The Jim Fraser Collection by Webb's Auction House

2 The Jim Fraser Collection

Thursday 9th November, 2006 6.30pm Viewing TIMES Sunday

5th November 11.00am - 3.00pm

Monday

6th November 9.00am - 5.30pm

Tuesday

7th November 9.00am - 5.30pm

Wednesday 8th November 9.00am - 5.30pm Thursday

9th November 9.00am - 12 noon

18 Manukau Road, Newmarket. PO Box 99251, Newmarket, Auckland, New Zealand. Phone: 09 524 6804. Fax: 09 524 7048 auctions@webbs.co.nz. www.webbs.co.nz. Webb’s buyer’s premium 12.5% on all items in this catalogue. GST of 12.5% is payable on the buyer’s premium only. CONDITION OF ITEMS The condition of items is not detailed in this catalogue. Buyers must satisfy themselves as to the condition of lots they bid on and should refer to clause 6 in the Conditions of Sale for Buyers printed on page 79 of this catalogue. Webb's are pleased to provide intending buyers with condition reports on any lots.

Illustrated left: Lot 53, Jae Hoon Lee, A Leaf, still from a single channel video transferred to DVD. Illustrated inside covers: Lot 75, Christian Marclay, Untitled, two 12” vinyl record felt slipmats.

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For some of us – and there are a few – it is not the rarified air of long-established artists changing hands for exhorbitant sums at auction which excites and drives us but, rather, it is the new, the now, the avant-garde as opposed to the rearguard. Jim Fraser is one such character. I don’t really want to talk about Jim too much as I know he’d cringe, but being the type of collector which he is, it is impossible to distance him from the artists and art which he has so passionately collected. Jim is no normal accumulator of cultural artefacts, nor is he an investor scouting the market for the next hot buy, rather he is an art-lover, albeit one – like myself and many of you reading this – infected by that most Euro-centric and intoxicating of diseases: Collecting. That unshakeable bug which requires some of us to take the level of aesthetic appreciation a step further and own (live with, have enrich our lives on a daily basis – sounds selfish really…) that which gives us cause for more than just passing thought. Jim’s collection is the most postmodern I have encountered outside the pages of some swanky foreign book. 4 The Jim Fraser Collection

By this I mean to say, simply, that Jim has an art collection which privileges the mind over the eye, is heterogenous, incoherent (deliberately) and international in scope. However, it is also a deeply personal collection. Every work in the collection means something to Jim and tells a story. In dealing with Jim I sensed that the works which meant the most to him and those which he really struggled to part with the most were not the highest value works, but were those which involved the more memorable stories and dialogues. Works such as the Gretchen Albrecht Headland (Winter Sunset), purchased after great hospitality courtesy of the artist at her residence one night in the early 1980s. Or similarly, the numerous works which Jim has purchased on overseas trips – always, of course, coinciding with a biennale or some art related event – such as the Nan Goldin purchased at Whitechapel art gallery in London in 2002 or the Felix Gonzales-Torres aquired from MOMA in Oxford. Like many of us, Jim is a collector with a budget. Is his collection worse off for it? I would argue it is actually all the better off for it. Collecting with a budget, as Jim has, requires one honing and developing the keenest and sharpest of eyes. It requires frequenting galleries with regularity, attending openings, following international trends and movements; in short, it requires a level of engagement, commitment and imagination beyond most art collectors. Parting with the collection has, of course, not been easy: a life without art is a life less ordinary for Jim Fraser. However, as well as constituting the end of the Jim Fraser Collection, the disbandment also represents a new beginning. Surprise, surprise Jim plans to start again afresh – in fact, I have suspicions he may already have begun to do so… A whole new generation of artists is about to discover that someone out there understands and supports what they’re doing. Ben Plumbly Ben is the head of Webb’s Fine Art Department.

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Billy Apple: From the Jim Fraser Collection pastel on blackboard 360 x 550mm NFS

Jim Fraser is an art collector who works with a classic formula: spot the talent, back it to the hilt and celebrate it. Jim picked his artists early in their careers, selecting key works to acquire and now, after living with them for many years in a home jammed to the gills with art, the celebratory phase kicks in. We see the results of decades of passionate collecting at Webb’s – a stunning array of artworks, groomed for the market, ready to move to new homes. But there’s another side to the story, another cause for celebration. The great thing about Jim is it was never just about the art that made its way into his collection. He believed in the artists and supported them in so many ways: socialising with them, conveying an infectious enthusiasm for their work and the joy of being surrounded by edgy art. This is a collection driven by passion, a willingness to take risks (buying early in artists’ careers rather than waiting

for the blue chip phase) and ultimately by a very good eye. The fact that Jim can let such a great collection go is a testament to his interest in artists as well as what they create. How many of us could imagine letting much-loved artworks go to other homes? Probably only those of us who, like Jim, are lucky enough to have artists as friends, allowing us to get close to the wonderful creative spirit that drives the best of them. The art is a value-added bonus. But as they say, as one door closes another one opens so watch this space. This is not the end of Jim’s life as a collector, but rather a new beginning. He’s addicted to art, can’t imagine living without it. We’ll see him launch forth again, looking for a new generation of artists to support – the ones whose work is shaping and defining the future direction of art in New Zealand. Little wonder the art world loves collectors like Jim Fraser.

John McCormack John is co-director of Starkwhite, a gallery on Auckland’s K’ Road, and chair of the College of Governors of the Arts Foundation of New Zealand. 6 The Jim Fraser Collection

www.starkwhite.co.nz Gavin Hipkins The Romance: New York (Jellyfish). C-type print. 2006

John Reynolds Fully Contemporary oilstick on canvas title inscribed; signed and dated 2004 and inscribed Acronyms etc. #266 verso 100 x 100mm $150 - $250

Jan van der Ploeg Untitled – Grip acrylic on MDF title, artist’s name and date (2002) printed on artist’s original label affixed verso 250 x 300mm $1,200 - $1,800

Jacqueline Fraser Daisy Chopper oilstick on fabric title inscribed, signed with artist’s initials J.F. and dated 17.4.2003 320 x 300mm Exhibited: ‘An Elegant Portrait Refined In Eleven Studious Parts <<A Loose Canon Speaks>>’, Roslyn Oxley9 Gallery, April – May 2003 $1,500 - $2,000

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Marie Shannon Studio Installation, Large Gordon Walters sepia-toned silver gelatin print, 7/10 445 x 360mm $1,500 - $2,000

Gordon Walters Tama screenprint, 35/50 title inscribed, signed and dated 1977 690 x 500mm Illustrated: Michael Dunn, Gordon Walters (Auckland City Art Gallery, 1983), plate 72. $6,000 - $9,000

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Seraphine Pick Untitled – Colander acrylic and pencil on paper signed and dated 1994 168 x 117mm $600 - $900

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Seraphine Pick Untitled – Colander and Flower acrylic and pencil on paper signed and dated ‘94 170 x 115mm $600 - $900

Seraphine Pick Untitled – Colander with Trees acrylic and pencil on paper signed and dated 1994 168 x 117mm $600 - $900

