety around these
issues is timely.
Read the paper, attend the viewing and come and take
part in a discussion on Monday 21 July at Webb’s.
DR PAUL LAWRENCE MCNAMARA
After 25 years of medical practice in Wanganui, and collecting art for 30 years,
Paul has, for the last six and a half years, owned and operated McNamara
Gallery, specialising in the medium of photography. He works with many
photographers, conducts original research and produces small publications.
Association of International Photography Art Dealers [AIPAD] member.
JOHN B TURNER
John B Turner (b.1943) is a Senior Lecturer in Photography at the
Elam School of Fine Arts, at The University of Auckland, where he has
taught since 1971. He has conducted numerous workshops throughout
New Zealand, and curated landmark exhibitions including Nineteenth Century New Zealand Photography (1970) and Baigent, Collins, Fields:
Three New Zealand Photographers (1973). He was the founding editor
of PhotoForum magazine, and co-author with William Main of New Zealand Photography from the 1840s to the Present (1993). He edited
PhotoForum’s award-winning photography book, Ink & Silver (1995), and
his book Eric Lee-Johnson: Artist with a Camera was published in 1999.
He has written several articles on aspects of collecting photographs,
including a major feature for PhotoForum No 48, June 1981.
FIONA AMUNDSEN
Fiona Amundsen currently lectures in art theory/history and
photography at AUT University. Her academic background is within
social anthropology and she has recently fi nished a master’s thesis
addressing the relationships between key theorists – Roland Barthes,
Geoffrey Batchen, Jean Baudrillard, Pierre Bourdieu, Susan Sontag – and
their writings on photography. Amundsen’s involvement with the social
sciences is disseminated into her fi ne arts practice using photography.
She has been exhibiting in artist-run spaces, dealer galleries and public
institutions over the past nine years; during this time, her contributions
have included group, collaborative and solo exhibitions. For a more
detailed analysis of her work, please see: http://www.fi onaamundsen.com
CLAIRE BRUELL
Claire Bruell is based in Auckland. She bought a photograph or two
some years ago and inadvertently became a collector. She is interested
in both historical and contemporary works that speak to her.
11IN FOCUS
PAUL MCNAMARA
ASSOCIATION OF INTERNATIONAL
PHOTOGRAPHY ART DEALERS MEMBER
MCNAMARA GALLERY
PHOTOGRAPHY
Advice is given to medical students to
preface medical evidence presented
in court with ‘in my opinion’. The ideas
expressed here are an opinion, and this
should be seen as a discussion paper.
However, one can be categoric about
some points:
1. The multiple nature of photography
should be celebrated, despite
market pressure to limit editions.
2. Each photographic print should
be uniquely identifi able, either
by numbering or editioning of
prints. Absolute clarity is required.
Editions can be closed [indicated
by a fraction] where the number of
prints to be produced is nominated
at the outset, or open, consisting of
sequentially numbered prints.
3. Artistic freedom should be nurtured.
4. The provenance of photographic
prints is particularly important.
5. The photography market in
New Zealand is in a developmental
phase, and we have a small collector
population.
Historically, the monetary value of an
artwork was determined by rarity as well
as aesthetics, which raises interesting
tensions with photography’s innate
capacity for endless reproduction.
Some see editioning as contrary to the
nature of the medium, and purely a
marketing phenomenon. In the USA,
before the period: 1960s – 1980s,
editioning was unnecessary because no
one was buying photographs in large
quantities, and photographers printed
on demand. Frequently actual print
numbers from the era are unknown, but
it is rare to fi nd more than fi ve copies
of any one image. This is also the likely
number in New Zealand. When working
with material from the 1960s – 1980s,
I endeavour to ascertain the actual
number of prints made from
each negative.
New York dealer Lucy Mitchell-
Innes, who ran the contemporary art
department at Sotheby’s in the 1980s,
has recently observed that the multiple
nature of photographic prints no longer
bothers collectors. “People now want
to own pictures that other people
own,” she says. “That’s a major shift….”
However, this is not just a contemporary
observation. Ansel Adams’ Moonrise over Hernandez is notable as a work
that held the highest price paid for a
photographic print in the 1970s for a
very long time. The fact that there were
hundreds of examples of it in existence
didn’t seem to have deterred the price
from being set at the time.
“Photography has become the ‘hot’
medium of the visual arts in the past
decade. Prices have escalated and
buyers seem unfussed that photographs
might be one of many editions. The
Age art critic Robert Nelson said the
fact that there might be multiple copies
of a photograph was no different to
multiple editions of Rodin’s sculptures
or Rembrandt’s prints. Describing [Jeff]
Wall as a ‘very signifi cant artist’, Nelson
said photography was fi nally being
recognised for doing what no other
medium could do” [Raymond Gill The [Melbourne] Age 16.12.06].
With the move to digitally produced
images, the growth in the market, and
the potential for endless identicals, the
desire for artifi cial limitation [ie editions]
has intensifi ed.
“As much contemporary work is now
printed mechanically from digital fi les, it
has been said that in a crude way the act
of editioning is the residual mark of the
artist [Sally Breen, Photofi le #77, 2006].
My policy has always been to leave the
issue of editioning to the artist, as part
of their expressivity – for how long and
how widely they wish a particular image
to be in circulation, prior to releasing
their next work. They thereby maintain
a creative momentum and dialogue with
their audience.
A hand-printed analogue photograph,
crafted one print at a time, may be
better characterised as a ‘multiple
original’. Each print, when viewed
alongside others from the same
negative, is recognisable though subtly
unique in most cases. However, it can
take a very experienced eye to assess
the technical ‘quality’ [and ‘value’] of
a particular print. This notion, of the
‘multiple original’, is reinforced by
identifying each print accurately.
As anyone who has spent time in
the darkroom will know, the ‘infi nite
reproducibility’ of analog photographs
is something of a fi ction; the medium
is self-limiting because of the effort
and time required to produce a fi ne
photographic print. The number of
prints made from a negative is generally
limited by demand for a particular
image. If there is a high level of demand
for an image at the beginning – in
other words, it is popular – then print
numbers will be higher than for another
image. In the case of open editions, the
collecting public does not know when
the artist will actually stop making more
prints of a particular image. With analog
cameras, fi lm and paper presently
becoming something of an endangered
species, print supply can stop abruptly.
However, with closed editions, one will
know in advance just how many prints
are available. Popular images from an
open edition [that eventually closes]
will, of course, remain in demand in the
secondary market and thereby attain
a degree of rarity. Conversely, a less
popular image from a closed edition
may always remain available and be
less rare. In other words, the ‘value’
of a specifi c image is not necessarily
related to the quantity of prints made.
AN INTRODUCTION TO THE EDITIONING OF PHOTOGRAPHS_
12
If the artist does choose to limit the
edition, which has became common
practice since the 1980s, the negative
is retired [but rarely destroyed] once
the nominated edition has been
printed; however, the whole edition is
often not printed all at one time. Some
photographers like to print the edition
in stages so that they can interpret
the negative differently, use different
papers, or take advantage of newer
technologies. Also, if demand is slow,
the whole edition may never be fully
realised. Conversely, with a popular
image, when the fi nite [limited] edition
sells out, interest can be defl ected
toward other images by the artist.
Limited supply can, therefore, drive
interest toward an artist’s entire body
of work.
My recommendation on editions is
to have one sequentially numbered
[as produced] edition of prints for
each image which may be of the same
or different dimensions [dimensions
variable].
Since photographs can be printed in
different sizes, there is potential for
confusion if a photographer prints an
edition in one size but later considers
that a differently sized print can be
produced in an additional edition.
My recommendation is that there
can be only one edition regardless
of size. This is now becoming a more
accepted practice. It is clearer to
collectors and the artist remains free to
vary the image size as the edition sells.
Also, it is my practice to price work with
little or no differential according to size.
I favour a single [image] price with any
required differential based on scale
to be in accord with production costs.
Large works can be more diffi cult to
frame [from a conservation perspective]
and more diffi cult to accommodate in
domestic environs. The scale of image
selected by the artist should be based
only on aesthetic considerations.
My recommendation on titling and
dating photographs is:
title; image/negative year; print year;
edition number*; signature
*eg 3/15, if work is editioned, or
print number [if it is an open edition
of sequentially numbered prints]. I like
to see two dates on all prints, unless
the prints were all made in the same
year as was the negative.
Some artists refi ne this by writing “fi rst
printing” on a work. This is informative
when there is an interval between the
date of negative production and the
date when the fi rst print was made.
One could make a case for a limited
edition when photographs are:
• digitally produced
• large and expensive to produce
• presented as albums or portfolios
• printed by a master printer, under
the artist’s direction.
When actual prints are large, editions
tend to be correspondingly small.
Currently ‘recommended’ edition sizes
are becoming smaller [internationally],
and the range is:
[‘artists’ using photography: 3 - ]
5 –10 [ - 25 ‘traditional’ photographers].
Large editions in this small country
of ours seem naively optimistic in
many cases.
Once a photographic print is fi nally
determined, the prints cease to be
artist’s proofs in the correct sense of
the word in that they are likely to be
identical to the editioned prints. It is
now preferable for the artist to make
an edition and to retain artist’s copies
from the edition [eg one artist’s
copy* and one artist estate copy].
In other words, the edition includes any
designated artist’s copies, the stated
edition is fi nite and purchasers know
just how many prints are produced and
how many are for sale.
*Artists occasionally reserve one
[or more] works in an edition for
public institutions.
It has been said that it is important for
public collections to be developed
with a longer view and curators don’t
want to feel pushed to buy a work at its
inception. They might consider buying
a work long after it has been made as
they believe this is the appropriate time
to collect it.
A vintage print is one made ‘close to
the aesthetic moment’, and is thus an
object made not only by the artist [or
under their supervision] but produced,
contemporaneously with the taking of
the image – say within fi ve years.
Vintage photographs can be indicated
with either a single date, or two dates:
the second date being no greater
than fi ve years after the fi rst. However,
improved clarity is provided by the
notation of negative year/print year
outlined above.
A vintage print tends to fetch a higher
price because it best refl ects the
intentions and thinking of the artist
at the time the negative was made,
as well as the aesthetic of that
period generally.
More recent prints from an older
negative are referred to as
modern prints.
A photograph may be printed
differently at various stages of an
artist’s career due to a change in the
artist’s interpretation of the negative,
a refi nement in printing style, changes
in available materials and improved
technology. Also, another printer may
be able to produce a better result
than the photographer themselves
can [I always acknowledge both the
photographer and printer in such
cases]. Therefore it follows that a
vintage print is not implicitly superior.
