Webb's Vision Series

2 4 . 1 1 . 1 5

V i s i o n s e r i e s

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

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

a r t a t w e b b ’ sAleksandra Petrovic

[email protected] +64 9 524 6804

Caolán Mcaleer [email protected]

+64 9 524 6804

Sophie Wallace [email protected]

+64 9 524 6804

Jessica Douglas [email protected]

+64 9 524 6804

Kate Shapiro [email protected]

+64 9 524 6804

Subscription Enquiries [email protected]

Advertising Enquiries [email protected]

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

I n t r o d u c t I o n

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.

THE CAR YOU NEVER KNEW YOU ALWAYS WANTED.

JAGUAR F-TYPE

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.

Auction

Viewing

Tuesday 24 November, 6.30pm

buyer’s PremiumA 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.

V I e w I n g t I m e s

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

THE CAR YOU NEVER KNEW YOU ALWAYS WANTED.

JAGUAR F-TYPE

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.

a cur ator’s agenda

WEBB’S PRESENTS

A Residency Report from Sophie Wallace

Vision

10 CATALOGUE 528

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 from around the world to participate

in Curators’ Agenda: Vienna 2015, an

intensive five-week curatorial residency.

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.

Until the end of World War I, Vienna was a centre for the Habsburg Monarchy. Today, it is an economic and cultural hub, brimming with artistic potency. The fall of the Berlin 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.

WEBB’S

11CATALOGUE 528

Exhibition poster, I moved on until I went back.

Modelled on Monopoly, the work requires contestants to win European visas instead of properties. Another Serbian artist, Borjana Ventzislavova, presented her fifteen-channel video installation, where children from around the world discuss issues of migration and dream of a world without borders.

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 that while art is ultimately a commodity, it has the opportunity to respond to prevalent problems. Independent curator, Boris Kostadinov, emphasised the responsibility of the curator as one to engage in society, politics and culture and conceive original concepts for responding to a particular moment in time.

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 and Contemporary Art (MAK)—provided us with an opportunity to understand museums in theory and practice.

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.

The seventh iteration of curated by_vienna, a month-long project that invites international curators to present

exhibitions in leading contemporary museums and galleries, ran contemporaneously with the residency. Among the highlights was Harald Falckenberg’s Sales in the Side Rooms exhibition at Galerie Krinzinger, which focused on the importance of the wall label, a device 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.

In contrast to commercial galleries, Andrea Löbel of Kunsthalle Exnergasse shared 20 years of history of this renowned not-for-profit space. Each year, an advisory panel welcomes submissions from artists and curators. Fame or anonymity is irrelevant, with the panel instead 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.

Towards the end of the residency, we curated an exhibition in conjunction with the students of the University of 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.

WEBB’S

13CATALOGUE 528

a valueD collectioNSpecialist 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.

Contact: Antonia Milsom 09 524 6804, [email protected] 23-25 Falcon Street, Parnell

Webb’S Provide CoMPreHenSive vAluAtion ServiCeS For:• insurance • Market • Post-loss

• Family estate division • relationship Property division • Financial reporting

CONSigN NOw

paramOuNt

24.03.16

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)

FrIeze

WEBB’S AT

by Antonia Milsom

Vision

16 CATALOGUE 528

Sol Calero, La Escuela del Sur, 2015. A Studio Voltaire commission. Installation view Studio Voltaire, London. Photo credit: Antonia Milsom.

WEBB’S

17CATALOGUE 528

Each October, for one week the world’s leading collectors, curators, critics, and other art world professionals descend upon London for one of the top events in the global art calendar: Frieze. “Together with Art Basel, Frieze facilitates a 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.