L. Budd Implant: External Circumstances (Studies in Self Doubt 17) mixed media, cassette tape title inscribed, signed and dated 1996 and inscribed Voices 1-6 240 x 158 x 30mm $1,000 - $2,000

Billy Apple Paid: Terry Maitland Signs offset lithograph and receipt signed; inscribed Paid 11.11.99 417 x 295mm $1,000 - $2,000

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John Reynolds Youâ&#x20AC;&#x2122;d be surprised how much it costs to look this cheap and Instant gratification takes too long oil pastel and acrylic on paper, diptych signed and dated 2004 and inscribed IX 700 x 500mm each 700 x 1000 overall $3,000 - $5,000

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Patrick Pound Waltersâ&#x20AC;&#x2122; Bedroom III digital photo, 1/5 title inscribed, signed and dated `05 verso 202 x 305mm $700 - $1,000

Peter Peryer Guardian digital print, edition of 15 108 x 160mm $1,000 - $2,000

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Gordon Walters Maho screenprint, artistâ&#x20AC;&#x2122;s proof signed and dated â&#x20AC;&#x2DC;72 350 x 220mm $4,500 - $6,500

Richard Killeen Destruction of the Circle acrylic and screenprint on rag paper title inscribed, signed and dated June 2 1990 585 x 760mm $3,000 - $5,000

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Julian Dashper Untitled screenprint, 3/8 title inscribed, signed and dated â&#x20AC;&#x2DC;05 770 x 570mm $1,000 - $1,500

Julian Dashper Untitled screenprint, 3/15 title inscribed, signed and dated â&#x20AC;&#x2DC;05 770 x 570mm $1,000 - $1,500

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Michael Parekowhai The Bosom of Abraham screenprinted vinyl on fluorescent light housing, 1999 1300 x 220 x 80mm $3,500 - $4,500

Julian Dashper Chain Frame oil on picture frames, 8/10 title inscribed, signed and dated 1992 verso 1800 x 1200mm Illustrated: Art New Zealand 65, Summer 1992 â&#x20AC;&#x201C; 93, p. 30. $2,000 - $3,000

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Julian Dashper

Untitled â&#x20AC;&#x201C; Philishave acrylic and pastel on paper title inscribed, signed and dated 1989 â&#x20AC;&#x201C; 1994 and inscribed To Jim verso 400 x 400mm $3,000 - $5,000

John Reynolds Anti-Pain-Ting oilstick on canvas titled inscribed; signed and dated 2004 and inscribed Acronyms, etc. #281 verso 100 x 100mm $150 - $250

John Reynolds Aest-Hetic Advice oilstick on canvas title inscribed; signed and dated 2004 and inscribed Acronyms etc. #247 verso 100 x 100mm $150 - $250

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Graham Fletcher Untitled â&#x20AC;&#x201C; From the Mistint Series enamel on board signed and dated Dec 1998 and inscribed Mistint Series verso 257 x 495mm $2,000 - $3,000

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Peter Robinson 100% oilstick and acrylic on board, diptych title inscribed, signed and dated â&#x20AC;&#x2DC;95 verso; original Claybrook Gallery label affixed verso 165 x 190mm each 165 x 380mm overall $3,000 - $4,000

Marie Shannon

Map of the Places two sepia-toned silver gelatin prints 500 x 600mm each 500 x 1200mm overall Illustrated: Lara Strongman and Hannah Holm (eds.), Contemporary New Zealand Photography (Auckland, 2005), pp. 26-27. Reference: ibid., pp. 24 – 31. $2,000 - $3,000

Bill Culbert Small Glass Pouring Light, France silver gelatin print, 1997 405 x 405mm Reference: Ruth Harvey ‘Fact or Fiction?: The Photographic Illusions of Bill Culbert and Ben Cauchi’, Art New Zealand, No. 119, Winter 2006, pp. 54-57. Illustrated: ibid., p.54. $2,500 - $3,500

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Peter Peryer New Zealand silver gelatin print 405 x 270mm Illustrated: Gregory Burke and Peter Weiermair (eds.), Second Nature: Peter Peryer, Photographer (City Gallery, 1999), p. 105. $3,000 - $5,000

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Peter Peryer Edward Bullmoreâ&#x20AC;&#x2122;s Launch silver gelatin print title inscribed, signed and dated 1993 and inscribed Taken at Lake Tarawera verso 410 x 275mm Illustrated: Gregory Burke and Peter Weiermair (eds.), Second Nature: Peter Peryer Photographer (City Gallery, 1995), p.123. $3,000 - $5,000

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Mladen Bizumic Aipotu: U.N. Mistaken Island acrylic gel pen and acrylic on canvas title inscribed, signed and dated 04/12/2004 and inscribed Date Painting verso 300 x 405mm $1,000 - $2,000

Ronnie van Hout Some Dead Artists pegasus photographic print, 4/15 350 x 520mm $2,000 - $3,000

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Julian Dashper

Untitled (2000) acrylic on canvas, 2/3 signed and dated 2000 verso; original Sarah Cotter Gallery label affixed verso 405 x 405mm Exhibited: ‘Midwestern Unlike You and Me: New Zealand’s Julian Dashper’, Sioux City Art Centre, Iowa 2005 (touring) Illustrated: in the catalogue for the above exhibition, back cover. $3,000 - $5,000

Ani O’Neill Untitled wool on steel ring 260mm diameter Provenance: Purchased by Jim from Sue Crockford Gallery in 2001 $400 - $600

Tony de Lautour Home Invasion 4 oil on found ridgway blue and white china plate title inscribed, signed and dated 1999 verso 225mm diameter $500 - $800

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Jacqueline Fraser

Jacqueline Fraser (Ngai Tahu) is known for her ‘two dimensional sculptures’ and site specific, signature installations comprised of fabric, wire and text that she began making following her graduation from Elam in the late 1970s. Robert Leonard has described Fraser’s ability to ‘draw with wire,’ a skill evident in the reductive, almost cartoon-like figure of Tau that utilizises the handicraft skills Fraser developed while living on a Dunedin marae. Whilst Fraser’s use of materials, fibres and processes such as braiding and weaving acknowledge her Maori heritage, high fashion, too, is a predominant influence, typified by the use of luxury fabrics. Fraser’s materials often reference the site of a work’s creation and are anchored by text inscribed upon them. In Who Whacked that Bobbing Head? 5b a hand-drawn Arch de Triumph sits atop ornate damask cloth sourced on one of her frequent trips to Paris. Fraser’s appreciation for French decorative arts was confirmed following a 1992 artist’s residency in Avize. The artist saw an affinity between the strict formal structures of European motifs and traditional Maori imagery, an observation that has imbued her work with a rich sense of cultural hybridity.