DISCUSSION PAPER
13IN FOCUS
14
CONTEM-PORARY/MODERN PHOTO-GRAPHY
DAY 1 WEDNESDAY 23 JULY 2008, 6.30PM Lots 1-125: Contemporary/Modern Photography
PREVIEW:WEDNESDAY 16 JULY 6PM – 8PM
VIEWING:THURSDAY 17 JULY 9AM – 5.30PM
FRIDAY 18 JULY 9AM – 5.30PM
SATURDAY 19 JULY 11AM – 3PM
SUNDAY 20 JULY 11AM – 3PM
MONDAY 21 JULY 9AM – 5.30PM
TUESDAY 22 JULY 9AM – 5.30PM
WEDNESDAY 23 JULY 9AM – NOON
IMPORTANT NOTE: BUYER’S PREMIUM A buyer’s premium of 12.5% will be charged on all lots in this catalogue. GST of 12.5% is payable on the buyer’s premium only.
ILLUSTRATED Lot 29, BOYD WEBB Incubus 1989
15CONTEMPORARY/MODERN + HISTORICAL PHOTOGRAPHY
1 THEO SCHOON Carved Gourds
gelatin silver print
160mm x 195mm
$1,000 - $2,000
2 PETER PERYER Erika Sunbathing at the Bach, Dec ‘75
or The Bracelet
gelatin silver print
title inscribed and inscribed Merry Christmas from Peter and Erika 1975 verso
230mm x 230mm
$2,500 - $3,500
Theo Schoon’s interest in Maori and Javanese cultures is now relatively well documented. His experience of culture and life was inextricable from his art. Schoon photographed, drew and elaborated on its ebbs, fl ows and fl uctuations through his studies of the patterns of nature. Gourds, which he grew himself from the mid 1950s, featured strongly, as well as geo-thermal activity which he fastidiously documented in Rotorua during the 1960s.
His engagement with these phenomena was recognition of the ultimate beauty, transience and wonder of nature. Its absurdities prevail despite attempts to censor and homogenise it. His concern was not necessarily ecological but more an obsessive engagement with subject matter that he found compelling. This suite of three images Portraits with Gourds, (lot 106) exemplifi es this. The artist as proud gardener, father and observer of nature’s capacity to produce infi nitely fascinating, almost obscenely sensual, forms of beauty. IMOGEN KERR
16
3 ANN SHELTON Untitled (Sushi Barfl y Series)
fi ve cibachrome prints
275mm x 195mm each
Provenance: originally commissioned
for Sushi Barfl y
$1,000 - $2,000
CONTEMPORARY/MODERN + HISTORICAL PHOTOGRAPHY 17
4 FIONA PARDINGTON Hei Tiki
gelatin silver print
signed and dated 2002 verso
550mm x 420mm
$4,000 - $6,000
18
5 ROSS T. SMITH Your Mouth is Stained with Sun
fuji colour photographic print 1/10
title inscribed, signed and dated 2000
on original artist’s label affi xed verso
1150mm x 1430mm
$2,000 - $2,500
6 KATE WOODS Iceberg at Clearwater
colour photograph
285mm x 370mm
$500 - $700
7 RICHARD MALOY White Rose #1
digital print
title inscribed, signed and dated 2000 verso
755mm x 1005mm
$2,500 - $3,500
19CONTEMPORARY/MODERN + HISTORICAL PHOTOGRAPHY
10 JOHN REYNOLDS There is No China
colour photograph
title inscribed and signed
487mm x 490mm
$600 - $800
8 SHIGURO TAKATO Auckland Bowling Club, 2001
colour photograph
360mm x 465mm
$1,000 - $1,500
9 SHIGURO TAKATO Port Ahuriri Bowling Club,
Napier, 2001
colour photograph 1/7 from
the Bowling Green Series
360mm x 465mm
$1,000 - $1,500
Shiguro Takato’s photographic practice aligns with the sort of non-declamatory practice made well-known by photographers such as Andreas Gursky, Thomas Struth and Candida Hoffer (German) The question of whether photography is or is not an art form is a moot point for practitioners such as these. Their work clearly affords the level of conscious refi nement, precise focus on visual acuity and emphasis on the affect of the work that are normative expectations of high art practice. Although photographs such as lots 8 and 9 provide a concentrated representation of the two bowling greens, these are not documentary-oriented works. Rather, the attention is given to the formal interplay of the elements of their environments and the exactitude of the composition of the work. What is interesting about where they sit in relation to Takato’s practice in New Zealand is that they play with attitudes of the natural and the fake or at least the carefully constructed. The greens here are maintained spaces rather than naturally occurring fi elds and each work plays this state off against the surroundings (the Auckland Domain and Napier tank farm). This interest in highly constructed and regulated environments was somthing Takato pursued in subjects that included empty television studios or new subdivisions without residents appearing on the street. Since completing his BFA and undertaking postgraduate work at Elam School of Fine Arts, Takato undertook Meisterschule study in Dusseldorf, Germany, where he now lives.
PETER SHAND
20
11 FIONA PARDINGTON Tertea 1982
three gelatin silver prints
290mm x 430mm each
$2,000 - $3,000
12 WAYNE BARRAR Tubed Fish Section (DNA Analysis)
Christchurch (from An Immortal Double series 1996)
gold toned gelatin silver print
title inscribed, signed and dated 1996
with the artist’s stamp applied verso
145mm x 225mm
$1,500 - $2,000
21CONTEMPORARY/MODERN + HISTORICAL PHOTOGRAPHY
13 PETER PERYER Edward Bullmore’s Launch
gelatin silver print
410mm x 275mm
Illustrated: Burke, Greg and Weiermair,
Peter, Second Nature, Peter Peryer, Photographer, New Zealand (City
Gallery, Wellington, 1995) plate 55
$6,000 - $9,000
There is an uncanny comedy in much of Peter Peryer’s work. It is a kind of black humour which relates to all subjects but, most obviously, those subjects which are not human. In works such as Sandshark, Mother in Law’s Tongue and the portrait of Edward Bullmore’s Launch, Peryer presents an almost surreal cross between the factual photographic representation of his subject and a dramatic contextualisation that adds mystery, hides clues and manipulates our comprehension. The titles, combined with the dramatic, high-contrast light, imbue these inanimate subjects with character and a kind of ironic intrigue in a way that personifi es them. Peryer treats his subjects as models of curious beauty, worthy of our compassion, despite the fact that they are often not cognisant of it in any possible way.
Peryer’s more recent work plays even more heavily with fakes and forgeries – plastic babies or penises (lot 114) that appear at fi rst to be real and plastic dogs in coloured jumpers. A new book, published by the Auckland University Press, and set to launch at Webb’s in September will provide insights into these aspects. Peter Simpson, co author of the publication, calls it Peryerland. As he comments: “Peryer has over the past three decades and more constructed a world — call it Peryerland — which has its own distinctive typography, climate and features. Only the best photographers are capable of such a feat”. IMOGEN KERR
22
14 MICHAEL PAREKOWHAI Elmer Keith (from the ‘Beverly
Hills Gun Club’ series)
c-type colour photograph
from an edition of 10
980mm x 1175mm
$8,000 - $12,000
23CONTEMPORARY/MODERN + HISTORICAL PHOTOGRAPHY
15 PAUL JOHNS Little Histories (Jerusalem 2005)
LED photograph 2/3
title inscribed, signed and dated 2005
on original artist’s label affi xed verso
500mm x 500mm
$2,500 - $3,500
16 HARVEY BENGE BL Medici
digital photographic print on fuji
crystal archival paper 1/5
title inscribed, signed and dated
2003 verso
830mm x 635mm
$3,000 - $5,000
17 NATASHA CANTWELL Boxer
c-type photograph
385mm x 255mm
$600 - $800
24
18 PATRICK REYNOLDS Two Bodies 01
c-type colour photograph
from an edition of 5
827mm x 1195mm
$3,000 - $5,000
19 PETER PERYER Denise Naked 1975
vintage gelatin silver print
title inscribed and dated 1975
on mount verso
175mm x 175mm
$2,000 - $3,000
25CONTEMPORARY/MODERN + HISTORICAL PHOTOGRAPHY
1. HALL INTERIOR. SOUTH SPRINGSTON,
NEAR LEESTON
2. SHED. RURU ROAD MEMORIAL CEMETARY,
CHRISTCHURCH
3. HEADSTONE. LINWOOD CEMETARY,
CHRISTCHURCH
4. OBJECT. RIVERTON 5. SIGHT. NEAR BALCLUTHA 6. WAR MEMORIAL. BALCLUTHA
7. DENTAL TECHNICIAN’S BUILDING. RIVERTON 8. PAUA ROOM. BLUFF 9. HARWOOD’S HOLE. CANAAN, TAKAKA HILL
26
20 LAURENCE ABERHART View
ten 10” x 8”gold toned contact prints
mounted in a limited edition
artist’s book 2/10
signed
250mm x 200mm each
Provenance: Purchased directly from the
artist in 1980
Published: Laurence Aberhart, Lyttleton,
New Zealand, 1980
Edition Note: Two editions of this book are
held by Te Papa Tongarewa, Wellington and
one by the Christchurch Art Gallery, Te Puna
o Waiwhetu
$30,000 - $40,000
The book includes
1. Hall Interior. South Springston, near Leeston
2. Shed. Ruru Road Memorial Cemetery,
Christchurch
3. Headstone. Linwood Cemetary, Christchurch
4. Object. Riverton
5. Sight. Near Balclutha
6. War Memorial. Balclutha
7. Dental Technician’s Building. Riverton
8. Paua Room. Bluff
9. Harwood’s Hole. Canaan, Takaka Hill
10. Lyttleton Heads. Lyttleton
10. LYTTLETON HEADS. LYTTLETON
27CONTEMPORARY/MODERN + HISTORICAL PHOTOGRAPHY
21 SOFIA TEKELA-SMITH Savage Island with the Pure (Red) 2003
digital print 2/8
1700mm x 1300mm
$4,000 - $5,000
28
22 PETER PERYER Mother in Law’s Tongue
gelatin silver print
title inscribed, signed and
dated 1982 verso
200mm x 300mm
Illustrated: Peter Peryer, Photographs, (Sarjeant Gallery,
Wanganui, 1985) P.20 & 31
$6,500 - $8,500
23 PETER PERYER Pima Air Museum, Tuscon Arizona
gelatin silver print
title inscribed, signed and dated
14th September, 1985 verso
354mm x 350mm
Note: A print from this edition is held
in the collection of Te Papa Tongarewa,
Wellington.
