Webb's Photography June 2008 Catalogue by Webb's Auction House

CONTEMPORARY/ MODERN & HISTORICAL PHOTOGRAPHY_

DAY 1

WEDNESDAY 23 JULY 2008, 6.30PM Lots 1 – 125: Contemporary/Modern Photography

DAY 2

THURSDAY 24 JULY 2008, 6.30PM Lots 126 – 224: Historical Photography & Utu Film Stills PREVIEW: WEDNESDAY 16 JULY

6.00PM

– 8.00PM

VIEWING: THURSDAY FRIDAY SATURDAY SUNDAY MONDAY TUESDAY WEDNESDAY

9.00AM 9.00AM 11.00AM 11.00AM 9.00AM 9.00AM 9.00AM

– – – – – – –

17 JULY 18 JULY 19 JULY 20 JULY 21 JULY 22 JULY 23 JULY

VIEWING (LOTS 126 – 224): THURSDAY 24 JULY 9.00AM

5.30PM 5.30PM 3.00PM 3.00PM 5.30PM 5.30PM NOON

IMPORTANT NOTE: BUYER’S PREMIUM A buyer’s premium of 12.5% will be charged on all lots in this catalogue. GST of 12.5% is payable on the buyer’s premium only. CONDITION, AGE OF PHOTOGRAPHS AND DESCRIPTIONS OF PRINT TYPES The condition of items is not detailed in this catalogue. Buyers must satisfy themselves as to the condition of lots on which they bid and should refer to clause 6 in the Conditions of Sale for buyers printed at the rear of this catalogue. Webb’s is pleased to provide intending buyers with condition reports on any lots. In most cases, unless noted, the prints in this catalogue are vintage or printed within a few years of the creation of the negative or digital ﬁle. Webb’s however, provides no guarantee to this effect and buyers must satisfy themselves as to the age of the prints. Webb’s staff members are pleased to provide intending buyers with their opinions and provenance information, if available. The information contained in this publication as to the photographic medium is the opinion of Webb’s experts. Due to the inherent difﬁculty in distinguishing some photographic processes, Webb’s is unable to guarantee their accuracy and intending buyers must satisfy themselves as to the exact nature of the print medium. ILLUSTRATED Cover: Lot 27 YVONNE TODD Crisis #6; Inside front cover: Lot 152 GEORGE PULMAN (1826 - 1871) Te Koata; Inside back cover: Lot 146 GEORGE PULMAN Tatooed Man with White Feather.

– NOON

IN FOCUS

PHOTOGRAPHY_ INFOCUS Webb’s annual photography sale, technically our 30th anniversary standalone photography sale, comprises four quite different areas of collecting: Contemporary New Zealand; a fine selection of historical works; the complete set of film stills from Utu; and a selection of foreign images. Rare to the New Zealand market is a work by Edward Weston from the Oceano series (lot 50), as well as a superb collection of international works by the likes of Lucien Clergue, Herb Ritts, Helmut Newton, Josef Vetrovsky, Guy Bourdin and Mark Seliger. The beauty of the female form is celebrated in several works from the 1930s through to modern celebrity portraiture. Portraits by New Zealand photographers depicting local figures include documentary images by Glenn Jowitt, Les Cleveland and Marti Friedlander, whose image of Tony Fomison (lot 26) is a bitter-sweet aide-mémoir. Richard Collins’ startlingly domestic image of Colin McCahon standing on the corner of Newton Road (lot 98), reminds us of the artist as the man, and Gil Hanly’s capturing of the enigmatic Dame Whina Cooper (lot 99) and the late Roy Dalgarno (lot 107) are typical examples of her focus on people and politics. The unique, large-scale cibachrome Incubus (lot 29) is by Boyd Webb, an international expatriate artist, whose interests in growth and decay, life and death, are well represented in this

image. Originally trained as a sculptor, his fantastical creations merge fantasy, surrealism and reality. In light of recent debate around genetic engineering, these images are as relevant today as they were when first conceived in the late 1980s. The sale includes a wealth of vintage prints by Peter Peryer including Sand Shark (lot 39), St Bathans (lot 38) and Edward Bullmore’s Launch (lot 13). Peryer stumbled upon this vessel, The Honeypot, on the banks of a Rotorua lake and this is believed to be the first print in the edition. Laurence Aberhart’s View (lot 20) is a collection of ten classic images collated into a portfolio of which three of the ten editions are held in public collections. Purchased directly from the artist in its year of production, this is the first example to have been offered on the auction market as a complete portfolio. Yvonne Todd’s work is represented by two images, the early Crisis #6 (lot 27) from 1999 and the eerie self-portrait as Martha or Self Portrait as an Anorectic (sic) (lot 24) (illustrated right). At first glance, both appear to be sympathetic depictions of traditionally beautiful subjects, roses and women. Further viewing reveals an altogether different sort of sentiment. Fiona Pardington has always used the people closest to her as her subjects: her partner, her children or herself. A combination of convenience and