Jacqueline Fraser Who Whacked That Bobbing Head? 7b ink on fabric and paper title inscribed, signed and dated Paris 22.7.2000 and inscribed let me find that Grimy boy kicking, kicking at Chattelet, let me drag him to the Quai de Montebello. Let me drape him Warmly at Isle St. Louis>> And so it was << And he Laughed with Loudness as they said he would>> a small portrait repeated>> 510 x 355mm $2,000 - $3,000

Jacqueline Fraser Morons oilstick on fabric title inscribed on printed label and inscribed ‘<< And the moron said you said things you shouldn’t have to the press >> <<valium>>’, dated 11.6.2003 and signed with artist’s initials JF 310 x 310mm $1,200 - $1,800

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Quoting Andy Warhol’s quirky drawings of gloves and shoes and the layered, sculptural designs of fashion houses like Commes des Garcons, Prada and Yohji Yamamoto, Fraser’s homage to fashion is subversive. <<Invisible>>, her entry for the 2004 Walters Prize, hinted at psychotic tales of cruelty and drug dependency also intimated in the reference to valium in Moron. Here, the elegance of Fraser’s fabric is marred by scrawled slights of character neatly typed on a delicate transparency; <<and the moron said you said things you shouldn’t have to the press>>. These lyrical subtitles hint at veiled narratives. Reveling in opulent aesthetics, Fraser’s work examines ‘couture materiality,’ critiquing how societies define ‘normal’ behaviour and the pressure to conform. Denouncing social hierarchies, Fraser is particularly interested in those that don’t ‘fit in’, offering them a voice in A loose canon speaks. The tension between seductive beauty and an underlying sense of discomfort, even neurosis, is a recurrent theme in Fraser’s work. Serena Bentley

Jacqueline Fraser Who Whacked That Bobbing Head? 5b ink on fabric and paper title inscribed, signed and dated Paris 22.7.2000 and inscribed Let me shine that shiny, shiny Lying on Champs-Elysée. Let me roll her Roundly to Place Verdôme. Let me shape her clearly at Musée de l’Orangerie << And so it was>> and she Twirled With Firmness as they said she would>> << A small portrait repeated>> 510 x 355mm $2,000 - $3,000

Jacqueline Fraser Who Whacked That Bobbing Head? 7C ink on fabric on paper title inscribed, signed and dated Paris 22.7.2000 and inscribed Let me Fold That Faint, Faint Women Huddled Under Hotel des Invalides. Let Me Nudge Her Briskly To Rue des Grenelle. Let Me Straighten Her Toughly at Palais Luxembourg << And So It Was>> And She Forged With Frivolity as They Said She Would>> And Then Again in Profile 510 x 355mm $2,000 - $3,000

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Peter Robinson I Exist I Am Not Another lambda print 720 x 380mm Provenance: Purchased by Jim from Anna Bibby Gallery in May 2001 $3,500 - $5,000

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Gretchen Albrecht Garden watercolour title inscribed, signed and dated â&#x20AC;&#x2DC;71 760 x 560mm $4,000 - $6,000

Julian Dashper Untitled vinyl on drumhead 370mm diameter Provenance: Purchased by Jim from Sue Crockford Gallery, November 1996 Exhibited: ‘The Twist’, Waikato Museum of Art and History, Te Whare Taonga o Waikato, 1998 (touring) Exhibited: [in duplicate] ‘Midwestern Unlike You and Me: New Zealand’s Julian Dashper’, Sioux City Art Centre, Iowa 2005 (touring) Illustrated: in the catalogue for the above exhibition, p. 48. $8,000 - $14,000 The Jim Fraser Collection 27

42 Peter Robinson Big Bang White Heat IV acrylic on linen original Anna Bibby Gallery label affixed verso 1600 x 1600mm Provenance: Purchased by Jim from Anna Bibby Gallery in October 1998 Exhibited: ‘Toi Toi Toi: Three Generations of Artists From New Zealand’ (Museum Fridericianum Kassel and Auckland Art Gallery Toi o Tamaki, January – August 1999) Illustrated: In the catalogue for the aforementioned exhibition, pp. 162 – 163. $12,000 - $18,000 28 The Jim Fraser Collection

John Reynolds Prometheus acrylic, oilstick and graphite on board title inscribed, signed and dated 1992; title inscribed verso Exhibited: ‘A Very Peculiar Practice: Aspects of Recent New Zealand Painting’ (City Gallery, Welington, June – September 1995) 2045 x 862mm $15,000 - $20,000 The Jim Fraser Collection 29

Richard Killeen Floating Islands with Strange Birds and People alkyd on 81 aluminium pieces title printed and dated 31 May 1986 on individual cutouts 1800 x 1500mm variable Illustrated: Francis Pound, Stories We Tell Ourselves: Paintings of Richard Killeen (David Bateman 1999), p. 97. Illustrated: Art New Zealand 44, Spring 1987, p. 53. Reference: Francis Pound; The Stamps of Beauty and the Shriek of Progress; p. 54. $45,000 - $65,000

Despite his numerous other works, Richard Killeen is best known for his cut out paintings whose very singularity is at once memorable and iconic. These intriguing works, painted on individual customised pieces of aluminium and designed to be hung on the wall to create a larger work, originated in 1978. At the time they seemed revolutionary and daring in their conception even though they have origins in a modernist tradition going back through Matisse to the collage paintings of the Cubists. He began the series with easily recognised forms such as insects, butterflies and leaves cut out in characteristic silhouette and spray painted in one colour per piece. He bonded cut-out shape and image together so that there is a simple correlation between them. By 1986, the year he painted the work under consideration Floating Islands with Strange Birds and People, things have become more complex both in the ways pieces relate to one another and their aluminium supports and in their number and diversity - in this case as many as 81 separate components. It requires the viewer more time to scan and interpret the visual data supplied. Also, the title connects in a more allusive less literal way to the imagery than in some early cut outs like Fish and Sticks, 1978, which generically names the component forms. Not so in this case. The words ‘Floating Islands’ derive from a Maori song quoted and translated by Margaret Orbell in her book The Natural World of the Maori published in 1985. To the initiated, this poetic metaphor places the floating islands in the Hauraki Gulf and gives them a local reference. And if you look hard you will find some recognisable landscape imagery in the work; for example, two cone-like hills appear above wavelike undulations in one piece; in another a stick-like tree stands in front of hills; and there is a diagrammatic depiction of landforms elsewhere. However, everything is fragmentary and painted in an apparently child-like way as signs rather than realistic renderings of the motifs. Because the pieces can be rearranged each time they are hung, provided they touch, the work itself can be seen as in a state of flux and elusive in its identity. There are some strange bird forms that relate to the title, though the hen is an obvious exception. People seem few and far between but signs of their impact on the environment are easily found - there is part of a house, a chopped tree and a smoking chimney. But many of the pieces cannot easily be related to the title and add to the mystery and interest of the painting. Killeen’s title is suggestive rather than literal and so are the pieces and the way they are loosely painted and fragmentary. It is the imagination of the painter that holds these images together and encourages contemplation from his viewers that is equally open-ended and reflective. Floating Islands with Strange Birds and People is a major work from arguably Killeen’s most important series. Michael Dunn

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Gretchen Albrecht Headland: Winter Sunset oil on canvas title inscribed, signed and dated 1973 on artist’s original label affixed verso 1760 x 1200mm $25,000 - $35,000