$6,500 - $8,500
29CONTEMPORARY/MODERN + HISTORICAL PHOTOGRAPHY
30
24 YVONNE TODD Martha or Self Portrait as an
Anorectic (sic)
LED print 1/3
title inscribed, signed and dated
7 July 2003 verso
220mm x 170mm
$4,500 - $6,500
25 LAURENCE ABERHART Mt Victoria
gelatin silver print
title inscribed, signed and dated
7 July 2003 verso
190mm x 470mm
$10,000 - $15,000
Laurence Aberhart is a documentarian and investigator of New Zealand’s collective unconscious. From his expansive, panoramic views of the landscape to the pokey interiors and bland exteriors of New Zealand, Aberhart has captured a sense of this country’s heartland. Nostalgia is a word that becomes unavoidable, with scenes where lights glow quietly, soft, misty horizons swell and monuments point heroically, tragically to the temporality of the landscape and the people with their customs, loves and losses of yesteryear. There is something funereal about much of his imagery, featuring churches, monuments, gravestones, taxidermy and tags bourne of the desire to mark and name things for posterity. Portraits do feature in Aberhart’s oeuvre, often with faces concealed or blurred in the throes of some form of activity. It is largely people’s absence, however, which sets his photography so much in the realm of meditation, memory and theatrical romanticism. For there is an undeniable sense of the romantic sublime wherever such tumultuous, stretching, skies are concerned, wherever the transience of life is presented. To many, this is our Aotearoa – the land of the long white cloud, middle earth, middle class, the bottom of the world, but not for long. IMOGEN KERR
31CONTEMPORARY/MODERN + HISTORICAL PHOTOGRAPHY
26 MARTI FRIEDLANDER Tony Fomison in front of his
painting Omai in 1979
gelatin silver print
410mm x 390mm
$7,500 - $9,500
32
27 YVONNE TODD Crisis # 6
LED print from an edition of 3
title inscribed, signed and dated
1999 verso
480mm x 550mm
$5,500 - $7,500
28 LAURENCE ABERHART Pines Beach Island Motel -
Kaipoi 1977/1981
gelatin silver print, agfa brouira,
selenium toned, 81
title inscribed, signed and
dated 1977 verso
185mm x 275mm
$3,000 - $5,000
Yvonne Todd’s highly composed, pristine photographs highlight her background as a commercial photographer. Whilst retaining an immaculate fi nish, second glances reveal subversion throughout her work. Instead of presenting perfect portraits, her pictures reveal un-glamourous women and girls with bottle-thick glasses, crooked teeth, badly applied make-up and totally dysfunctional, over-manicured nails. Her surreal compositions of strange, dislocated paraphernalia such as asthma inhalers, twigs or pipes act like a series of clues toward an unknown meaning, setting empty stages much the same way as a dust jacket gives entrée to a book.
Clues given in the pseudo-Hallmark card The Crisis #6 and Martha or Self Portrait as Anorectic (sic), evoke thoughts of love or sentiment. Yet looking more closely, this sentiment is grossly misplaced. In Martha or Self Portrait as Anorectic (sic), from The Book of Martha (2003) Todd presents herself as an anorexic. Typical of her fi gures with ailments wearing homely clothes, they are composed and essentially anonymous; they could be anyone, anywhere... JESSICA PEARLESS
33CONTEMPORARY/MODERN + HISTORICAL PHOTOGRAPHY
29 BOYD WEBB Incubus 1989
cibachrome 1/1
signed verso
1550mm x 1250mm
$25,000 - $35,000
Boyd Webb is a New Zealand photographer who studied at London’s prestigious Royal College of Art in 1972 and came to prominence alongside contemporaries such as Richard Wentworth and Richard Deacon.
His work often involves the creation of humorous visual scenes in which men, women and plastic animals adopt Monty Pythonesque poses in fantastical environments. Figures are staged in surreal scenarios and photographed as large scale cibachromes. He creates a parallel universe where familiar objects no longer have their usual properties or functions and gravity is reversed. Reoccurring themes in his work have expressed his concern with ecological issues such as pollution, nuclear waste and the effects of technology. A genetically engineered designer baby hovers seemingly serene inside a Portuguese Man o War’s air bladder or sail. A creature that drifts at the mercy of the oceans current’s, directionless, its tentacles hang up to ten metres below fi lled with venom that causes excruciating pain. The work functions as an apocalyptic warning for humanity.
Webb has four works in the Tate Collection, London and has exhibited widely in New Zealand, Europe and America since 1976. Highlights in his career include many major survey exhibitions such as; Whitechapel Art Gallery, London, 1978 and 1987; Hirschhorn Museum, Washington DC, 1990; and the Auckland Art Gallery touring exhibition, 1997. He was also included in Toi Toi Toi curated by the Auckland Art Gallery Toi o Tamaki, Auckland in1999 and toured to the Museum Fredericianum, Kassel. He represented New Zealand in the Sydney Biennale in 1995 and was shortlisted for the Turner Prize in 1988. JONATHAN ORGAN
34
CONTEMPORARY/MODERN + HISTORICAL PHOTOGRAPHY 35
30 GREG SEMU Rain
digital print and oil pastel on
canvas
title inscribed, signed and
dated 2007
895mm x 755mm
$3,500 - $4,500
31 FRANK HABICHT Incomparable
gelatin silver print 1/5
title inscribed and signed verso
700mm x 1055mm
$4,000 - $6,000
32 FIONA PARDINGTON Heavy Penance
gold toned gelatin silver print
title inscribed verso
450mm x 350mm
$3,500 - $5,500
33 HARVEY BENGE Tokyo Girl 3
digital print on archival plastic 1/3
title inscribed signed and dated verso
1800mm x 1200mm
$4,000 - $6,000
36
CONTEMPORARY/MODERN + HISTORICAL PHOTOGRAPHY 37
34 RYUZO NISHIDA Portrait of a Young Family
c-type print
1200mm x 915mm
$700 - $900
35 NATASHA CANTWELL Cobra
c-type photograph
385mm x 255mm
$600 - $800
36 PAUL HARTIGAN Golden Warrior
ultrachrome print Artist’s
Proof II
title inscribed, signed and
dated 2007
600mm x 330mm
$1,800 - $2,500
37 PAUL HARTIGAN Mr Red and Mrs Green
ultrachrome print Artist’s Proof II
title inscribed, signed and
dated 2007
600mm x 485mm
$1,800 - $2,500
38
38 PETER PERYER St Bathans
gelatin silver print
title inscribed, signed and
dated 1988 verso
270mm x 410mm
Illustrated: Burke, Greg and
Weiermair, Peter, Second Nature, Peter Peryer, Photographer, New Zealand (City Gallery, Wellington,
1995) plate 29
$8,000 - $12,000
39 PETER PERYER Sandshark
gelatin silver print
title inscribed, signed and dated
1/191 verso
274mm x 414mm
Illustrated: Burke, Greg and
Weiermair, Peter, Second Nature, Peter Peryer, Photographer, New Zealand (City Gallery, Wellington,
1995) plate 44
Note: A print from this edition is
held in the collection of Te Papa
Tongarewa, Wellington
$8,000 - $12,000
39CONTEMPORARY/MODERN + HISTORICAL PHOTOGRAPHY
40
FOREIGN PHOTOGRAPHY
40 HERB RITTS AMERICAN (1952 - 2002)
Jacqui Agyepong, Miami
gelatin silver print
original photographer’s stamp
applied verso
190mm x 140mm
$3,000 - $4,000
41 HELMUT NEWTON GERMAN (1920 - 2004)
Fetish Figure
gelatin silver print
original photographer’s stamp
applied verso
175mm x 120mm
$1,000 - $1,500
41CONTEMPORARY/MODERN + HISTORICAL PHOTOGRAPHY
42 HERBERT PONTING ENGLISH (1870 - 1935) The Terra Nova Icebound in
the Pack (during Capt. Scott’s Expedition to the South Pole 1911)
gelatin silver print
original Paul Popper’s Photographic
Agency label of authenticity
affi xed verso
230mm x 180mm
Illustrated: Scott’s Last Voyage: Through the Antarctic Camera of Herbert Ponting
cover image and p45; David Mountfi eld
A History of Polar Exploration p169
$1,000 - $1,500
43 FRANCESCO SCAVULLO ITALIAN (1921 - 2004)
Dali 1972
c-type colour photograph
original photographer’s studio
stamp applied verso
140mm x 195mm
$1,000 - $2,000
44 SOICHI SUNAMI JAPANESE (1885 - 1971)
Dancer, Helen Tamiris
vintage gelatin silver print
signed with the photographer’s blind
stamp; studio and copyright stamps
applied verso
225mm x 185mm
$1,000 - $2,000
45 WILLIAM MORTENSON AMERICAN (1897 - 1965)
Preparation for the Sabbot c. 1935
bromoil print
title inscribed and signed
180mm x 140mm
Exhibited: A print from this edition was
exhibited in The Photographic Magic of William Mortenson at The Center for
Creative Photography, University
of Arizona, USA.
$1,000 - $2,000
42
43
44
45
42
47 JOSEF VETROVSKY CZECH (1897 - 1944)
Reclining Woman 1930s/1950s
gelatin silver print (printed 1950s)
signed with the photographer’s blind stamp
Copyright Josef Vetrovsky Prague
265mm x 260mm
$1,000 - $2,000
48 JOSEF VETROVSKY CZECH (1897 - 1944)
Etude de nu
gelatin silver print
signed and dated 1932
920mm x 380mm
$1,000 - $1,500
49 DON MCCULLIN ATTRIBUTED ENGLISH (b. 1935)
Untitled
gelatin silver print
300mm x 200mm
$1,000 - $2,000
46 GUY BOURDIN (FRANCE 1928 - 1991)
Two Nudes 1969 (Paris Vogue December 1969)
c-type colour photograph
signed with the photographer’s
stamp and credit stamp verso
170mm x 120mm
$2,000 - $3,000
43CONTEMPORARY/MODERN + HISTORICAL PHOTOGRAPHY
50 EDWARD WESTON AMERICAN (1886 - 1958)
Oceano, 1936
gelatin silver print
title inscribed and inscribed 4750, Negative by Edward Weston, Print by Cole Weston and signed by Cole Weston
195mm x 245mm
$5,000 - $8,000
Edward Weston is arguably one of the most infl uential American photographers of the twentieth century working with the natural form, including the nude, seashells plants and landscapes.
Weston was one of the founding members of group f/64 in 1932 with Ansel Adams and Imogen Cunningham. The f/64 is a style of camera that secured a greater depth of fi eld, allowing the photograph to appear sharp from the foreground through to the background, as seen in this example.
Weston was the fi rst photographer to be awarded the Guggenheim Fellowship for experimental work in 1936, and had creative working partnerships with artist Tina Modotti, and poet Walt Whitman. In 1946 he began
experiencing symptoms of Parkinson’s disease, and over the next ten years this incapacitating illness became progressively worse. Because of this illness, Weston supervised the printing of his prints by his two sons, Brett and Cole.
The fi ne example illustrated is from his sand dune series. It is made directly from the original negative and printed by Cole Weston. It is a contact print made from a 10 x 8 inch negative, therefore creating a crystal sharp image.
Weston is held in the most prestigious Museums and Public Art Galleries in the world, including the Metropolitan Museum of Art in New York, the Museum of Modern Art, NYC and the J Paul Getty Museum in Los Angeles.