closeness allows her to explore the intimacy each relationship entails. The early fetishised images of men such as Footman (lot 84) and Heavy Penance (lot 32) are overtly sexualised. She plays with stereotypical gender politics. The more recent Hei Tiki (lot 4) is an inanimate object imbued with spirit and personality, and the image of Akura’s Lips (lot 92) portrays her nowgrown daughter as a powerful sexual female image of the next generation. On Day 2, 24 July, a fine collection of early New Zealand images from a private collection will be offered. The collection consists of early scenes of cities including Auckland, remarkable studio portraits of Maori, documentary images of people and places, and special-interest subjects that make this the most pristine and complete collection of historical photographs offered to the market since the Marshall Seifert collection, offered by Webb’s in 2005. Also going under the hammer is a unique collection of 34 film stills from the 1983 film Utu, directed by Geoff Murphy and photographed by Victoria Ginn. The film follows Te Wheke a warrior scout, who upon discovering the military blunder that wiped out his village, seeks utu, or revenge. With a growing band of rebels, he engages in guerilla warfare against the white man, who retaliates with equal savagery. You can read more about both collections on page 8 of this catalogue. EMMA FOX

LOT 24 YVONNE TODD Martha or Self Portrait as an Anorectic (sic) • LED print from an edition of three • 220mm x 170mm • $4,500 – $6,500

IN FOCUS

Works from the

GIOVANNI INTRA ESTATE_

NOV 3

GIOVANNI INTRA With Care • gelatin silver print • 340mm x 300mm • $300 – $500

CONTEMPORARY ART_ Further entries now invited

OCT 21 Contact: Emma Fox +649 529 5601 efox@webbs.co.nz Jonathan Organ +64 21 503 251 jorgan@webbs.co.nz

IN FOCUS

{Suite} 19 th – 21st Century Fine Art 69 Owen Street Newtown, Wellington Thursday–Friday 11am–5pm Saturday 11am–4pm www.suite.co.nz Desiree Dolron Cerca Animas 2002-3 Fuji Crystal Archive print

Callum Arnold Bishop & Bagnall Mike Davison Desiree Dolron Arie Hellendoorn Frits Klein Fiona Pardington

Neil Pardington Richard Reddaway Elspeth Shannon Anoek Steketee E Mervyn Taylor Terence Taylor Ans Westra

IMPORTANT WORKS OF ART_ Further entries now invited

SEPT 22 Contact: Emma Fox +649 529 5601 efox@webbs.co.nz Jonathan Organ +64 21 503 251 jorgan@webbs.co.nz

PETER ROBINSON Big Bang White Heat IV • acrylic on linen • 1600mm x 1600mm • $20,000 – $30,000

IN FOCUS

HISTORICAL PHOTOGRAPHY & UTU FILM STILLS_ A COLLECTION OF IMPORTANT HISTORICAL PHOTOGRAPHS This important collection of historical New Zealand images, comprising 89 lots, was assembled over a period of approximately ten years by an Australian collector. As he had family connections going back to the East India Company, he was fascinated by the imagery that had come out of Australasia, the Orient, colonial India and China. This impulse led his becoming a highly knowledgeable collector of oriental antiques, and spurred an interest in the exotic from his unique colonial standpoint.

He has, over the past decade, collected early photographs from Australasia and the Paciﬁc, seeking out the ﬁnest and rarest images, revealing portraits and scenes that can add depth and detail to the histories of these places and people. He found New Zealand imagery compelling because of the connections to be made with his Tasmanian colonial background.

UTU FILM STILLS COLLECTION Victoria Ginn is a photographer and author. Ginn’s photographs have been exhibited at the Museum for the Performing Arts, New York, and

are represented in the permanent collections of the Centre Pompidou, Paris, Te Papa Tongarewa, Wellington, Dunedin Art Gallery, Dunedin and the Dowse Art Museum, Lower Hutt. As the Chief ﬁlm stills photographer for Utu, Victoria Ginn presents 34 unique vintage prints from the ﬁlm Utu. Directed by Geoff Murphy in 1983, it stars Anzac Wallace, the late Bruno Lawrence and Wi Kuki Kaa. Utu captures a turbulent period in New Zealand’s history, circa 1870, during the New Zealand Wars. EMMA FOX