Although Gretchen Albrecht is correctly seen as an abstract painter her work often has a strong landscape feeling and inspiration to it. This is especially true of paintings like Headland (Winter Sunset) where the title itself helps guide the viewer to such an interpretation. The broad horizontal sweeps of colour suggest the traditional landscape divisions of the picture space into sky, sea and land the meeting of the elements so often to be seen on the west coast beaches near Auckland where the artist went, sketchbook in hand, to take down her impressions in watercolour sketches. Her close friend Linda Gill records: ‘She went to those beaches, to Karekare and Whatipu, often at the end of the day when the colours were most intense and the setting sun made spectacular layerings in the clouds.’ Back at her studio in Titirangi, she developed these impressions into large-scale acrylic paintings. They have a breadth and boldness attainable only by dispensing with descriptive drawing and allowing the colour and tones to convey the artist’s response to nature in purely painterly terms. By painting them on the floor of the studio she gave greater physicality to her working process. Using the then new acrylic paints on unprimed canvas she revelled in the freedom of the liquid medium and the way the sweeps of colour could mingle and merge on the canvas in a seemingly spontaneous way. Of course, this is only partly true because Albrecht controls the format and works with a limited range of colour bands whose interactions she can predict and calculate to a large extent. There is not the same allowance for improvised abstract effects that are found in the influential American painter Helen Frankenthaler whose work exercised a beneficial effect in freeing up Albrecht’s approach and giving a greater scale to her imagery. Her natural intuitive feeling for sumptuous colour is given full reign in this work and others of the series with intense blues, magenta and yellow being used with exuberance rarely if ever seen in New Zealand art. The little glimpses of white canvas peeping through help give sparkle to the effect. There is a parallel with Colin McCahon’s colourful cliff-top views painted at Muriwai in the early 1970s, despite the technical differences. The ‘Winter’ reference in the painting’s title points to an ongoing use of seasonal imagery and symbolism in Albrecht’s mature work. The painting is an excellent example of this popular series and retains the full strength of colour as fresh as when it was first completed. Michael Dunn

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Peter Robinson Boy Am I Scarred Eh oilstick and acrylic on hessian title inscribed 1400 x 1060mm Provenance: Purchased by Jim from Anna Bibby Gallery in 1999 $25,000 -$35,000

In his painting Boy Am I Scarred, Eh! Peter Robinson addresses the theme of cultural identity, or rather the polemics that underlie it. Based on Colin McCahon’s 1976 painting Am I Scared?, McCahon’s quotation adopts the tone of several voices in Robinson’s graffiti-like incarnation. On one level it imitates the voice of the jettisoned youth whose ‘come take-me-on’ attitude issues us with a provocation – well, to react to the painting at the very least. Yet like all tough-talk it also suggests a weakness lurking in-behind the bravado. Robinson chooses his words carefully and uses ‘cry for me’ from McCahon’s original painting, but appends his own work with an extra ‘r’ which transforms McCahon’s ‘scared’ to ‘scarred’. The words surround a giant red spiral which makes its way into the centre of the painting like a hypnotist’s wheel. In 1999 Anna Miles wrote in Art Asia Pacific about Robinson’s use of this enlarged koru motif, likening it to Te Papa Tongawera’s recently launched corporate logo – a giant scroll winding into a central koru and comprised of a multitude of thumbprints. Whilst the thumbprint is traditionally used to mark individuality, the spiral that here prescribes it is more akin to a blood-shot eye and appears frankly fraudulent. While Te Papa’s logo was meant to affirm that our national museum was truly ‘our place’, Robinson, who in other works used the stylised koru motif in conjunction with the swastika and with slogans like ‘one nation one love’, launched his own one-man campaign of opposition asking if these ideals were really being realised here in good-old godzone. If in 1976 McCahon looked around him and was scared, some twenty years later Robinson was scarred, his work suggesting that we might be one, but we are not the same. Pennie Hunt

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et al. Untitled - Two Individuals say they were sent from the Level Above Human and are about to leave the Human Level and Return to the next Evolutionary Level within Months! oil pastel, acrylic and electrical tape on blind title inscribed, signed and dated 29.6.05; signed verso 968 x 1625mm $4,000 - $6,000

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Jacqueline Fraser Tau electrical wire 1000 x 310mm Provenance: Purchased by Jim from Sue Crockford Gallery in December 1993 $10,000 - $15,000

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Patrick Pound

Untitled - Façade digital print 266 x 360mm Provenance: Purchased by Jim from Anna Bibby Gallery in 2005 $400 - $600

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Patrick Pound Untitled – Head and Shoulders digital print 266 x 360mm Provenance: Purchased by Jim from Anna Bibby Gallery in 2005 $400 - $600

Patrick Pound Untitled – Face digital print 266 x 360mm Provenance: Purchased by Jim from Anna Bibby Gallery in 2005 $400 - $600

Patrick Pound Untitled – Two Figures digital print 266 x 360mm Provenance: Purchased by Jim from Anna Bibby Gallery in 2005 $400 - $600

Jae Hoon Lee A Leaf single channel video transferred to DVD, edition of 10 title printed, dated 2003 and inscribed Jae Hoon Lee on DVD Reference: Tessa Laird, ‘Fantastic Planet’, in The Listener, April 16-22 2005, vol. 198. Illustrated: Page 2 of this catalogue. $1,000 - $2,000

Julian Dashper The Anguses The Drivers The Hoteres The Colin McCahons The Woollastons screenprint on five found wristwatches with 30 diameter faces, 1993 228 x 37mm each Exhibited: ‘The Big Bang Theory’, Artspace, 1993 Exhibited: ‘Art Now’, Museum of New Zealand, Wellington, 1994 $3,000 - $5,000

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John Reynolds The tide comes in the tide goes out enamel paint marker and acrylic on canvas title inscribed; title inscribed, signed and dated 2003 verso 1500 x 1200mm $10,000 - $15,000

Delving into the work of John Reynolds is like reading a short account of the world in quotation; not from front to back mind you, this is more like history put on random shuffle. In the past Reynolds’ works have covered topics as diverse as Prometheus to Katherine Mansfield and recently, at the Biennale of Sydney, his installation Cloud cited more than 7000 terms from Harry Orsman’s Oxford Dictionary of New Zealand English. Reynolds wrote out these Kiwi pearlers in silver pen on a multitude of miniature white canvases, creating a kind of cumulus that hung about in the gallery like mystic weather. In this work The tide comes in, the tide goes out the tide itself is given a kind of visual characterisation which hints vaguely at the forms of the waves and the shore. The work is from the same year, and very similar to a series shown at the Sue Crockford Gallery in 2003. In this show words and works came together in a lyrical fashion; the lyrics of P J Harvey, The Velvet Underground and The Animals to be precise. In these works, figuration and abstraction coalesce in the same curious and compelling ways that they do in The tide comes in. A work titled The high moral ground becomes like a piece of concrete poetry, the first three words are placed on top of each other like a stack of bibles and the last word ‘ground’ serves its purpose at the bottom of the page on a soil coloured base. Greg Burke once described Reynolds’ well-known signpost drawings as brimming with ‘literary, liturgical and art-historical allusions, yet exuding a notational quality and thereby a fragility.’ You can’t help feeling that each work is a merely a clue, just one piece of a jigsaw puzzle plucked out of a universe of references; a bevy of allusions that make Reynolds’ art so illusive. Pennie Hunt