44
51 ARNOLD NEWMAN AMERICAN (1918 - 2006)
Portrait of Man Ray
gelatin silver print
photographer’s stamp © Arnold Newman applied verso
170mm x 120mm
$2,000 - $3,000
52 ARNOLD NEWMAN AMERICAN (1918 - 2006)
Picasso in his Studio, Vallauris, France 1954
gelatin silver print (printed 1976)
signed with the photographer’s
stamp © Arnold Newman and
inscribed Pablo Picasso - 1954 Reprinted - 1976
195mm x 140mm
$2,000 - $3,000
45CONTEMPORARY/MODERN + HISTORICAL PHOTOGRAPHY
53 MARK SELIGER AMERICAN (b. 1959)
Gisele, Cross Eyed Studio NYC 2000
colour photograph from an
edition of 20
signed with the photographer’s
stamp verso
534mm x 420mm
$2,500 - $3,000
54 BERT STERN AMERICAN (b. 1929)
Marilyn Monroe - The Last Sitting 1962
pigment print 105/250
signed
500mm x 470mm
$1,000 - $2,000
55 JEREMY PARK AUSTRALIAN (b. 1973)
Lovers from Homage to Magritte Series
LED colour photograph
735mm x 540mm
$2,000 - $2,500
53
55
54
46
56 FRANTISEK DRTIKOL CZECH (1883 - 1961)
Reclining Nude
gelatin silver print
signed with the photographer’s blind
stamp Copyright Drtikol Prague
255mm x 310mm
$4,000 - $5,000
57 FRANTISEK DRTIKOL CZECH (1883 - 1961)
Broken Arc 1925-26
gelatin silver print (printed 1950s)
signed with the photographer’s blind
stamp Copyright Drtikol Prague
210mm x 280mm
Provenance: Purchased from the
family of one of the artist’s models
in Prague
Illustrated: Drtikol (Rudolph Kicken
Galerie, Cologne, 1983) p19
$2,000 - $3.000
58 JOSEF VETROVSKY CZECH (1897 - 1944) Nude with Dagger
gelatin silver print
(printed 1930s/1950s)
signed with the photographer’s
blind stamp Copyright Josef Vetrovsky Prague
265mm x 265mm
$1,000 - $2,000
47CONTEMPORARY/MODERN + HISTORICAL PHOTOGRAPHY
59 CHESTER HIGGINS JR. AMERICAN (b. 1946)
Virgin, Ghana
gelatin silver print
photographer’s stamp and printing stamp
applied verso
385mm x 570mm
$1,000 - $2,000
61 HAROLD BATTER AMERICAN Anatomy 1952
gelatin silver print
title inscribed and signed; title inscribed and
signed and exhibition stamps applied verso
330mm x 260mm
$750 - $950
60 RALPH SNYDER AMERICAN (1902 - 1971)
Nude with Gears
gelatin silver print
268mm x 335mm
$500 - $1,000
62 JOSEF VETROVSKY CZECH (1897 - 1944) Nude Lying on Her Front
gelatin silver print (printed 1930s and 1950s)
signed with the photographer’s blind stamp
Copyright Josef Vetrovsky Prague
225mm x 325mm
$1,000 - $1,500
59
60
61
62
48
63 WILLIAM MORTENSON (AMERICAN 1897 - 1965)
Caprice Viennois
bromoil print c. 1935
title inscribed and signed
175mm x 130mm
$1,000 - $1,500
64 JOSEF VETROVSKY (CZECH 1897 - 1944) Female Nude
gelatin silver print
signed with the photographer’s
blind stamp Copyright Josef Vetrovsky Prague
535mm x 355mm
$1,000 - $1,500
65 PAUL HEISSMAN AMERICAN (b.1912)
Nude Double Exposure
gelatin silver print
photographer’s stamp
applied verso
290mm x 245mm
$1,000 - $1,500
66 LUCIEN CLERGUE (FRENCH b. 1934)
Fiddler
gelatin silver print inscribed Lucien Clergue Violinist Arles 1954 and © 1983 Printed by Lucien Clergue verso
265mm x 185mm
$700 - $1,000
63
64
65
66
49CONTEMPORARY/MODERN + HISTORICAL PHOTOGRAPHY
67 XIE HAILONG CHINESE Child in the Rain, Gui Zhou,
Liu Pan Shui Province
gelatin silver print
500mm x 335mm
$600 - $900
68 XIE HAILONG CHINESE Two Children
gelatin silver print
330mm x 490mm
$600 - $900
69 TOM MILLEA AMERICAN Victoria
platinum photograph
title inscribed and signed
300mm x 200mm
$1,500 - $2,000
70 ROBERT MACFARLANE AUSTRALIAN (b. 1944)
Beau Nude
gelatin silver print
title inscribed and signed;
title inscribed verso
370mm x 250mm
$1,500 - $2,000
6768
69
70
50
71 NEIL ARMSTRONG AMERICAN (b. 1930) Buzz Aldrin on the Moon
(Apollo XI 1969)
vintage colour photograph
original NASA vintage red stamp
applied verso
175mm x 170mm
$2,000 - $2,500
72 NEIL ARMSTRONG Buzz Aldrin on the Moon
(Apollo XI 1969)
vintage colour photograph
original NASA vintage red stamp
applied verso
175mm x 175mm
$1,000 - $1,500
73 NEIL ARMSTRONG Charles Duke on the Moon
(Apollo XVI)
vintage colour photograph
original NASA vintage red stamp
applied verso
166mm x 175mm
$1,000 - $2,0000
74 NEIL ARMSTRONG Ed White, First Space Walk
(Gemini IV)
vintage colour photograph
original NASA vintage red stamp
applied verso
178mm x 175mm
$2,000 - $3,000
75 NEIL ARMSTRONG Buzz Aldrin on the Moon (Apollo XI 1969)
vintage colour photograph
original NASA vintage red stamp
applied verso
175mm x 170mm
$1,000 - $1,500
76 NEIL ARMSTRONG Edward White on Gemini 4
vintage colour photograph
180mm x 175mm
$1,000 - $1,500
A COLLECTION OF VINTAGE COLOUR PHOTOGRAPHS BY NEIL ARMSTRONG
51CONTEMPORARY/MODERN + HISTORICAL PHOTOGRAPHY
78 GERALD JENKINS Going Back to the Nation
digital print 5/50
title inscribed, signed and
dated ‘96
915mm x 1880mm
$1,500 - $2,500
79 GERALD JENKINS Makara
digital print A/P
title inscribed, signed
and dated ‘97
840mm x 600mm
$1,000 - $1,500
77 ERIC TAYLOR Port Waikato Cliff Face
epson colour print
380mm x 1140mm
$1,800 - $2,200
80 ERIC TAYLOR Castle Hill
epson colour print
400mm x 600mm
$1,000 - $1,500
77
78
79
80
52
FURTHER NEW ZEALAND WORKS
81 GLENN JOWITT The Devil and Baldie, Canterbury
Plains, 1979
selenium toned bromide 6/7
signed and dated 1979 (printed 2008)
405mm x 510mm
Exhibited: Black Power, Christchurch, Robert McDougall Art Gallery,
Christchurch 1980
$1,800 - $2,200
82 GREG SEMU Crucifi xion
gelatin silver print
605mm x 505mm
$2,500 - $3,500
83 PETER PERYER Grave Stone from the Gone Home Series
vintage gelatin silver print
original Photo Forum Print Auction, November 1977 stamp applied verso
170mm x 170mm
$3,000 - $3,500
84 FIONA PARDINGTON Footman
gold toned gelatin silver print
375mm x 475mm
$2,500 - $3,500
81
82 83
84
53CONTEMPORARY/MODERN + HISTORICAL PHOTOGRAPHY
85 CAROLIN CASEY Girdles
archival digital print on lustre
paper with sandtex laminate
1100mm x 1100mm
$500 - $700
86 CHRISTINE WEBSTER Passing Through 2
cibachrome
560mm x 730mm
$700 - $900
88 JOHN TURNER Peppermint Twist 2005
digital print title inscribed and
dated 2005 and inscribed Te Atatu Peninsula verso
375mm x 570mm
$1,000 - $1,500
87 MATHESON BEAUMONT The Marker
giclee 2/25
380mm x 247mm
$450 - $650
85
86
87
88
54
89 JOHN TURNER Te Atatu Pony Club 2006
digital print
title inscribed, signed and dated
Te Atatu Peninsula, Auckland, Sunday 8 January 2006 verso
380mm x 560mm
$1,000 - $1,500
90 GLENN JOWITT Atiuan Dancers, Green Room,
Gluepot Hotel, Ponsonby, Auckland
p3 cibachrome 7/7
signed and dated 1992
510mm x 405mm
Illustrated; ine/konei: The Pacifi c in Photo Art, Australian Centre for Photography,
Sydney; Feasts and Festivals, New Holland
Publishers
$1,800 - $2,200
91 CHRISTINE WEBSTER Nutcracker - Liz Kirk ‘84
cibachrome photograph
500mm x 505mm
$700 - $900
92 FIONA PARDINGTON Akura’s Lips
inkjet print 9/15
title inscribed, signed and dated
2000/2004 verso
60mm x 73mm
$500 - $700
89
90
91
92
55CONTEMPORARY/MODERN + HISTORICAL PHOTOGRAPHY
93 THEO SCHOON Mudpool
gelatin silver print
150mm x 205mm
$1,000 - $2,000
94 ANNE NOBLE Untitled (Water Study)
gelatin silver print
title inscribed verso
From the Untitled sequence
published in Photoforum 32, June/
July 1976
203mm x 254mm
$1,000 - $2,000
95 GIL HANLY Barry Brickell Driving Creek
Railway c. 1980s
gelatin silver print
265mm x 375mm
$600 - $800
56
96 RICHARD COLLINS Auckland 1967
vintage gelatin silver print
title inscribed and dated 1967 on
original label affi xed verso
130mm x 200mm
Exhibited: Three New Zealand Photographers, Auckland City Art
Gallery. 1973
Illustrated: ibid., plate 26
$800 - $1,200
97 RICHARD COLLINS Washing, Freemans Bay,
Auckland, 1970
gelatin silver print
title inscribed, signed
and dated 1970 verso
203mm x 255mm
Exhibited: Three New Zealand Photographers, Auckland City Art
Gallery. 1973
Illustrated: ibid., plate 41
$1,000 - $2,000
98 RICHARD COLLINS Colin McCahon on
Newton Road c. 1975
gelatin silver print
200mm x 300mm
$600 - $800
99 GIL HANLY Dame Whina Cooper
Speaking at the Lower Marae, Waitangi, 1985
gelatin silver print
280mm x 395mm
$600 - $800
57CONTEMPORARY/MODERN + HISTORICAL PHOTOGRAPHY
101 FIONA PARDINGTON Bird in Fist
inkjet print 9/15
title inscribed, signed and dated
2000/2004 verso
76mm x 60mm
$500 - $700
102 ROBIN MORRISON Plumbershed
gelatin silver print
165mm x 130mm
$2,000 - $2,500
103 ALAN MILLER Ohinemutu
gelatin silver print
300mm x 200mm
$1,500 - $2,500
100 FIONA PARDINGTON Reuben
gold toned photograph
title inscribed and dated 1990 and
original City Gallery, Wellington
stamp applied verso
220mm x 160mm
$2,500 - $4,500
58
104 VICTORIA GINN Hanuman, Kerala, India
cibachrome
405mm x 510mm
Published: In 1990 by Rizzoli International
New York, as the lead image to the
4th chapter - The Journey - in the the
book “The Spirited Earth” , Dance, Myth and Ritual from South Asia to the South Pacifi c (Rizzoli International New
York, 1990). Published in international
magazines in Italy, Canada, China,
Australia, and elsewhere.