Frieze London brings together a list of over 160 of the world’s leading contemporary galleries in a bespoke structure uniquely suited to experiencing and discovering new art. Showcasing works from 27 countries, Frieze London also includes Live (performance and participation) and Focus (a destination for young talent and new works from across the globe). In only its fourth year, Frieze Masters is a relative newcomer showcasing works from antiquity to prominent 20th century art. This is the first year that Frieze Masters has included two new sections: Collections (dedicated to remarkable collections of historical art and objects) and Spotlight (20th century solo presentations from 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.

A mix of sales held at Sotheby’s, such as Contemporary Day and Contemporary Evening, marked the start of our schedule for Frieze Week. Contemporary Evening included five works from

Italian collector and shoe designer, Ernesto Esposito. This collection was led by Andy Warhol’s impressive Vesuvius realising £1.4 million, along with an Estella Olive West, which realised over double its estimate to achieve £1.3 million.

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 Rose. At a talk by the artist she discussed her work at Serpentine Gallery. “It’s very basic. You go in the tent, there’ll be theatre lights and there will be PA speakers. The lights will be distributing light within the spectrum that a particular animal, say a fox, sees within. Then with the sounds: songs that we know and recognise [will be] filtered through frequencies that a fox would hear within. Every day it will be a different animal... It’s not the sounds they express,” she emphasises, “it’s the sounds they intake. If you were listening to Justin Bieber on your boom box in the park, this is what it would sound like.” Rose, a New York-based artist, was the recipient of the 2015 Frieze Artist Award and as a result she also produced a major commission of a scale-model of the Frieze London structure.

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, and thinking they couldn’t, but there are things within reach for many people,” Siddall explains. “Some of the editions start at £50 and they are by great artists. And there will be Picassos

Kemang Wa Lehulere, Voice, chalk on wall-mounted blackboard, 2015. Commissioned by Gasworks. Courtesy the artist. Photo credit: Antonia Milsom

Vision

18 CATALOGUE 528

for millions ... it is about getting that range and diversity under one roof.” As a result, the fair attracts a range of audiences – not just for the avid collector, but also those starting out.

A few weeks before Frieze London commenced, Damien Hirst’s brand new gallery, Newport Street Gallery, opened its doors. This public gallery features exhibitions of work from Hirst’s extensive private art collection, which he has titled Murderme. Newport Street Gallery’s inaugural exhibition, titled John Hoyland: Power Stations, was curated by Hirst himself and is the first major exhibition of Hoyland’s work since his death in 2011. Hirst carefully organised the six interconnecting galleries to span from the mid-1960s (colour) through to the 1970s (textured) and lastly finishing with his spatially complex paintings of the 1980s.

An interesting component to Frieze was the patronage, from small-scale arts organisations with private funders and foundations that provide a springboard for emerging artists, to private patrons who open their homes in support of young artists. Studio Voltaire, Gas Works and Chisenhale Gallery were among the few public spaces that commission and exhibit work by emerging or under-represented artists at pivotal

moments in their careers. In terms of private patronage, a number of New Zealanders welcomed artists and collectors into their London homes, in order to connect and form relationships.

New Zealand was strongly represented at Frieze London by Hopkinson Mossman. This Auckland gallery showcased Berlin-based New Zealand artist Ruth Buchanan. Her installation 24 Hour Body was inspired by a system of social organisation emphasising language place within it. “Ruth Buchanan’s work explores language as a powerful system of social organisation. Her works find physical formats for language – as spatial structures, prints, texts, collections of objects, sculptures, weavings, films, perfomance, and audio recordings – but also develops a semantic that is in itself organised like a language”, explains Sarah Hopkinson and Danae Mossman, directors of Hopkinson Mossman.

Both public and commercial spheres were seamlessly linked throughout the seven days in London. All those involved in Frieze Week showcased a diverse and complex array of art, encompassing geographical diversity and providing a platform to show a wide range of artists.

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

WEBB’S

19CATALOGUE 528

renowned australIan

auctIon house to acquIre

webb’s

Vision

20 CATALOGUE 528

Peter Webb Galleries Limited is pleased to announce that its NZX listed parent company, Bethunes Investments 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 is the leading destination in Australia to buy, sell and enjoy rare and valuable objects. They are 100% Australian-owned with three main areas of operation:

• Auctions of single-owner collections, fine art, decorative arts, jewellery and collectables.