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Gretchen Albrecht Mirage acrylic and oil on canvas signed and dated â&#x20AC;&#x2DC;80; title inscribed, signed and dated 1980 on artistâ&#x20AC;&#x2122;s original label affixed verso 1210 x 1730mm $14,000 - $20,000

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Julian Dashper The Grey in Grey Lynn acrylic and masking tape on canvas title inscribed, signed and dated 1.9.89 verso Illustrated: Art New Zealand 56, Spring 1990, p. 51. 1220 x 1220mm $7,000 - $10,000

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John Reynolds History is this No. 8 oilstick and acrylic on canvas title inscribed, signed and dated 2000 and inscribed from Gertrude Stein’s “Messages from History” 1500 x 1000mm $14,000 - $20,000

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Peter Peryer The Meccano Bus silver gelatin print 350 x 540mm Illustrated: Gregory Burke and Peter Weiermair (Eds.), Second Nature: Peter Peryer Photographer (City Gallery, 1995), pp. 118 – 119. $3,000 - $5,000

Ronnie van Hout 4 Days and Nights, After McCahon pegasus photographic print, 6/10, 1994 495 x 720mm $2,500 - $3,500

Felix Gonzalez-Torres Untitled – We Don’t Remember screenprint inscribed wir errinern uns nicht 570 x 720mm Provenance: Acquired by Jim in 1991 from MOMA in Oxford, England $500 - $1,000

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Nan Goldin Clemens at Lunch at Cafe De Sade Lacoste, France cibachrome photo, 302/500 355 x 275mm Provenance: Purchased by Jim from Whitechapel Gallery, London 2002 $2,000 - $3,000

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Graham Fletcher D.P.M 5 (Disruptive Patterned Material) enamel on bark cloth and canvas title inscribed, signed and dated July 2001 verso 1500 x 1200mm $5,000 - $8,000

Gilbert and George Are You Angry or Are You Boring screenprinted poster from Serpentine Gallery Exhibition, 2002 signed 1000 x 695mm $300 - $500

65 Gilbert and George Fuck screenprinted poster from Serpentine Gallery Exhibition, 2002 signed 1000 x 695mm $300 - $500

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et al. Untitled screenprint and LP record 780 x 480mm Provenance: Purchased by Jim from Starkwhite in 2004 $1,000 - $2,000

Lawrence Weiner Far More of One Thing Than Another screenprinted plastic door handle hanging signed and dated â&#x20AC;&#x2DC;98 verso 210 x 82mm $200 - $400

48 The Jim Fraser Collection

Gretchen Albrecht

Little Oval Study No. 2 watercolour and collage on paper title inscribed, signed and dated 1998 verso; signed and dated â&#x20AC;&#x2DC;98 130 x 190mm $800 - $1,400

Val Sutherland Maori Doll papier mache, card, feathers and acrylic 160 x 90 x 45mm Exhibited: Darren Knight Gallery, 2003. $300 - $500

The Jim Fraser Collection 49

John Reynolds Antipodes (Auckland Observatory) oilstick and graphite on board, diptych title inscribed and inscribed Rightly, in any age, it is assumed we are witnessing the disappearance of the last traces of the earthly paradise; title inscribed, signed and dated 2001 verso 295 x 210mm each panel 295 x 420mm overall $1,500 - $2,500

Mary Louise Brown Initial E acrylic on canvas title inscribed, signed and dated 2003 225 x 152mm $700 - $1,000

50 The Jim Fraser Collection

Gordon Walters Kahu screenprint, 48/75 title inscribed, signed and dated â&#x20AC;&#x2DC;77 Illustrated: Michael Dunn, Gordon Walters (Auckland City Art Gallery, 1983), plate 73. 500 x 350mm $5,000 - $7,000

The Jim Fraser Collection 51

Art and Music Occupying dual territories in their reference to popular culture, artists’ records disrupt traditional notions of the artwork, looking as at home on the record rack as they do on the wall. The artist’s record can be considered a response to Marcel Duchamp’s ready-made; an everyday object reclassified as art by virtue of the artist’s say so. Marco Fusinato, along with Sydney-based artist John Nixon, runs ‘Freeway Sound,’ a record label that focuses on experimental music. Live in Firenze is a collaboration between the two, with Fusinato on the guitar and tin cans, and Nixon on the metal scraper. Fusinato takes ‘free noise’ to the extreme in O_Synaesthesia Edition, a set of four LPs that contain no recorded material whatsoever. The ‘O’ in the title refers to an absence of music. To create the series, Fusinato transferred some of his drawings onto acetate. The erratically pressed grooves create a random audio composition as the stylus runs across the surface, disrupting notions of linear playing time. Here, music is not dictated by information stored in the grooves, but rather, the empty grooves themselves create the music. Julian Dashper’s recordings consist not of ‘free noise,’ but of the sounds of gallery go-ers and of jam sessions with friends and fellow artists. Included in Museum collections in New Zealand, Australia, the United States and Europe, Dashper’s immaculate, hard-edged work is often categorized as conceptual, even ‘neo-minimalist.’

Blue Circles #1 - #8 was made in front of Jackson Pollock’s Blue Poles: Number 11 (1952), an icon of the National Gallery of Australia’s collection. Dashper’s homage to Blue Poles negates Pollock’s colourful, expressive eccentricities in favour of a cool, pared back minimalism comprised of eight separate recordings cut onto transparent vinyl records and displayed as paintings pinned to the wall in an orderly sequence. While Pollock’s painting embodies the deeply personal, expressive impulse of the artist, Dashper’s work encourages a restrained, intellectual reaction. Australian artist Danius Kesminas’ response to Pollock is more tongue in cheek. With its cheeky punk aesthetic, Kesminas’ CD ‘Never Mind the Pollocks Here’s the Histrionics’ explores the hype that generates art stars. Rewriting lyrics using the fine art tradition of the readymade, Kesminas and his backing band ‘The Histrionics’ poke fun at Pollock in songs like ‘Drip it,’ turning indie band Devo’s 1980 hit ‘Whip It’ into a mischievous critique of Pollock’s painting technique. Admired for its aesthetic as well as its function, the artist’s record is used as a vehicle for exhibiting ideas about abstract, minimal and conceptual art, (often playfully) occupying a grey area between art and music. Serena Bentley

Marco Fusinato Feedback 1, 2, 3, 4 set of four 7” vinyl records 180 x 180mm each $200 - $300

52 The Jim Fraser Collection

The Jim Fraser Collection 53

Christian Marclay Record without a Cover embossed 12” vinyl record 300mm diameter Provenance: Purchased by Jim from Paula Cooper Gallery, New York in 2000 $200 - $300

Christian Marclay Untitled Two 12” vinyl record felt slipmats, edition of 300 artist’s name and date (2005) printed verso 290 x 290m each 290 x 580mm overall Illustrated: Inside covers of this catalogue $200 - $300

Geoff Kleem Untitled 12” vinyl record, 1/8 signed with artist’s initials G.K and dated ‘94 310 x 310mm $400 - $600