Exhibited: in 1985 at the Lincoln Centre
for the Performing Arts Exhibition Gallery,
New York.
Note: As one of the major characters in
the Hindu epic story, the Ramayana
(a religious poem about the battle
between good and evil written between
200BC - 200 AD), the Hindu monkey
hero Hanuman possesses the power of
fl ight, the ability to disappear, to uplift
mountains, and to heal.
$2,800 - $3,500
105 RICHARD COLLINS Auckland, 1969
gelatin silver print inscribed Photo by Richard Collins ‘Auckland, 1969’ on original label affi xed verso
200mm x 125mm
Exhibited: Three New Zealand Photographers, Auckland City Art
Gallery. 1973
Illustrated: ibid., plate 29
$1,000 - $2,000
107 GIL HANLY Portrait of Roy Dalgarno
colour photograph c.1980s
390mm x 280mm
$600 - $800
106 THEO SCHOON Portraits with Gourds
three gelatin silver prints
110mm x 70mm each
$750 - $1,250
59CONTEMPORARY/MODERN + HISTORICAL PHOTOGRAPHY
108 PADDY O’ROURKE This Brave Woman Was
Queen of a British Tribe together with Queen of a British Tribe
photogram on fi bre based
paper (unique print) complete
with original drawings
title inscribed, signed and
dated August 2007 and
inscribed photogram on fi bre based paper verso
440mm x 310mm each
$700 - $1,000
109 FIONA PARDINGTON Hostess
gelatin silver print
title inscribed, signed
and dated 1993 verso
320mm x 260mm
$2,500 - $3,500
110 FIONA PARDINGTON Anthirium
gelatin silver print
title inscribed, signed
and dated 1993
300mm x 225mm
$2,500 - $3,000
111 FIONA PARDINGTON Tears
gelatin silver print
520mm x 400mm
$3,500 - $5,500
108
110
109
110
60
112 PAUL THOMPSON Niu Tireni #2
lambda print
300mm x 450mm
$900 - $1,200
113 ROBIN MORRISON Mr Moriarty Glenbervie
Terrace, Wellington
gelatin silver print
185mm x 230mm
$2,000 - $3,000
114 PETER PERYER Untitled (Penis)
gelatin silver print
title inscribed, signed and dated
1997 verso
120mm x 165mm
$2,500 - $3,500
115 HENRY JEN Untitled (Carpark)
metallic LED print
1000mm x 1000mm
$1,000 - $1,500
116 LES CLEVELAND Raceday c.1950s
gelatin silver print
signed verso
170mm x 280mm
$300 - $500
113
112
114
115
116
61CONTEMPORARY/MODERN + HISTORICAL PHOTOGRAPHY
117 LES CLEVELAND Bank of New Zealand,
Greytown, August 1957
gelatin silver print
title inscribed, signed and
dated August 1957 (printed
2005) and stamped Les Cleveland Photographer verso
197mm x 245mm
$400 - $600
118 LES CLEVELAND Man and Waterfall
gelatin silver print
signed verso
245mm x 185mm
$300 - $500
119 LES CLEVELAND Trotman Bros Building
digital print from the
original negative
title inscribed, signed and dated
4 August 1957 (printed 2005)
and stamped Les Cleveland Photographer verso
187mm x 233mm
$400 - $600
120 RICHARD COLLINS Auckland Roofs 1973
vintage gelatin silver print
title inscribed and dated 1973
on original label affi xed verso
285mm x 405mm
$800 - $1,200
117
119
118
120
62
121 PAUL THOMPSON Niu Tireni #9
lambda print
300mm x 450mm
$900 - $1,200
122 GREG WILSONCabbage Tree
digital photograph 1/1
title inscribed and signed verso
255mm x 255mm
$550 - $750
125 MATHESON BEAUMONT Ready To Wear
giclee 3/10
335mm x 250mm
$450 - $650
123 HENRY JEN Untitled (Tunnel)
metallic LED print
1000mm x 1000mm
$1,000 - $1,500
124 GREG WILSONTired and Lonely
digital photograph
title inscribed and signed verso
175mm x 280mm
$550 - $750
121
122
123
124
125
63CONTEMPORARY/MODERN + HISTORICAL PHOTOGRAPHY
64
HISTORICAL PHOTO-GRAPHY& UTU FILM STILLS
DAY 2 THURSDAY 24 JULY 2008, 6.30PM Lots 126-289: Historical Photography & UTU Film Stills
PREVIEW:WEDNESDAY 16 JULY 6PM – 8PM
VIEWING:THURSDAY 17 JULY 9AM – 5.30PM
FRIDAY 18 JULY 9AM – 5.30PM
SATURDAY 19 JULY 11AM – 3.00PM
SUNDAY 20 JULY 11AM – 3.00PM
MONDAY 21 JULY 9AM – 5.30PM
TUESDAY 22 JULY 9AM – 5.30PM
WEDNESDAY 23 JULY 9AM – NOON
THURSDAY 24 JULY 9AM – NOON
IMPORTANT NOTE: BUYER’S PREMIUM A buyer’s premium of 12.5% will be charged on all lots in this catalogue. GST of 12.5% is payable on the buyer’s premium only.
ILLUSTRATED Lot 128, ELIZABETH PULMAN King Tawhiao
65CONTEMPORARY/MODERN + HISTORICAL PHOTOGRAPHY
126 BURTON BROS. ALFRED BURTON (1834-1914) WALTER BURTON (1836-1880)
Maori Hongi or Salutation
gelatin silver print
title inscribed and numbered 2543
310mm x 425mm
Reference: A print from this edition is held
by Te Papa Tongarewa and is credited
to Burton Bros. A Hongi (with Sophia)
Whakarewarewa. 1887. Registration
Number 0.000837/02
$2,000 - $3,000
127 HENRY WINKELMANN (1861-1931) Maori Canoe, Lake Rotorua
gelatin silver print
title inscribed
300mm x 380mm
Reference: A print from this edition is held by
the Rotorua Museum of Art and History. Title:
Part of a Regatta (1903 or 1904). Accession
No: OP-699 System ID: 6174
Note: Winkelmann often used the waterfront
as a subject because of his love of the sea.
For Winkelmann photography represented
a positive force, an active and healthy
pursuit. His athleticism and fl air with portable
cameras allowed him to get photos from
interesting vantage points, such as this
superb image, obviuosly taken from
another vessel.
$1,800 - $2,500
66
128 ELIZABETH PULMAN King Tawhiao
gelatin silver print
130mm x 92mm
Reference: A carte de visite of this photograph is held at the
Auckland Art Gallery Toi o Tamaki purchased 1998. (88 x 57mm.)
Illustrated: David Eggleton, Into the light, A History of New Zealand Photography, (First Published 2006 by Craig Potton
Publishing, Nelson) P. 17.
Illustrated: John Turner and William Main, New Zealand Photography from the 1840’s to the present, (First Published 1993
by PhotoForum Inc, Auckland) P.12.
$1,000 - $2,000
129 ELIZABETH PULMAN Rewi Manga Maniapoto
gelatin silver print
numbered 45
137mm x 93mm
Reference: A print from this edition is held by the
Alexander Turnbull Library
Illustrated: Michael King, New Zealanders at War, (Heinemann Publishers 1981) P.37.
Illustrated J.E. Gorse, The Maori King, (Oxford University
Press, 1959)
Illustrated: James Cowan, Hero Stories of New Zealand,
(Harry H. Tombs, 1935) P99 - 110
Illustrated: James Cowan, The New Zealand Wars: A History of the Maori Campaigns and the Pioneering Period: Volume I: 1845 - 1864, (R.E Owen, Wellington, 1955)
$900 - $1,500
67CONTEMPORARY/MODERN + HISTORICAL PHOTOGRAPHY
130 ERNEST DE TOURETT Auckland, Queen Street
gelatin silver print
title inscribed and numbered 1070
310mm x 410mm
$2,000 - $3,000
131 ERNEST DE TOURETT Auckland, Queen Street
gelatin silver print
title inscribed and numbered 865
310mm x 420mm
$2,000 - $3,000
68
132 ERNEST DE TOURETT Grafton Bridge, Auckland
gelatin silver print
title inscribed and numbered 2399
310mm x 420mm
$2,000 - $3,000
133 ERNEST DE TOURRET Auckland from Albert Park
gelatin silver print
title inscribed and numbered 2378
310mm x 420mm
$1,800 - $2,500
134 ERNEST DE TOURETT Auckland, Grafton Road
and Hospital
gelatin silver print
title inscribed and numbered 2367
310mm x 425mm
$1,500 - $2,500
135 FRANK ARNOLD COXHEAD Queen Street, Auckland
gelatin silver print
title inscribed
135mm x 186mm
$500 - $700
CONTEMPORARY/MODERN + HISTORICAL PHOTOGRAPHY 69
136 ERNEST DE TOURETT Auckland, Mt Eden from top of
Symonds Street
gelatin silver print
title inscribed and numbered 1058
330mm x 420mm
$1,500 - $2,500
137 ERNEST DE TOURETT The Waterfront, Auckland Harbour
gelatin silver print
title inscribed and numbered 2377
330mm x 420mm
$1,800 - $2,500
138 ERNEST DE TOURETT Takapuna Beach
gelatin silver print
title inscribed and numbered 2373
315mm x 425mm
$1,500 - $2,500
139 HENRY WINKELMANN (1861-1931) ATTRIBUTED
Golf Links, One Tree Hill
gelatin silver print
title inscribed
275mm x 370mm
$1,500 - $2,500
70
140 HENRY WINKELMANN Wairua Falls, Whangarei
gelatin silver print
title inscribed
300mm x 380mm
$1,800 - $2,500
141 HENRY WINKELMANN Russell
gelatin silver print
title, inscribed and signed
280mm x 350mm
$1,000 - $1,500
142 ERNEST DE TOURETT Auckland, One Tree Hill
gelatin silver print
title inscribed and numbered 560
310mm x 420mm
$600 - $900
143 GEORGE VALENTINE (1852-1890) Auckland Harbour from Mt Eden
gelatin silver print
title inscribed, signed with initials and
numbered 97
133mm x 212mm
$800 - $1,200
71CONTEMPORARY/MODERN + HISTORICAL PHOTOGRAPHY
144 GEORGE PULMAN (1826-1871) Paora Tuhaere
gelatin silver print
title inscribed and numbered 10
134mm x 96mm
Note: Paora Tuhaere was painted by
Gottfried Lindauer.