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

• Tearooms, in partnership with Peter Rowland Catering.

Mossgreen was established in 2004 and is now the largest auction house in Australia.

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 trans-Tasman auction house. We look forward to developing the clear synergies that already exist between these two strong and well-respected auction brands, and to sharing our combined expertise and experience with our clients”.

For further information about Mossgreen please visit www.mossgreen.com.au.

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

Tuesday 24 November 2015, 6pm

r a r e s p i r i t s & F i n e w i n e

Prior to Vision series

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.

RL Replacement Label oWC original Wood CaseIN Into Neck TS Top Shoulder FillUS Upper Shoulder Fill MS Mid-Shoulder Fill LS Low Shoulder Fill

TC Torn Capsule CC Corroded CapsuleoX oxidized Capsule NC No Capsule FL Faded LabelTL Tattered LabelToL Torn Label

SToL Slightly Torn Label HSL Heavily Stained LabelBSL Bin Stained Label TSL Tissue Stained LabelSoL Soiled Label

k e y

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

Vision

24 CATALOGUE 528

New Zealand

Australia

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

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

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

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

LoT 5. (2) 2009 Dry River Pinot Gris~Martinborough $30 - $50

LoT 6. (3) 2009 Dry River Late Harvest Riesling~Martinborough $40 - $60


LoT 8. (2) 2005 Dry River ‘Craighall’ Riesling~Martinborough $35 - $50

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



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

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

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 21. (2) 2007 Ata Rangi ‘Kahu’ Botrytis Riesling~Martinborough 375ML$30 - $40

LoT 22. (1) 2008 Framingham Botrytis Gewurztraminer~Marlborough 375ML$25 - $35

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 30. (1) 1996 Penfolds Grange~South Australia RP95

$400 - $500


$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 34. (1) 1992 Penfolds Grange~South Australia RECoRKED JH96

$400 - $500

LoT 35. (1) 1991 Penfolds Grange~South Australia RECoRKED RP95

$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


$400 - $500

WEBB’S

25CATALOGUE 528

Italy

France-Champagne

France-Bordeaux

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

LoT 40. (1) 2000 Tenuta dell’ornellaia~Bolgheri 300CL RP93

$1,300 - $1,500

LoT 41. (1) 1997 Marchesi Antinori Tignanello~Tuscany 150CL RP94

$400 - $500

LoT 42. (1) 2006 Antinori Tenuta Guado al Tasso~Bolgheri WE97

$100 - $130

LoT 43. (1) 2004 La Fortuna Brunello di Montalcino~Tuscany RP92

$70 - $90

LoT 44. (1) 2006 Altesino Brunello di Montalcino~Tuscany ST94

$70 - $90

LoT 45. (1) 2003 Falletto Barolo~Piedmont 300CL ST91

$650 - $750

LoT 46. (1) 1975 Perrier Jouet Belle Epoque~Champagne 300CL$1,300 - $1,400

LoT 47. (1) 1947 Château d’Yquem~Sauternes WS97

$4,500 - $5,500

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

LoT 49. (1) 1994 Chateau Lafite-Rothschild~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 Cardinal-Villemaurine~St Emilion (TS)$50 - $70