54 The Jim Fraser Collection

Julian Dashper Blue Circles (1-8) eight polycarbonate 12” records with cardboard covers and inserts, 2002 – 2003 300 x 300mm each 300 x 2400mm overall Exhibited: ‘Julian Daspher - Blue Circles’, City Gallery Wellington, March - April, 2003 Exhibited: ‘Midwestern Unlike You and Me: New Zealand’s Julian Dashper’, Sioux City Art Centre, Iowa 2005 (touring) Illustrated: in the catalogue for the above exhibition, pp. 16, 28. $8,000 - $14,000

covers

The Jim Fraser Collection 55

Danius Kesminas Never Mind the Pollocks, Here’s the Histrionics boxed set of ten 7” records, 94/200 title inscribed, signed and dated ‘03 Provenance: Purchased by Jim from Darren Knight Gallery, Sydney 2004 $300 - $500

Marco Fusinato O_Synaesthesia set of four 12” vinyl records each editioned 13 through to 17 315 x 315mm each $300 - $500

Jon Campbell I had a Dream (gloss enamel) together with Highway to Your Heart (gloss enamel) together with Yeah Yeah Yeah three 7” vinyl records 180 x 180mm each

$150 - $250

Marco Fusinato & John Nixon Solver: Live in Firenze 7” vinyl record, 2000 180 x 180mm $100 - $200

56 The Jim Fraser Collection

Danius Kesminas Video Art hand-finished digital print on canvas in gold frame, 2/6 title printed and dated 2003 on original Darren Knight Gallery label affixed verso 545 x 420mm Exhibited: ‘Never Mind the Pollocks – Here’s the Histrionics’, Darren Knight Gallery, Sydney 2004 $1,000 - $2,000

Mutlu Çerkez Whole Lotta Love in Auckland 12” vinyl record, 4/10, 2003 310 x 310mm $1,000 - $2,000

The Jim Fraser Collection 57

John Reynolds Untitled â&#x20AC;&#x201C; 14 oilstick on paper title inscribed, signed and dated 2000 695 x 500mm $1,000 - $2,000

et al. The Ten Useless Things mixed media on paper title inscribed 215 x 250mm Provenance: Purchased by Jim from Starkwhite in 2004 $1,000 - $2,000

58 The Jim Fraser Collection

Denis Oâ&#x20AC;&#x2122;Connor H Aitche or Aitche? Spanish slate and dominoes title inscribed, signed and dated 3/98 and inscribed For Laurence; The Postman of Bosnia Who Stayed at Home verso 500 x 375mm $1,500 - $2,500

verso

Denis Oâ&#x20AC;&#x2122;Connor Aitche or Haitche? (Elocution Lesson) III slate, wood and plastic title inscribed, signed and dated 29th November 1999 verso 280 x 228mm $1,000 - $2,000

verso

The Jim Fraser Collection 59

Samantha Mitchell Under Attack acrylic on found book cover title inscribed, signed and dated 28 April 2005 verso 220 x 145mm $200 - $400

Samantha Mitchell Prince watercolour 135 x 203mm $300 - $500

60 The Jim Fraser Collection

John Reynolds Postscript to a Deeper Science oilstick on hessian on board title inscribed and inscribed VI; signed and dated 1988 verso; inscribed Sold J.F. on original label affixed verso 280 x 280mm $1,000 - $2,000

John Reynolds Conclusion to a Deeper Science oilstick on hessian on board title inscribed, signed and dated 1988 verso and inscribed Jim Fraser on original label affixed verso 280 x 280mm $1,000 - $2,000

The Jim Fraser Collection 61

Julian Dashper The Colin McCahons pencil on paper title inscribed 575 x 575mm Provenance: Purchased by Jim from Hamish McKay Gallery, Wellington in 1998 $1,500 - $3,000

62 The Jim Fraser Collection

Dane Mitchell Untitled ink on filing folder 235 x 400mm Provenance: Purchased by Jim from Starkwhite in 2005 $200 - $400

Nike Savas Untitled (Giotto) acrylic on canvas title inscribed, signed and dated 1999 verso 200 x 253mm Provenance: Purchased by Jim from Roslyn Oxley9 Gallery, 1999 $400 - $600

Martijn Sandberg No Image No Message screenprint, 46/50 410 x 410mm Provenance: Purchased by Jim from the artist in Holland, after being introduced by Jan van der Ploeg $1,000 - $2,000

The Jim Fraser Collection 63

Bill Culbert Jug, Window Pane, France silver gelatin print 405 x 405mm $1,500 - $2,500

64 The Jim Fraser Collection

Patrick Pound Atlas digital print, edition of 5 575 x 765mm Provenance: Purchased by Jim from Anna Bibby Gallery in 2003 $1,500 - $2,500

John Reynolds Antipodes (Cyclarama) oilstick on board, diptych title inscribed and inscribed Devoured by a nostalgia for paradise, without having known a single attack of true faith...; title inscribed, signed and dated 2001 verso 295 x 210 each panel 295 x 420mm overall $1,500 - $2,500

Richard Killeen Untitled acrylic on canvas board signed and dated Jan `74 460 x 327mm $2,000 - $3,000

The Jim Fraser Collection 65

100 Gretchen Albrecht

100

Sundial screenprint, 116/125 title inscribed, signed and dated March 80 925 x 735mm $1,500 - $2,500

101 Michael Morley Downwind II ink and watercolour on paper title inscribed, signed and dated 4.1.91 verso 180 x 280mm $300 - $500

102 Michael Morley Burn Time XIV ink and watercolour on paper title inscribed, signed and dated 10.1.92 verso 183 x 280mm $300 - $500

101

66 The Jim Fraser Collection

102

103 Billy Apple As Good as Gold three 375ml bottles of white wine title printed on Billy Apple designed labels on each 240 x 580 x 580mm each $150 - $250

104 Marie Shannon Untitled three felt handbags 340 x 370mm each 340 x 810mm overall Provenance: Purchased by Jim from Sue Crockford Gallery in 2004 $500 - $1,000

The Jim Fraser Collection 67

105 Billy Apple

105

Apple’s Blend 100 gram pack of Miller’s coffee, 33/100 Michael Lett label affixed verso 85 x 85 x 40mm $80 - $150

106 Denis O’Connor Untitled found wooden plane with ceramic insert 240 x 120 x 60mm $300 - $500

107 Ri Williamson

106

Take Home Pac - Basic aluminium, polystyrene and vinyl title printed on underside 200 x 170 x 120mm $500 - $800

108 Ri Williamson 108

107

68 The Jim Fraser Collection

Take Out aluminium, polystyrene and vinyl printed Take Home Pac to body 120 x 140 x 110mm $400 - $600

109

109 Ruth Watson

110

111

Southern Cross collage and resin on jigsaw pieces, mounted into five sections each section signed and dated ‘91 dimensions variable $500 - $1,000

110 Judy Darragh Untitled – New Zealand acrylic and glitter on found velvet wall hanging 820 x 310mm $300 - $500

111 Judy Darragh Untitled – New Zealand acrylic and glitter on found velvet wall hanging 820 x 310mm $300 - $500

The Jim Fraser Collection 69

112

114

113

112 John Reynolds Messages from History II ink and acrylic on canvas title inscribed, signed and dated 1998 verso 300 x 230mm $800 - $1,400