Illustrated: Gottfried Lindauer, Maori Paintings, From the Partridge Collection, (A.H
and A.W. Reed, Wellington, 1965) P.64
$500 - $700
145 GEORGE PULMAN Untitled (Woman with Moko
and White Feather)
gelatin silver print
title inscribed and numbered 217
136mm x 96mm
$500 - $700
146 GEORGE PULMAN Tattooed Man with White Feather
gelatin silver print
title inscribed and numbered 113
140mm x 93mm
$500 - $700
147 GEORGE PULMAN Hera
gelatin silver print
title inscribed and numbered 201
130mm x 91mm
$500 - $700
148 GEORGE PULMAN Moi Torihua
gelatin silver print
title inscribed and numbered 18
135mm x 95mm
$500 - $1,000
149 GEORGE PULMAN Akirikiri
gelatin silver print
title inscribed and numbered 273
137mm x 98mm
$350 - $450
72
150 BURTON BROS. Taipari’s Carved House Parawai
gelatin silver print
title inscribed and numbered 155
153mm x 200mm
Reference: A print from this edition is held
by the Alexander Turnbull Library. (PA7-05019)
Note: This whare has been in the collection
of the Auckland Museum since 1925, placed
by the son of Te Hotereni Taipari and the
Ngati Maru people. The exterior consists of
corrugated iron roof and milled timber has
been reconstructed with the help of historical
photographs. This whare was named Hotuni,
after an ancestor of the Tainui tribes of Thames
and Coromandel. It was a wedding gift from
the Ngati Awa experts at Whakatane between
1875 - 1878. On May 1878, carvings were
taken by ship to Parawia where the house was
erected. Source: Auckland Museum
$600 - $900
151 GEORGE PULMAN ATTRIBUTED
Hau Mai, Tawhiti, Maketu
gelatin silver print
title inscribed and numbered 151
130mm x 190mm
$500 - $700
152 GEORGE PULMAN Te Koata
gelatin silver print
title inscribed and numbered 239
135mm x 95mm
$600 - $900
153 UNKNOWN PHOTOGRAPHER New Zealand Native Football Club
1888-1889
gelatin silver print
title inscribed
128mm x 200mm
Reference: The New Zealand Native
Football Representatives’ tour of Britain
is relatively unknown. It was a private
endeavour rather than an offi cial
representative team. The fi rst New
Zealand representative rugby team to
tour beyond Australia, they played a
staggering 107 rugby matches in New
Zealand, Australia and Great Britain,
winning 78 of them. They played their
fi rst game in Britain on 3 October 1888.
Greg Ryan, Forerunners of the All Blacks
(Canterbury University Press, 1993),
$2,000 - $3,000
73CONTEMPORARY/MODERN + HISTORICAL PHOTOGRAPHY
157 GEORGE PULMAN ATTRIBUTED Peahaua, Ngarawha
gelatin silver print
title inscribed
130mm x 96mm
$500 - $700
158 GEORGE PULMAN Untitled (Cloaked Women
Performing Hongi)
gelatin silver print
title inscribed and numbered 185
136mm x 95mm
$350 - $450
159 UNKNOWN PHOTOGRAPHER Ripeka Rotorua
gelatin silver print
title inscribed and numbered 222
134mm x 97mm
$350 - $450
154 GEORGE PULMAN Rangi Tatara
gelatin silver print
title inscribed and numbered 60
134mm x 89mm
$500 - $700
155 UNKNOWN PHOTOGRAPHER No Terauoriwa Potatau
gelatin silver print
title inscribed and numbered 109
134mm x 99mm
Note: Three white feathers worn in the
hair as illustrated in this imaged are called
Parihaka Te Whiti and signifi es peace.
Te Whiti was the fi rst ever Pacifi st in New
Zealand’s history and the leader of Parihaka,
a Maori village in Taranaki.
$350 - $450
156 GEORGE PULMAN Moa (Mohi Te Ngu)
gelatin silver print
title inscribed and numbered 206
134mm x 93mm
$450 - $650
74
164
163 ERNEST DE TOURETT Ohinemutu, Rotorua
gelatin silver print
title inscribed and numbered 2550
310mm x 420mm
$900 - $1,200162 ERNEST DE TOURETT Rotorua Sanatorium Grounds
gelatin silver print
title inscribed and numbered 2547
300mm x 425mm
Note: This image shows Bath House buildings in Rotorua.
These were New Zealand government’s fi rst commitment to
the fl edging tourist industry. Once offering spa and therapeutic
treatments, and today the building houses the Rotorua Museum
of Art and History.
$600 - $900
161 ERNEST DE TOURETT Rotorua, The “Malfoy” Geyser,
Sanatorium
gelatin silver print
title inscribed and numbered 2549
270mm x 420mm
$600 - $900
164 ERNEST DE TOURETT Rotorua, The Angry Pohetu Geyser
gelatin silver print
title inscribed
310mm x 420mm
$600 - $900
162
163
161160
160 HENRY WINKELMANN ATTRIBUTED
Waimungu
gelatin silver print
title inscribed
295mm x 370mm
$600 - $900
CONTEMPORARY/MODERN + HISTORICAL PHOTOGRAPHY 75
165 166
167
168
165 FRANK ARNOLD COXHEAD Road to Waiaro together with
Buggy on the Hokitika Road
two gelatin silver prints
titles inscribed and numbered 297
and title inscribed
188mm x 136mm, 139mm x 202mm
Reference: A print from this edition is
held at the Christchurch City Library.
Ca 1888 File Reference CCL Photo
CD13, IMG0055.
$300 - $500
166 JOSIAH MARTIN (1843-1916) ATTRIBUTED
New Zealand Tree Ferns and Creek Scene together with Bush Scene, Auckland together with Nikau and Tree Ferns
three gelatin silver prints
titles inscribed
198mm x 142mm, 200mm x 140mm,
198mm x 140mm
$800 - $1,100
167 UNKNOWN PHOTOGRAPHER Waiwera together with Waiwera
two gelatin silver prints
titles inscribed and numbered 606
133mm x 197mm each
$300 - $500
168 HENRY WINKELMANN (1861-1931)
Port Fitzroy and Great Barrier together with Whangaruatwo gelatin silver prints
titles inscribed
290mm x 375mm,
285mm x 370mm
$1,200 - $2,000
169 HENRY WINKELMANN ATTRIBUTED
Waiwera
gelatin silver print
title inscribed
300mm x 380mm
$800 - $1,500
169
76
170 UNKNOWN PHOTOGRAPHER Opening of a Gold Mine
at Thames together with Caledonian Gold Mine, Thames and Opening of a Gold Mine, Thames
three gelatin silver prints
titles inscribed
146mm x 207mm, 203mm x 256mm, 146mm x 207mm
$1,000 - $1,200
171 HENRY WINKELMANN (1861-1931) ATTRIBUTED
Kauri Bush
gelatin silver print
title inscribed
380mm x 300mm
$400 - $600
173 ERNEST DE TOURETT The Green Lake
gelatin silver print
title inscribed and numbered 2546
300mm x 420mm
$600 - $900
174 ERNEST DE TOURETT The Beautiful Blue Lake, Tikitere
gelatin silver print
title inscribed and numbered 2548
300mm x 425mm
$600 - $900
172 UNKNOWN PHOTOGRAPHER Logs at Mercury Bay Sawmill together
with Mercury Bay Sawmill
two gelatin silver prints
titles inscribed and numbered 324 and 32
134mm x 200mm each
$300 - $500
170
172
174
171
173
77CONTEMPORARY/MODERN + HISTORICAL PHOTOGRAPHY
176 UNKNOWN PHOTOGRAPHER Salon Hall, SS Mariposa together
with Mariposa
two gelatin silver prints
title inscribed and title inscribed and numbered
4083; inscribed Taber Photography San Francisco
140mm x 197mm, 190mm x 237mm
$300 - $500
175 UNKNOWN PHOTOGRAPHER Auckland Harbour from Campbells Point
together with Auckland Harbour from Albert Park together with Potters Paddock, Epsom, Auckland
three gelatin silver prints
titles inscribed and numbered 606 and 18
133mm x 200mm,156mm x 190mm,
99mm x 130mm
$500 - $800
178 UNKNOWN PHOTOGRAPHER Sugar Works, Auckland together with
Sugar Works, Northcote, Auckland
two gelatin silver prints
titles inscribed
144mm x 198mm each
$400 - $600
177 UNKNOWN PHOTOGRAPHER Union SS “Rotomahana” together with Orient
SS Uzalea, Sandbridge Pier, Melbourne together with Mariposa at San Francisco
three gelatin silver prints
titles inscribed
130mm x 200mm ,132mm x 195mm,
118mm x 182mm
$400 - $600
179 UNKNOWN PHOTOGRAPHER Railway Station and Firth’s Mill, Auckland
together with Orakei Creek, Auckland
two gelatin silver prints
title inscribed
135mm x 198mm , 98mm x 146mm
$400 - $600
176175
177 178
179
78
181 UNKNOWN PHOTOGRAPHER H.M.S Nelson together with H.M.S.
Egenia together with SS Doric together with Untitled Ship
four gelatin silver prints
titles inscribed
93 x 142mm,120mm x 88mm,
97mm x 136mm, 97mm x 136mm
$400 - $800
180 HENRY WINKELMANN ATTRIBUTED AND JOSIAH MARTIN ATTRIBUTED
Kawau together with Kawau
two gelatin silver prints
titles inscribed and title inscribed,
signed and numbered 606
285mm x 380mm,146mm x 200mm
182 HENRY WINKELMANN ATTRIBUTED Lake Waitakere
gelatin silver print
title inscribed
300mm x 380mm
Note: The title of this photograph is
incorrectly inscribed as Bethells Lagoon
$800 - $1,500
183 UNKNOWN PHOTOGRAPHER Shop on Mariposa together with
Calliope Dock, Auckland H.M.S. Diamond and H.M.S Calliope
two gelatin silver prints
titles inscribed
189mm x 230mm , 148mm x 200mm
$600 - $900
184 HENRY WINKELMANN ATTRIBUTED
Okahumoko Bay, Whangaroa
gelatin silver print
title inscribed
310mm x 380mm
$400 - $600
180 181
182
183
184
79CONTEMPORARY/MODERN + HISTORICAL PHOTOGRAPHY
185 BURTON BROS Cave Rock, Sumner together
with Shag Rock, Sumner
two gelatin silver prints
titles inscribed and signed
140mm x 190mm each
Reference: A print from this edition
is held at Te Papa Tongarewa.