LoT 55. (3) 1988 Chateau Lafleur Petrus~Pomerol (IN)$250 - $300

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

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

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

LoT 59. (2) 1993 Chateau Margaux~Margaux JR17/20

$450 - $550

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

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

LoT 62. (1) 2003 Chateau Haut Brion~Pessac Leognan 150CL RP95

$1,100 - $1,300

LoT 63. (1) 2002 Chateau Latour~Pauillac RP96

$750 - $850


$650 - $750

LoT 65. (1) 2003 Chateau Haut Brion~Pessac Leognan RP95

$550 - $650

LoT 66. (1) 2003 Chateau Pavie~St Emilion RP99

$400 - $500

LoT 67. (1) 1989 Chateau Pichon Longueville ‘Baron’~Pauillac 600CL RP95

$2,500 - $3,000

LoT 68. (1) 2005 Chateau Figeac~St Emilion 300CL WS95

$850 - $950


$1,100 - $1,300


$750 - $850

LoT 71. (1) 1995 Les Caves des Hautes Cotes Charmes-Chambertin 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

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

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

France-Burgundy

Other

Spirits

LoT 100. (1) Bardinet Vodka~France 70CL$30 - $50

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

LoT 102. (1) Skyy Vodka~USA 100CL$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

LoT 87. (1) Smirnoff No21 Vodka 100CL$30 - $50

LoT 88. (1) Smirnoff Silver 90.4~USA 75CL$30 - $50

LoT 89. (1) Graffiti Vodka~United Kingdom 100CL$30 - $50

LoT 90. (1) Lithuanian original Vodka 70CL$30 - $50

LoT 91. (1) Chopin Vodka~Poland 75CL$30 - $50

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

LoT 93. (1) Khabarovskaya Vodka~Russia 70CL$30 - $50

LoT 94. (1) Polmos Poznan Vodka~Poland 75CL$30 - $50

LoT 95. (1) Galileo Vodka~Poland 70CL$30 - $50

LoT 96. (1) Vertical Vodka~France 70CL$30 - $50

LoT 97. (1) White Wolf Vodka 50CL$30 - $50

LoT 98. (1) Krolemska Vodka~Poland 70CL$30 - $50

LoT 99. (1) St Petersburg Vodka~Russia 50CL$30 - $50

WEBB’S

27CATALOGUE 528

LoT 106. (1) Rubiskaya Vodka~France 70CL$30 - $50

LoT 107. (1) Pieprozowka Vodka au Poivre~Poland 75CL$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

LoT 112. (1) Belvedere Vodka~Poland 75CL$30 - $50

LoT 113. (1) Viking Vodka 70CL$30 - $50

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

LoT 120. (1) Gorbatschow Vodka~Germany 100CL$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

Spirits Continued

Vision

28 CATALOGUE 528

03.12.15

D i s c o v e r y s e r i e s

catalogue online

Friday 20 november

Viewing starts

thursday 26 november

auction

thursday 3 december, 6.30pm

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

Tuesday 24 November 2015, 6.30pm

V I s I o n s e r I e s

ViewinG fromTuesday 17 November

32 CATALOGUE 528

33CATALOGUE 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

Cream leather with plywood construction, Norway. c. 1960.

$900 - $1,200

3 Michael Smither

Painting 3

acrylic on paper signed; title inscribed on John Leech

Gallery label affixed verso 572mm x 894mm

EXHIBITED Michael Smither, John Leech Gallery,

Auckland, 8 - 25 May, 1973

$2,000 - $3,000

34 CATALOGUE 528

35CATALOGUE 528

4 Allen Maddox

Just the Number for your Dog’s Good Looks

oil on cotton title inscribed, signed and dated 4.6.76

and inscribed Blue 915mm x 435wmm (widest points)

PROVENANCE Acquired by the present owner from

Denis Cohn Gallery c.1978.

$5,000 - $7,000

5 Stephen Bambury

Hanoi (Spirit Street)

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

$6,000 - $9,000

36 CATALOGUE 528

37CATALOGUE 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 tac-tile artistic objects.

By accumulating and utilising the super-fluous materials abundant within rural com-munities, Driver explores the inherent magic and mystery of these items, leading the view-er into an exploratory critique of New Zea-land’s agricultural identity.