113 John Reynolds Y2K oilstick on paper title inscribed, signed and dated 1999 and inscribed IV 105 x 80mm $200 - $400

114 Simon Morris A List laser print, 5/5 title, artistâ&#x20AC;&#x2122;s name and date (2002) printed 290 x 204mm $600 - $900 70 The Jim Fraser Collection

115

116

115 Richard Killeen

117

Walk the Dog Workshop Press booklet, 39/50 signed and dated 1997 100 x 152mm $60 - $90

116 Richard Killeen Code of Responsibility Workshop Press booklet, 21/50 signed 160 x 190mm $80 - $140

117 Brook Woolley The New York Review ink on paper title inscribed 410 x 295mm $150 - $250

118

118 Ani Oâ&#x20AC;&#x2122;Neill Octopus wool 115mm diameter Provenance: Purchased by Jim from Sue Crockford Gallery in 2003 $150 - $250

The Jim Fraser Collection 71

119

121

120

119 Richard Killeen Ticket to New York Workshop Press booklet, 45/50 signed on original Workshop Press label 145 x 210mm $60 - $90

120 Richard Killeen Paths of Seniority Workshop Press booklet, 21/50 signed and dated 1997 125 x 205mm $60 - $90

121 Richard Killeen Interiors: Paintings 1968 â&#x20AC;&#x201C; 1969 Workshop Press booklet, 33/100 signed by the artist and by Anna Miles 208 x 146mm $60 - $90

72 The Jim Fraser Collection

122 Len Castle Sedge Vase stoneware applied mark to base 140 x 290 x 90mm $300 - $500

122

123 Len Castle Sea Secret earthenware applied mark to the base 85 x 195mm $300 - $400

123

124 Len Castle Shallow Bowl stoneware applied stamp to base 310mm diameter $400 - $600

125 Len Castle Earth Book earthenware, c. 1998 applied stamp to base 170 x 175 x 95mm

124

$600 - $900

125

The Jim Fraser Collection 73

126 Len Castle

126

Crater Bowl earthenware impressed mark to base 480mm diameter $700 - $1,000

127 Len Castle Sea Secret earthenware applied mark to the base; stamped 86 on base 230mm diameter $300 - $500

128 Martin Popplewell Solstice pottery bowl title inscribed and signed with artistâ&#x20AC;&#x2122;s initials M.P 207mm diameter $150 - $250

127 128

74 The Jim Fraser Collection

129

130

131

129 John Parker White Bowl porcelain applied stamp to base 115 x 195mm $200 - $300

130 Barry Brickell Stoneware Bowl 148 x 85mm $30 - $40

131 Len Castle Turquoise Bowl with Spiral Patternation applied mark to base 190mm diameter $150 - $250

The Jim Fraser Collection 75

132 Mirek Smisek

132

Stoneware Bowl with Impressed Decorations applied mark to base 70 x 192mm $50 - $100

133 Mirek Smisek Yunomi earthenware applied mark to base 95 x 77 x 77mm $40 - $60

134 Fiona Pardington Donna Matrix screenprint on Italian porcelain cup and saucer signed with artistâ&#x20AC;&#x2122;s initials F.P 135 x 135 x 70mm $100 - $200

133

135 Richard Killeen Regeneration porcelain bowl manufactured by Temuka Pottery applied marks to base 80 x 120 x 120mm $30 - $50

134

76 The Jim Fraser Collection

135

Bidding Slip Buyer number

For absentee bidders on lots in Webb’s sale no. 903. november 9th 2006 Catalogue Description

Lot No.

Bid*

Please bid on my behalf at the above sale for the following lots up to prices recorded left. 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 sale 903 (The Jim Fraser Collection), a buyers 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.

* 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. Mr/Mrs/Ms

Initials

Home Ph.

Bus. Ph.

Surname/Company Mobile

Facsimile

Email address

Postal Address:

Street Address:

Contact Name:

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 have to be cleared before purchases can be delivered.

SIGNED The Jim Fraser Collection 77

A guide for buyers Webb’s have set out the following information for the benefit of first time buyers and those who are unfamiliar with auction procedures. Important note: Please refer to full conditions of sale for buyers printed in this catalogue and displayed in the saleroom. Registration: All intending buyers must complete a bidding form available from the reception desk Buying at Auction 1. Floor Bidders Ensure that you have registered and obtained a buyer number before bidding on the lot or lots you have chosen. Be aware that a buyer’s premium of 12.5%+GST on the premium, a total of 14.06%, is payable by all buyers in addition to the hammer price. At some sales the amount of the buyers’ premium may be more or less than 12.5%. Please make sure that you are aware of the amount of the buyer’s 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 Consent Where your bid is the highest, but still below the reserve, the Auctioneer may declare you to be the “buyer subject to Vendor’s consent”. This means that your bid is held as binding and will be communicated to the Vendor at the earliest opportunity. If the vendor accepts then there is a contractual obligation for you to pay for the lot. If the vendor does not accept, you are released from any obligation, however you will have first right to negotiate with the vendor through Webb’s until an agreement is reached, and Webb’s will not present other offers to the vendor until your negotiations are ended. 3. Absentee Bids Webb’s will endeavour to ensure that your bidding instructions are executed, but accept no responsibility or liability for failure to do so. Lots will be bought as favourably as is allowed by bidding in the sale room and any reserve imposed by the vendor. Please note that Webb’s cannot guarantee that another bidder will not be successful at your limit if, in the course of competitive bidding, someone else bids your limit first. Absentee bids are accepted by written instruction which can be sent by fax (e-mailed absentee bids are not accepted) up to 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 78 The Jim Fraser Collection

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 Bids The same conditions as above apply to telephone bidders. Webb’s will telephone the number you have given several minutes before the lot you have request comes up for sale. If your phone is engaged or we are unable to make contact the auction will proceed without your bidding. Our staff will ask you to hold when we have made contact. They will then tell you that your lot is about to come up. The bids will be relayed to you and you can enter the bidding at any time by making your call. Please note: that the bidding at many auctions can be fast and furious. The auctioneer will not favour a phone bidder over and above buyers who are attending the auction by giving them more time to bid. You will need to establish your limit and make sure that you bid clearly and promptly. Telephone bids are only accepted for catalogued sales and on items with estimates over $500. Pre-Sale Estimates Estimates printed in the catalogue or given verbally are intended as a guide only and can be subject to revision nearer to the time of a sale. Webb’s staff are available during pre-sale viewing times and by appointment to assist prospective bidders with estimates and any aspect of the auction procedure. Condition Reports Webb’s staff will provide condition reports for out of Auckland buyers. However, please note that no 6 in the Conditions of Sale for Buyers will still apply despite the obtaining of a condition report. Payment Payment for all items purchased is due on the day of sale immediately following completion of the sale. If full payment cannot be made on the day of sale a deposit of 10% of the 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 Freight Webb’s do not pack goods in house. However, we will arrange for your items to be packed, insured and shipped by a professional agent. All costs associated with packing and freight are payable by the purchaser.