(Registration Number C.011681)
$200 - $400
186 BURTON BROS. Lake Taupo from Motutere
gelatin silver print
title inscribed, signed
and numbered 3757
140mm x 190mm
$150 - $250
187 HARDING AND BILLING ATTRIBUTED AND JOSIAH MARTIN
Calliope Dock, Auckland H.M.S Calliope and Diamond together with Queen Street Wharf, S.S. Rimutaka - Bismark, Auckland
two gelatin silver prints
titles inscribed and numbered 19
202mm x 150mm, 142mm x 198mm
$500 - $700
189 BURTON BROS. TOGETHER WITH FRANK A. COXHEAD
Railway Station, Christchurch together with Dunedin Gardens
two gelatin silver prints
title inscribed and numbered 2909 and numbered 335
138mm x 188mm each
Reference: A print from this edition
is held by Te Papa Tongarewa.
(Registration Number: C.011556)
$500 - $700
190 UNKNOWN PHOTOGRAPHER
Photograph of a Painting
gelatin silver print
131mm x 94mm
$50 - $100
188 UNKNOWN PHOTOGRAPHER Boiling Lake, White Island
together with Rotomahana and Tarawera
two gelatin silver prints
titles inscribed
130mm x 200mm each
$200 - $400
80
191 VICTORIA GINN Early Morning Calm in
Te Wheke’s Village
$400 - $600
192 VICTORIA GINN The Assault and Burning of
Te Wheke’s Village
$400 - $600
193 VICTORIA GINN Te Wheke Cries ‘UTU’
$400 - $600
194 VICTORIA GINN Portrait of ‘Matu’
$400 - $600
195 VICTORIA GINN Te Wheke Undergoing the Ritual
of the Warrior, the Moko
$400 - $600
196 VICTORIA GINN Portrait of Te Wheke Upon
his Transformation
$400 - $600
197 VICTORIA GINN An Exodus of European Settlers Flee,
As Word Spreads of Te Wheke’s Intent to Avenge the Murder of his People
$400 - $600
198 VICTORIA GINN Emily’s Fate
$400 - $600
199 VICTORIA GINN Emily’s Killer
$400 - $600
200 VICTORIA GINN Emily’s Shoes
$400 - $600
201 VICTORIA GINN Te wheke Clutching the Severed Head
of the Vicar
$400 - $600
202 VICTORIA GINN NZ British Army Drummers on Parade
$400 - $600
203 VICTORIA GINN Williamson Returns After Hunting for
Te Wheke
$400 - $600
204 VICTORIA GINN Williamson
$400 - $600
205 VICTORIA GINN Young Lieutenant Scott
$400 - $600
206 VICTORIA GINN Lieutenant Scott and Kura Fall in Love
$400 - $600
207 VICTORIA GINN Kura Running Away with Lieutenant
Scott’s Gun
$400 - $600
208 VICTORIA GINN Te Wheke’s Whanau Hiding
in their Bushcamp
$400 - $600
209 VICTORIA GINN Te Wheke Berating his Woman, Matu
$400 - $600
210 VICTORIA GINN Matu Folded in Sorrow
$400 - $600
211 VICTORIA GINN Matu Sitting at the Edge of a River
$400 - $600
212 VICTORIA GINN Colonel Elliot Aiming to Shoot
at One of Te Wheke’s Whanau
$400 - $600
213 VICTORIA GINN Puni After a Shoot Out
$400 - $600
214 VICTORIA GINN Wiremu, the Brother of Te Wheke
$400 - $600
215 VICTORIA GINN High Country Landscape with a
Member of Te Wheke’s Whanau
$400 - $600
216 VICTORIA GINN NZ British Army to Battle with
Te Wheke and his Band of Warriors
$400 - $600
C-10 FILM STILLS FROM UTUBY VICTORIA GINN
193
194
192
191
81CONTEMPORARY/MODERN + HISTORICAL PHOTOGRAPHY
203201
204
198
195
199
196
200
197
202
205 208
82
217 VICTORIA GINN Drummer Burnt by the Remains
of Virgin Forest
$400 - $600
218 VICTORIA GINN Colonel Elliot Playing Chess with
his Scout Wiremu
$400 - $600
219 VICTORIA GINN One of Te Wheke’s Warriors Opens
Fire Inside the Te Puna Hotel
$400 - $600
220 VICTORIA GINN NZ British Army Wagon Blown Up
by Te Wheke’s Men
$400 - $600
221 VICTORIA GINN Atmpospheric in Camera
Montage of Puni
$400 - $600
222 VICTORIA GINN Te Wheke and his Men After their
Assault on the Te Puna Hotel
$400 - $600
223 VICTORIA GINN Portrait of Te Wheke and Matu
$400 - $600
224 VICTORIA GINN Te Wheke Wearing
the Feather Cloak
$400 - $600
Note:All of Utu fi lm stills (lot 191 - 224) listed are:
signed and dated 1983 and inscribed UTU photographers print240mm x 240mm, except for lot 212 and lot 239, which is 160mm x 240mm each
212
215
210
211
214
209
208207
213
83CONTEMPORARY/MODERN + HISTORICAL PHOTOGRAPHY
224222
223
219
216
220
217
221
218
84
CONDITIONS OF SALE FOR BUYERS1. BIDDING: The highest bidder shall be the purchaser subject to the auctioneer having the right to refuse the bid of any person. Should any dispute arise as to the bidding the lot in dispute will be immediately put up for sale again at the preceding bid or the auctioneer may declare the purchaser which declaration shall be conclusive. No person shall advance less at a bid than the sum nominated by the auctioneer and no bid may be retracted.
2. RESERVES. All lots are sold subject to the right of the seller or his agent to impose a reserve.
3. REGISTRATION. Purchasers shall complete a bidding card before the sale giving their own correct name address and telephone number. It is accepted by bidders that the supply of false information on a bidding card shall be interpreted as deliberate fraud.
4. BUYERS’ PREMIUM. The purchaser accepts that in addition to the hammer or selling price Webb’s will apply a buyer’s premium of 12.5% of the hammer price for works in the Contemporary Art sale and 15% on items in the Beatles memorabilia & Modern Design sections of the sale, together with GST on such premium, which combined sum shall be the total purchase price.
5. PAYMENT. Payment for all items purchased is due on the day of sale immediately following completion of the sale. If full payment cannot be made on the day of sale a deposit of 10% of the total sum due must be made on the day of sale and the balance must be paid within 5 working days.Payment is by cash, bank (cashiers) cheque or Eftpos. Personal and private bank cheques will be accepted but must be cleared before delivery of goods will be given. Credit cards are not accepted.
6. LOTS SOLD AS VIEWED. All lots are sold as viewed and with all errors to description faults and imperfections whether visible or not. Neither Webb’s nor its vendor are responsible for errors of description or for the genuineness or authenticity of any lot or for any fault or defect in it and make no warranty whatever. Buyers proceed upon their own judgement. Buyers shall be deemed to have inspected the lots or to have made enquiries to their complete satisfaction prior to sale and by the act of bidding shall be deemed to be satisfi ed with the lots in all respects. 7. WEBB’S ACT AS AGENTS. They have full discretion to conduct all aspects of the sale and to withdraw any lot from the sale without giving any reason.
8. COLLECTION. Purchases are to be taken away at the buyer’s expense immediately after the sale except where a cheque remains uncleared. If this is not done Webb’s will not be responsible if the lot is lost stolen damaged or destroyed. Any items not collected within seven days of the auction may be subject to a storage and insurance fee. A receipted invoice must be produced prior to delivery of any lot.
9. LICENCES. Buyers who purchase an item which falls within the provisions of the Antiquities Act 1975 or the Arms Act 1958 cannot take possession of that item until they have shown to Webb’s a license under the appropriate Act.
10. FAILURE TO MAKE PAYMENT. If a purchaser fails either to pay for or take away any lot Webb’s shall without further notice to the purchaser at its absolute discretion and without prejudice to any other rights or
remedies it may have be entitled to exercise one or more of the following rights or remedies:a. To issue proceeding against the purchaser for damages for breach of contract.b. To rescind the sale of that or any other lot sold to the purchaser at the same or any other auction.c. To resell the lot by public or private sale. Any defi ciency resulting from such resale after giving credit to the purchaser for any part payment together with all costs incurred in connection with the lot shall be paid to Webb’s by the purchaser. Any surplus over the proceeds of sale shall belong to the seller and in this condition the expression “proceeds of sale” shall have the same meaning in relation to a sale by private treaty as it has in relation to a sale by auction. d. To store the lot whether at Webb’s own premises or elsewhere at the sole expense of the purchaser and to release the lot only after the purchase price has been paid in full plus the accrued cost of removal storage and all other costs connected to the lot.e. To charge interest on the purchase price at a rate 2% above Webb’s bankers’ then current rate for commercial overdraft facilities to the extent that the price or any part of it remains unpaid for more than seven days from the date of the sale.f. To retain possession of that or any other lot purchased by the purchaser at that or any other auction and to release the same only after payment of money due.g. To apply the proceeds of sale of any lot then or subsequently due to the purchaser towards settlement of money due to Webb’s or it’s vendor. Webb’s shall be entitled to a possessory lien on any property of the purchaser for any purpose while any money remains unpaid under this contract.h. To apply any payment made by the purchaser to Webb’s towards any money owing to Webb’s in respect of any thing whatsoever irrespective of any directive given in respect of or restriction placed upon such payment by the purchaser whether expressed or implied.i. Title and right of disposal of the goods shall not pass to the purchaser until payment has been made in full by cleared funds. Where any lot purchased in held by Webb’s pending i. clearance of funds by the purchaser or ii. completion of payment after receipt of a deposit the lot will be held by Webb’s as bailee for the vendor risk and title passing to the purchaser immediately upon notifi cation of clearance of funds or upon completion of purchase. In the event that a lot is lost stolen damaged or destroyed before title is transferred to the purchaser the purchaser shall be entitled to a refund of all monies paid to Webb’s in respect of that lot but shall not be entitled to any compensation for any consequent losses howsoever arising.
11. BIDDERS DEEMED PRINCIPALS. All bidders shall be held personally and solely liable for all obligations arising from any bid including both telephone”and absentee bids”. Any person wishing to bid as agent for a third party must obtain written authority to do so from Webb’s prior to bidding.
12.”SUBJECT BIDS”Where the highest bid is below the reserve and the auctioneer declares a sale to be “subject to vendor’s consent” or words to that effect the highest bid remains binding upon the bidder until the vendor accepts or rejects it. If the bid is accepted there is a contractual obligation upon the bidder to pay for the lot.
13. SALES POST AUCTION OR BY PRIVATE TREATYThe above conditions shall apply to all buyers of goods from Webb’s irrespective of the circumstances under wheich the sale is negotiated.
85CONTEMPORARY/MODERN + HISTORICAL PHOTOGRAPHY
A GUIDE FOR BUYERSWebb’s have set out the following information for the benefi t of fi rst time buyers and those who are unfamiliar with auction procedures. Important note: Please refer to full conditions of sale for buyers printed in the reverse of this catalogue and displayed in the saleroom.