BURTON BROS. ALFRED BURTON (1843 – 1914) WALTER BURTON (1836 – 1880) Maori Hongi or Salutation (detail) • gelatin silver print • title inscribed and numbered 2543 • 310mm x 425mm • $2,000 – $3,000 ERNEST DE TOURETT Auckland, Queen Street • gelatin silver print • title inscribed and numbered 1070 • 310mm x 410mm • $2,000 – $3,000

HENRY WINKELMANN Maori Canoe, Lake Rotorua (detail) • gelatin silver print • title inscribed • 300mm x 380mm • $1,800 – $2,500

VICTORIA GINN Te Wheke Wearing the Feather Cloak (detail) • c-10 print • signed and dated 1983 and inscribed Utu photographer’s print • 240mm x 240mm • $400 – $600

PETER PERYER EXHIBITION & BOOK LAUNCH_ OPENING FUNCTION 30 SEPTEMBER 2008, 6 – 8PM

SEPT 30 – OCT 5 Contact: Emma Fox + 649 529 5601 efox@webbs.co.nz

In conjunction with the launch of Peter Peryer’s book, written by Peter Simpson and published by the Auckland University Press 2008, Webb’s is holding an exhibition of new and vintage photographs.

PETER PERYER Whitebait 2007 • gelatin silver print • 300mm x 300mm

IN FOCUS

ART WORLD

ISSUE 4 AUGUST / SEPTEMBER 2008 AUSTRALIA $19.90 NEW ZEALAND $19.90

A NEW ART MAGAZINE FOR AUSTRALIA & NEW ZEALAND

Melbourne Art Fair 2008 David Griggs + Peter Hennessey + Shane Cotton + Jake and Dinos Chapman + Tony Schwensen Ricky Swallow + Billy Apple + Brook Andrew + Neo Rauch + Janet Laurence + Cy Twombly

LECTURE SERIES_ MONDAY 21 JULY, 6.00PM FOR 6.30PM

JUL 21 Contact: Emma Fox +649 529 5601 efox@webbs.co.nz Jessica Pearless +649 529 5609 jpearless@webbs.co.nz

RESPONSES TO A DISCUSSION PAPER (REFER TO PAGES 12 – 13) ON THE EDITIONING AND COLLECTING OF PHOTOGRAPHS. PAUL MCNAMARA JOHN B TURNER FIONA AMUNDSEN CLAIRE BRUELL Chaired By Emma Fox Every photography sale, we get questions and comments around issues that are specific to collecting photography. In response we asked Paul McNamara to write a paper on these issues. It was a subject he had already been researching and we are pleased to have the final result in its entirety on pages 12 and 13 of this catalogue. As a current topic of discussion, Photoforum-nz.co.nz is fielding comments and opinions around the question of limiting editions, with compelling arguments on both sides. The difference between digital and negative is particularly interesting, as each hand-printed work will be different, in a million imperceptible ways, to any other. Digital printing, on the other hand, is often carried out by someone other than the photographer, so editioning becomes rather more important. For our more senior practitioners such as Peter Peryer and Laurence Aberhart, images were hand printed, so numbering them seemed a moot point. While for Marti Friedlander, her encyclopedic memory ensures every instance of the taking and the making of a photograph is indelibly etched into her memory, and is now entrusted to the archives at the Auckland Art Gallery for posterity. Younger photographers are vigilantly sticking to edition numbers and artist’s proofs so the integrity of an edition is maintained. The international model around editions has a rising scale; as each work in the edition is sold, the price increases with the artist’s proofs being retained or reaching twice the original price within the primary market. With higher prices being achieved for photography in this country and around the world, some surety around these issues is timely. Read the paper, attend the viewing and come and take part in a discussion on Monday 21 July at Webb’s.

DR PAUL LAWRENCE MCNAMARA After 25 years of medical practice in Wanganui, and collecting art for 30 years, Paul has, for the last six and a half years, owned and operated McNamara Gallery, specialising in the medium of photography. He works with many photographers, conducts original research and produces small publications. Association of International Photography Art Dealers [AIPAD] member.

JOHN B TURNER John B Turner (b.1943) is a Senior Lecturer in Photography at the Elam School of Fine Arts, at The University of Auckland, where he has taught since 1971. He has conducted numerous workshops throughout New Zealand, and curated landmark exhibitions including Nineteenth Century New Zealand Photography (1970) and Baigent, Collins, Fields: Three New Zealand Photographers (1973). He was the founding editor of PhotoForum magazine, and co-author with William Main of New Zealand Photography from the 1840s to the Present (1993). He edited PhotoForum’s award-winning photography book, Ink & Silver (1995), and his book Eric Lee-Johnson: Artist with a Camera was published in 1999. He has written several articles on aspects of collecting photographs, including a major feature for PhotoForum No 48, June 1981.