CONDITIONS of sale for buyers 1. Bidding. The highest bidder shall be the purchaser, subject to the auctioneer having the right to refuse the bid of any person. Should any dispute arise as to the bidding the lot in dispute will be immediately put up for sale again at the preceding bid, or the auctioneer may declare the purchaser, which declaration shall be conclusive. No person shall advance less at a bid than the sum nominated by the auctioneer and no bid may be retracted. 2. Reserves. All lots are sold subject to the right of the seller or his agent to impose a reserve. 3. Registration. Purchasers shall complete a bidding card before the sale giving their own correct name, address and telephone number. It is accepted by bidders that the supply of false information on a bidding card shall be interpreted as deliberate fraud. 4. Buyers’ Premium. The purchaser accepts that in addition to the purchase price Webb’s will apply a buyer’s premium of 12.5% of the hammer price (unless otherwise stated) together with GST on such premium. 5. Payment. Payment for all items purchased is due on the day of sale immediately following completion of the sale. If full payment cannot be made on the day of sale a deposit of 10% of the total sum due must be made on the day of sale and the balance must be paid within 5 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. 6. Lots sold as Viewed. All lots are sold as viewed and with all errors to description, faults and imperfections whether visible or not. Neither Webb’s nor its vendor are responsible for errors of description or for the genuineness or authenticity of any lot or for any fault or defect in it and make no warranty whatever. Buyers proceed upon their own judgement. Buyers shall be deemed to have inspected the lots, or to have made enquiries to their complete satisfaction, prior to sale and by the act of bidding shall be deemed to be satisfied with the lots in all respects. 7. Webb’s Act as Agents. They have full discretion to conduct all aspects of the sale and to withdraw any lot from the sale without giving any reason. 8. Collection. Purchases are to be taken away at the buyer’s expense immediately after the sale except where a cheque remains uncleared. If this is not done Webb’s will not be responsible if the lot is lost, stolen, damaged or destroyed. Any items not collected within seven days of the auction may be subject to a storage and insurance fee. A receipted invoice must be produced prior to delivery of any lot. 9. Licences. Buyers who purchase an item which falls within the provisions of the Antiquities Act 1975 or the Arms Act 1958 cannot take possession of that item until they have shown to Webb’s a license under the appropriate Act. 10. Failure to make Payment. If a purchaser fails either to pay for or take away any lot Webb’s shall without further notice to the purchaser, at its absolute discretion and without prejudice to any other rights or remedies it may have, be entitled to exercise one or more of the following rights or remedies:

a. To issue proceedings against purchaser for damages for breach of contract. b. To rescind the sale of that or any other lot sold to the purchaser at the same or any other auction. c. To resell the lot by public or private sale. Any deficiency resulting from such resale, after giving credit to the purchaser for any part payment, together with all costs incurred in connection with the lot shall be paid to Webb’s by the purchaser. Any surplus over the proceeds of sale shall belong to the seller and in this condition the expression “proceeds of sale” shall have the same meaning in relation to a sale by private treaty as it has in relation to a sale by auction. d. To store the lot whether at Webb’s own premises or elsewhere at the sole expense of the purchaser and to release the lot only after the purchase price has been paid in full plus the accrued cost of removal, storage, and all other costs connected to the lot. e. To charge interest on the purchase price at a rate 2% above Webb’s bankers’ then current rate for commercial overdraft facilities, should the price or any part of it remain unpaid for more than seven days from the date of the sale. f. To retain possession of that or any lot purchased by the purchaser at that or any other auction and to release the same only after payment of money due. g. To apply the proceeds of sale of any lot then or subsequently due to the purchaser towards settlement of money due to Webb’s or it’s vendor. Webb’s shall be entitled to a possessory lien on any property of the purchaser for any purpose while any money remains unpaid under this contract. h. To apply any payment made by the purchaser to Webb’s towards any money owing to Webb’s in respect of any thing whatsoever irrespective of any directive given in respect of, or restriction placed upon, such payment by the purchaser whether expressed or implied. i. Title and right of disposal of the goods shall not pass to the purchaser until payment has been made in full by cleared funds. Where any lot purchased in held by Webb’s pending i. clearance of funds by the purchaser or ii. completion of payment after receipt of a deposit, the lot will be held by Webb’s as bailee for the vendor, risk and title passing to the purchaser immediately upon notification of clearance of funds or upon completion of purchase. In the event that a lot is lost, stolen damaged or destroyed before title is transferred to the purchaser, the purchaser shall be entitled to a refund of all monies paid to Webb’s in respect of that lot, but shall not be entitled to any compensation for any consequent losses howsoever arising. 11. Bidders deemed Principals. All bidders shall be held personally and solely liable for all obligations arising from any bid, including both “telephone” and “absentee bids”. Any person wishing to bid as agent for a third party must obtain written authority to do so from Webb’s prior to bidding. 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. The Jim Fraser Collection 79

Index of ArtistS Albrecht, Gretchen Apple, Billy

40, 45, 56, 78, 100 10, 103, 105

Bizumic, Mladen Brickell, Barry Brown, Mary Louise Budd, L.

29, 30 130 71 9

Campbell, Jon Castle, Len Çerkez, Mutlu Culbert, Bill

80 122, 123, 124, 125, 126, 127, 131 83 26, 95

Darragh, Judy Dashper, Julian de Lautour, Tony

110, 111 16, 17, 19, 20, 32, 41, 54, 57, 77, 92 34

et, al

47, 66, 85

Fletcher, Graham Fraser, Jacqueline Fusinato, Marco

23, 63 3, 35, 36, 37, 38, 48 73, 79

Gilbert and George, 64, 65 Goldin, Nan 62, 81 Gonzalez-Torres, Felix 61 Hoon Lee, Jae

Kesminas, Danius Killeen, Richard Kleem, Geoff

78, 82 15, 44, 99, 115, 116, 119, 120, 121, 135 76

Marclay, Christian Mitchell, Samantha

74, 75 88, 89

80 The Jim Fraser Collection

Mitchell, Dane Morley, Michael Morris, Simon

93 101, 102 114

Nixon, John

O’Connor, Denis O’Neill, Ani

86, 87, 106 33, 118

Parekowhai, Michael Parker, John Partington, Fiona Peryer, Peter Pick, Seraphine Popplewell, Martin Pound, Patrick

18 129 134 13, 27, 28, 59 6, 7, 8 128 12, 49, 50, 51, 52, 96

Reynolds, John 1, 11, 21, 22, 43, 55, 58, 70, 84, 90, 91, 98, 112, 113 Robinson, Peter 24, 39, 42, 46 Sandberg, Martijn Savas, Nike Shannon, Marie Smisek, Mirek Sutherland, Val

95 94 4, 25, 104 132, 133 69

van der Ploeg, Jan van Hout, Ronnie

2 31, 60

Walters, Gordon Watson, Ruth Weiner, Lawrence Williamson, Ri Woolley, Brook

5, 14, 72 109 67 107, 108 117

The Jim Fraser Collection 81

82 The Jim Fraser Collection