Registration: All intending buyers must complete a bidding form available from the reception desk
BUYING AT AUCTION
1. Floor BiddersEnsure that you have registered and obtained a buyer number before bidding on the lot or lots you have chosenBe aware that a buyer’s premium of 12.5%+GST on the premium or 15%+GST is payable by all buyers in addition to the hammer price. Please make sure that you are aware of the amount of the buyer’s premium. Make your bids clear preferably by holding up your buyer number card. If you make a mistake e.g. the auctioneer takes a bid from you at a higher level than you had intended or you realise that you had bid on the wrong lot call out to the auctioneer immediately so that the bidding can be adjusted. Waiting until after the hammer falls is too late. If your bid is the highest and the lot is knocked down to you then you have entered a binding obligation to pay for that lot.
2. Sales Subject to Vendor’s ConsentWhere your bid is the highest but still below the reserve the Auctioneer may declare you to be the “buyer subject to Vendor’s consent”. This means that your bid is held as binding and will be communicated to the Vendor at the earliest opportunity. If the vendor accepts then there is a contractual obligation for you to pay for the lot. If the vendor does not accept you are released from any obligation however you will have fi rst right to negotiate with the vendor through Webb’s until an agreement is reached and Webb’s will not present other offers to the vendor until your negotiations are ended.
3. Absentee BidsWebb’s will endeavour to ensure that your bidding instructions are executed but accept no responsibility or liability for failure to do so. Lots will be bought as favourably as is allowed by bidding in the sale room and any reserve imposed by the vendor. Please note that Webb’s cannot guarantee that another bidder will not be successful at your limit if in the course of competitive bidding someone else bids your limit fi rst. Absentee bids are accepted by written instruction which can be sent by fax (e-mailed absentee bids are not accepted) up to l hour before the commencement of the sale.
Absentee bids will be executed on the following basis:If your bid limit is equal to or above a reserve the Auctioneer may open the bidding at reserve on your behalf and will bid thereafter only in response to competition for the lot.If your bid limit is below a reserve the Auctioneer may open the bidding at your limit and if there are no further bids in the room may sell to you “subject to vendor’s consent”. In the absence of a reserve the Auctioneer
may exercise your bid in advance of any opening bid or may open the bidding on your behalf at the Auctioneers estimate at the Auctioneer’s sole discretion.
Telephone BidsThe same conditions as above apply to telephone bidders.Webb’s will telephone the number you have given several minutes before the lot you have request comes up for sale. If your phone is engaged or we are unable to make contact the auction will proceed without your bidding.Our staff will ask you to hold when we have made contact. They will then tell you that your lot is about to come up. The bids will be relayed to you and you can enter the bidding at any time by making your call. Please note that the bidding at many auctions can be fast and furious. The auctioneer will not favour a phone bidder over and above buyers who are attending the auction by giving them more time to bid. You will need to establish your limit and make sure that you bid clearly and promptly. Telephone bids are only accepted for catalogued sales and on items with estimates over 500.
Pre-Sale EstimatesEstimates printed in the catalogue or given verbally are intended as a guide only and can be subject to revision nearer to the time of a sale. Webb’s staff are available during pre-sale viewing times and by appointment to assist prospective bidders with estimates and any aspect of the auction procedure.
Condition ReportsWebb’s staff will provide condition reports for out of Auckland buyers. However please note that no 6 in the Conditions of Sale for Buyers will still apply despite the obtaining of a condition report.
PaymentPayment for all items purchased is due on the day of sale immediately following completion of the sale. If full payment cannot be made on the day of sale a deposit of 10% of the total sum due must be made on the day of sale and the balance must be paid within 5 working days. Payment is by cash bank cheque or Eftpos. Cheques will be accepted but must be cleared before delivery of goods will be given. Credit cards are not accepted.
Packing and FreightWebb’s do not pack goods in house. However we will arrange for your items to be packed insured and shipped by a professional agent. All costs associated with packing and freight are payable by the purchaser.
Valuation ServiceWebb’s provide free market appraisals on Monday mornings from 9am-1pm or at other times by appointment. Webb’s appraisers will come to your home to view and appraise larger items. Webb’s will provide valuations for insurance matrimonial division family division etc. Please enquire at reception for charges. Valuation charges are refundable on occasion when goods are subsequently offered for sale within a reasonable period.
BANK ACCOUNT DETAILS PAYMENT BY DEPOSITImportant: Fax this form to Webb’s: +64 9 524 7048 so payment can be confi rmed and purchases released.
BUYER NAME: ........................................................... BUYER NUMBER: ................................................................
SALE NUMBER: .......................................................... Balance owing for purchase/s: NZ
*Please include a sale number and buyer number as reference for on direct credits to enable us to dispatch your items effi ciently.
BANK ACCOUNT DETAILS: BANK: WESTPAC 79 QUEEN ST AUCKLAND NAME: PETER WEBB GALLERIES LTDACCOUNT NUMBER: 03-0104-0448184-03 FOR INTERNATIONAL DEPOSITS SWIFT CODE: WPACNZ2W
Amount transferred (including freight if applicable): NZ
DATE TRANSFERRED: ............................................... SIGNED: ..............................................................................
CONFIDENTIALITY: The information contained in this facsimile is legally privileged and/or confi dential. If you are not the addressee listed below you are notifi ed that except as authorised agent to the addressee any use disclosure copying or distribution of any of the contents of this facsimile by you is prohibited. Recipients other than the addressee listed below are asked to notify us immediately and return the original facsimile to us.
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BIDDING SLIP
Please bid on my behalf at the above sale for the following lots up to prices recorded below. These bids are to be executed as cheaply as is permitted by other bids or reserves if any. * I agree to comply with the Conditions of Sale as printed in the catalogue. I understand that in the case of a successful bid on items in the Photography 2008 sale a buyer’s premium of twelve and a half percent (12.5%) will be added to the hammer price and that G.S.T is charged on the premium. On major lots customers may prefer to bid by telephone. Please enquire regarding this service which Webb’s carry out at no charge.
* Webb’s will do its upmost to carry out bidding instructions for absentee bidders. It will not be responsible however if circumstances prevent it doing so.
ARRANGEMENTS FOR PAYMENT: I agree to pay immediately on receipt of notice from Webb’s of my successful bid. Payment will be by cash cheque or bank transfer. I will arrange for collection of my purchases or I agree to pay for packing and freight costs incurred by Webb’s in having any purchases forwarded to me. In order to avoid delay in clearing purchases Buyers who are unknown to us are advised to make arrangements for payment before the sale or for references to be supplied. If such arrangements are not made cheques will be cleared before purchases are delivered.
SIGNED & DATED
SURNAME/COMPANY
EMAIL ADDRESSFACSIMILIEHOME PHONE
18 Manukau Rd NewmarketPO Box 99251 Auckland New Zealand
Ph: 09 524 6804 / Fax: 09 524 [email protected] / www.webbs.co.nz
BUSINESS PHONE MOBILE
MR/MRS/MS INITIALS
POSTAL ADDRESS
CONTACT NAME
LOT NO. CATALOGUE DESCRIPTION BID*
FOR ABSENTEE BIDDERS ON LOTS IN THE PHOTOGRAPHY 2008 SALE: 23 - 24 JULY 2008
87CONTEMPORARY/MODERN + HISTORICAL PHOTOGRAPHY
INDEX OF ARTISTS
ABERHART, LAURENCE 20, 25, 28
ARMSTRONG, NEIL 71–76
BARRAR, WAYNE 12
BATTER, HAROLD 61
BEAUMONT, MATHESON 87, 125
BENGE, HARVEY 16, 33
BOURDIN, GUY 46
BURTON BROS 150, 185–186, 189
CANTWELL, NATASHA 17, 35
CASEY, CAROLIN 85
CLERGUE, LUCIEN 66
CLEVELAND, LES 116-119
COLLINS, RICHARD 96–98,
105, 120
COXHEAD, FRANK ARNOLD 135, 165,
189
DE TOURETT, ERNEST 130–134,
136–138,
142,
161–164,
173–174
DRTIKOL, FRANTISEK 56-57
FRIEDLANDER, MARTI 26
GINN, VICTORIA 104, 191–224
HABICHT, FRANK 31
HAILONG, XIE 67-68
HANLY, GIL 95, 99, 107
HARDING AND BILLING
(ATTRIBUTED TO) 187
HARTIGAN, PAUL 36-37
HEISSMAN, PAUL 65
HIGGINS JR., CHESTER 59
JEN, HENRY 115, 123
JENKINS, GERALD 78-79
JOHNS, PAUL 15
JOWITT, GLENN 81, 90
MACFARLANE, ROBERT 70
MALOY, RICHARD 7
MARTIN, JOSIAH 166, 180, 187
MCCULLIN, DON (ATTRIBUTED TO) 49
MILLEA, TOM 69
MILLER, ALAN 103
MORRISON, ROBIN 102, 113
MORTENSON, WILLIAM 45, 63
NEWMAN, ARNOLD 51–52
NEWTON, HELMUT 41
NISHIDA, RYUZO 34
NOBLE, ANNE 94
O’ROURKE, PADDY 108
PARDINGTON, FIONA 4, 11, 32,
84, 92, 100–101,
109–111
PAREKOWHAI, MICHAEL 14
PARK, JEREMY 55
PERYER, PETER 2, 13, 19, 22,
23, 38, 39, 83, 114
PHOTOGRAPHER, UNKNOWN 153,
155, 159, 167, 170, 172, 175,
176-179, 181, 183, 188, 190
PONTING, HERBERT 42
PULMAN, GEORGE 126, 144-149,
152, 154, 156, 158
PULMAN, GEORGE
(ATTRIBUTED TO) 151, 157
PULMAN, ELIZABETH 128-129
REYNOLDS, JOHN 10
REYNOLDS, PATRICK 18
RITTS, HERB 40
SCAVULLO, FRANCESCO 43
SCHOON, THEO 1, 93, 106
SELIGER, MARK 53
SEMU, GREG 30, 82
SHELTON, ANN 3
SMITH, ROSS T. 5
SNYDER, RALPH 60
STERN, BERT 54
SUNAMI, SOICHI 44
TAKATO, SHIGURO 8–9
TAYLOR, ERIC 77, 80
TEKELA-SMITH, SOFIA 21
THOMPSON, PAUL 112, 121
TODD, YVONNE 24, 27
TURNER, JOHN 88–89
VALENTINE, GEORGE 143
VETROVSKY, JOSEF 47–48, 58, 62, 64
WEBB, BOYD 29
WEBSTER, CHRISTINE 86, 91
WESTON, EDWARD 50
WILSON, GREG 122, 124
WINKELMANN, HENRY 127,
140–141, 168
WINKELMANN, HENRY
(ATTRIBUTED TO) 139, 160, 168,
169, 171, 180, 182, 184
WOODS, KATE 6
88
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