In Duraband 5, webbing tape, usually the discarded by-product of commercial packag-ing, 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 feath-er 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

38 CATALOGUE 528

7wGrete Jalk ‘Model 118’ sofa for France and

Daverkosen in teak and blue linen

Danish, c. 1964.L 2000mm

$3,000 - $3,800

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8Peter Stichbury

Untitled

acrylic on linensigned; title inscribed, signed

and dated 1999 verso600mm x 600mm

$15,000 - $25,000

40 CATALOGUE 528

9 Ralph Hotere

Requiem

watercolour and ink on paper title inscribed, signed and dated 7.60 695mm x 500mm

$20,000 - $25,000

Requiem is part of a series of work pro-duced by Ralph Hotere from 1973 to 1974. A requiem is a musical composition and sung mass for the dead, most apparent in the Ro-man 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 Ho-tere’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 Ho-tere, resulting in a deeply personal litany of loss and grief.

KATE SHAPIRO

41CATALOGUE 528

10w Don Binney

Manunui, Otakamiro

screenprint, artist’s prooftitle inscribed, signed and dated 2010

751mm x 558mm

$7,000 - $10,000

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11Michael Smither

Dunedin Headlands Cross

oil on hardboardtitle inscribed, signed and dated

1970 - 71 verso455mm x 455mm

$15,000 - $20,000

In Dunedin in 1970, Michael Smither took up the Frances Hodgkins Fellowship, es-tablished in 1966 by noted scholars Charles Brasch and his cousins Mary, Dora and Es-mond 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-in-fluenced curved lines and subtle tonal gradu-ations 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 re-cently deceased Rita Angus, who had a strong influence on Smither. The artist wrote, “I de-cided 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 Sta-tions of the Cross”.

CAOLáN MCALEER

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12Gavin Chilcott

Amphora with Landscape, Plane, Figure & Millstone

oil on shaped plyboardtitle 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

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13Séraphine Pick

Untitled

acrylic, gesso and graphite on papersigned and dated 1994

750mm x 570mm

$5,000 - $7,000

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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

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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 chemically-treated 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

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49CATALOGUE 528

17Gordon Walters

Untitled

gouache on papersigned and dated ‘76 verso

148mm x 117mm

PROVENANCEAcquired 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 be-come synonymous with the artist. In this small gouache on paper, the artist continues his in-terest in the Māori motif.

The contrasted vertical rows are deliber-ately 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 de-sign deftly interplays positively and negatively.

These two tones delicately rest beside one an-other in a dual interplay, where Walters’ iconic minimalistic design is repeated to form a styl-ised 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 opti-cal 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

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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 pe-riod 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 min-iature 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 com-ponents. 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 preci-sion 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 con-cerns 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

52 CATALOGUE 528

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

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. Un-like the Aramoana and Polaris series cre-ated 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 Zea-land poet Cilla McQueen (and Hotere’s for-mer partner) to a “hall of mirrors”. 1

KATE SHAPIRO

1McQueen, Cilla, Baby Iron. In Gregory O’Brien (ed.), Hotere: Out of the Black Window, Godwit: Auckland, 1997. p. 114.

53CATALOGUE 528

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

21w Curtis Jere ‘Black Birds’

Wall hanging for artisan house. Matt black painted steel, USA. c. 1960

L 1350mm

$2,800 - $3,800

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23Philip Trusttum

Hannah’s Toys

acrylic and collage on canvas2310mm x 1885mm

$7,000 - $10,000

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24w

Mervyn Williams

Strata

acrylic and gesso on canvastitle inscribed, signed and

dated 1982 verso1210mm x 1210mm

$10,000 - $15,000

56 CATALOGUE 528

26John Reynolds

Alien Hand Painting #2

enamel, graphite and ink on canvastitle inscribed, signed and dated 2006 verso

1010mm x 1522mm

$5,000 - $7,000

25John Reynolds

Alien Hand Painting #4

enamel, graphite and ink on canvastitle inscribed, signed and dated 2006 verso

1010mm x 1502mm

$5,000 - $7,000

57CATALOGUE 528

27Dick Frizzell

Jug with Blue Glass Handle

oil on canvastitle inscribed, signed and dated 3/7/96

1000mm x 1000mm

$8,000 - $12,000

58 CATALOGUE 528

28w A Johannes Anderson Danish sideboard for Christian Linneberg

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

29 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

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31Ralph Hotere

Patu

acrylic on burnished steelsigned and dated Koputai 83;

signed and inscribed Merata, I Roto I Nga Mauniwitanga O Te Wa

Ko Tenei He Taonga Iti verso525mm x 385mm

$30,000 - $40,000

61CATALOGUE 528

32Garth Tapper

Man with Glasses

oil on boardsigned

264mm x 376mm

$5,000 - $8,000

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34 Colin Wheeler

Premises of the National Bank Oamaru

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

$4,000 - $6,000

33 Jeffrey Harris

Girl on a Swing

oil on canvas title inscribed, signed and

dated August 1972 and inscribed oil on canvas verso

400mm x 500mm

$5,000 - $8,000

63CATALOGUE 528

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 re-tiring 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 fig-ures 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

64 CATALOGUE 528

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

Sydney Lough Thompson had already rejected the idea of studio practice and em-braced the impressionist hallmark of plein air painting by the time he returned to New Zealand in 1933 after long periods in Con-carneau, 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

65CATALOGUE 528

37w

John Gully

Lake Tennyson Near Nelson, South Island

watercolour on papersigned; title inscribed in

another hand verso462mm x 670mm

PROVENANCEFormerly 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

66 CATALOGUE 528

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

38 Tom Esplin

Rue Jean Rouen, France

oil on board signed 315mm x 440mm

$4,000 - $6,000

67CATALOGUE 528

68 CATALOGUE 528

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

Charles Blomfield’s White Terraces de-picts an environment now lost to the modern world. This is one of several important works from the artist’s career which helped influ-ence 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 volca-nic eruption of Tarawera in 1886. Blomfield’s depiction of the terraces captures the con-tradictions inherent in portrayals of regional landscapes from the 19th century. The land-scape seems inhospitable and dangerous due to the frequent volcanic and geyser activity, and yet the space, blue sky and overall ma-jestic impression left by the scene is also sug-gestive of a paradise awaiting those colonial settlers brave enough to travel to the oppo-site side of the world.

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

course of his career, is evident in White Ter-races. 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 mainte-nance of the surrounding natural environ-ment.

Images of dramatic landscapes are pri-mary material used in contemporary mar-keting campaigns which promote New Zea-land as a place where settlers from overseas can make their homes, or tourists can come for temporary visits. Blomfield’s White Ter-races addresses the multiple narratives and mythologies inherent in defining and rep-resenting the landscape of New Zealand.

ALEKSANDRA PETROVIC

69CATALOGUE 528

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

$800 - $1,000

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

H 800mm x W 2230mm x D440mm

$3,000 - $4,000

70 CATALOGUE 528

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

71CATALOGUE 528

49 Ralph Hotere

Pine a Tree

watercolour on paper signed, inscribed & dated 11/1/1972 585mm x 385mm

$5,000 - $10,000

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

72 CATALOGUE 528

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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

52 Jeffrey Harris

War

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

51w A pair of vintage barcelona style chairs

Upholstered in dark brown leather. Some Faults.

$1,000 - $2,000

74 CATALOGUE 528

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

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55 John Barr Clarke Hoyte

Untitled

watercolour on paper signed 315mm x 520mm

$5,500 - $7,500

54w An American mid century modern floor lamp

Maker unknown. Gilt brass and wood construction. c. 1960

H 1580mm

$700 - $900

56 Simon McIntyre

Motto II

oil on canvas signed and dated ‘93; title

inscribed, signed and dated 93 on label affixed verso

1653mm x 1504mm

$6,000 - $10,000

76 CATALOGUE 528

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

77CATALOGUE 528

59 John Papas

Tell Me of Other Cities Other Lands

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

$2,500 - $3,500

60 Michel Tuffery

Moa in Aukalangi

acrylic and plastic tiki on tin signed and dated ‘04;

title inscribed verso 89mm x 485mm

EXHIBITED Dowse Art Museum

$1,700 - $2,500

78 CATALOGUE 528

Two interwoven motifs are visible throughout the varied body of work under-taken 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 Aus-tralian neo-expressionism caused Harris to reconsider the importance of his figures and initiate an ambitious series of large paint-ings, which, instead, focus on the bright, in-terwoven 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. Sur-rounding 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

61w Jeffrey Harris

Two Figures in a Landscape

oil on canvas c. 1987 1825mm x 3645mm

$15,000 - $25,000

79CATALOGUE 528

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

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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.

C O N D I T I O N S O f S A l E f O r B u y E r S

66 CATALOGUE 518

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

ArTIST lOT NumBEr ArTIST lOT NumBEr

I N D E x O f A r T I S T S

67CATALOGUE 518

American mid century 54 modern floor lamp

Anderson, Johannes 28

Bambury, Stephen 5, 16, 62

Barcelona style chairs 51

Binney, Don 10

Bolmfield, Charles 42

Chilcott, Gavin 12

Danske Mobler 43

Driver, Don 6

Eames, Charles & Ray 30

Esplin, Tom 38

Frizzell, Dick 27, 28

Gully, John 37

Harris, Jeffrey 33, 52, 61

Hayworth, Peter 19

Hotere, Ralph 9, 20, 31, 48, 49

Hoyte, John Barr Clarke 55

Hundevad, Poul 58

Jalk, Grete 7

Jere, Curtis 21

King, Virginia 47

Klein, Henry 45

Lütken, Per 15

Maddox, Allen 4

McIntyre, Simon 56

Mrkusich, Milan 18

Ngan, Guy 46

Omann, Gunni 41

Papas, John 59

Payne, Michael 22

Pick, Séraphine 1, 13

Pearsall, Adrian 44

Relling, Ingmar 2

Reynolds, John 25, 26

Smither, Michael 3, 11

Stichbury, Peter 8

Tapper, Garth 32, 35, 39

Thompson, Sydney Lough 36, 53

Trusttum, Philip 23

Tuffery, Michel 60

Walters, Gordon 17

Wealleans, Rohan 14

Wheeler, Colin 34

Williams, Mervyn 24

Wilson, Tim 40, 50, 57

PArKING IN 100m rADIuS69 free Carparks43 Paid* Carparks112 Carparks Total

PArKING IN 200m rADIuS217 free Carparks240 Paid* Carparks457 Carparks Total

*These include parking buildings and pay and display parking.

Saint Stephens Ave

St G

eorges Bay R

d

St G

eorges Bay R

d

Parnell Rd

Corunna Ave

Burrows Ave

Falcon St

Cheshire St

Gibraltar Cres

Gibraltar Cres

Birdwood Cres

Birdwood Cres

St Mary Cl

Cathedral Pl

Aorere St

Akaroa St

Tilden

St

Tikka St

Scarborough Ln

Denby St

Ruskin St

Windsor St

Ruskin St

100m Radius

200m Radius

Scarborough Tce

Heather St

Heather St

Bedford

St

Cracro

ft St

Garfield St

Garfield St

York St

Earle St

Churton St

Bath St

Bradford St

Parnell Rise

Carpark Building

P A r K I N G A T W E B B ’ S

roh

an W

ealle

ans

Faus

t Dr S

tran

ge. E

stim

ate:

$1,

700-

$2,0

00,

Pete

r Hay

wor

th s

ideb

oard

for U

nifl

ex. E

sim

ate:

$2,

000

- $2

,800

STIFFCOMPETITION

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

Webb's Vision Series

Documents

Transcript of Webb's Vision Series