FIONA AMUNDSEN Fiona Amundsen currently lectures in art theory/history and photography at AUT University. Her academic background is within social anthropology and she has recently finished a master’s thesis addressing the relationships between key theorists – Roland Barthes, Geoffrey Batchen, Jean Baudrillard, Pierre Bourdieu, Susan Sontag – and their writings on photography. Amundsen’s involvement with the social sciences is disseminated into her fine arts practice using photography. She has been exhibiting in artist-run spaces, dealer galleries and public institutions over the past nine years; during this time, her contributions have included group, collaborative and solo exhibitions. For a more detailed analysis of her work, please see: http://www.fionaamundsen.com

CLAIRE BRUELL Claire Bruell is based in Auckland. She bought a photograph or two some years ago and inadvertently became a collector. She is interested in both historical and contemporary works that speak to her.

IN FOCUS

AN INTRODUCTION TO THE EDITIONING OF PHOTOGRAPHS_ PAUL MCNAMARA ASSOCIATION OF INTERNATIONAL PHOTOGRAPHY ART DEALERS MEMBER MCNAMARA GALLERY PHOTOGRAPHY Advice is given to medical students to preface medical evidence presented in court with ‘in my opinion’. The ideas expressed here are an opinion, and this should be seen as a discussion paper. However, one can be categoric about some points: 1. The multiple nature of photography should be celebrated, despite market pressure to limit editions. 2. Each photographic print should be uniquely identifiable, either by numbering or editioning of prints. Absolute clarity is required. Editions can be closed [indicated by a fraction] where the number of prints to be produced is nominated at the outset, or open, consisting of sequentially numbered prints. 3. Artistic freedom should be nurtured. 4. The provenance of photographic prints is particularly important. 5. The photography market in New Zealand is in a developmental phase, and we have a small collector population. Historically, the monetary value of an artwork was determined by rarity as well as aesthetics, which raises interesting tensions with photography’s innate capacity for endless reproduction. Some see editioning as contrary to the nature of the medium, and purely a marketing phenomenon. In the USA, before the period: 1960s – 1980s, editioning was unnecessary because no one was buying photographs in large quantities, and photographers printed on demand. Frequently actual print numbers from the era are unknown, but it is rare to find more than five copies of any one image. This is also the likely

number in New Zealand. When working with material from the 1960s – 1980s, I endeavour to ascertain the actual number of prints made from each negative.

how widely they wish a particular image to be in circulation, prior to releasing their next work. They thereby maintain a creative momentum and dialogue with their audience.

New York dealer Lucy MitchellInnes, who ran the contemporary art department at Sotheby’s in the 1980s, has recently observed that the multiple nature of photographic prints no longer bothers collectors. “People now want to own pictures that other people own,” she says. “That’s a major shift….” However, this is not just a contemporary observation. Ansel Adams’ Moonrise over Hernandez is notable as a work that held the highest price paid for a photographic print in the 1970s for a very long time. The fact that there were hundreds of examples of it in existence didn’t seem to have deterred the price from being set at the time.

A hand-printed analogue photograph, crafted one print at a time, may be better characterised as a ‘multiple original’. Each print, when viewed alongside others from the same negative, is recognisable though subtly unique in most cases. However, it can take a very experienced eye to assess the technical ‘quality’ [and ‘value’] of a particular print. This notion, of the ‘multiple original’, is reinforced by identifying each print accurately.

“Photography has become the ‘hot’ medium of the visual arts in the past decade. Prices have escalated and buyers seem unfussed that photographs might be one of many editions. The Age art critic Robert Nelson said the fact that there might be multiple copies of a photograph was no different to multiple editions of Rodin’s sculptures or Rembrandt’s prints. Describing [Jeff] Wall as a ‘very significant artist’, Nelson said photography was finally being recognised for doing what no other medium could do” [Raymond Gill The [Melbourne] Age 16.12.06]. With the move to digitally produced images, the growth in the market, and the potential for endless identicals, the desire for artificial limitation [ie editions] has intensified. “As much contemporary work is now printed mechanically from digital files, it has been said that in a crude way the act of editioning is the residual mark of the artist [Sally Breen, Photofile #77, 2006]. My policy has always been to leave the issue of editioning to the artist, as part of their expressivity – for how long and

As anyone who has spent time in the darkroom will know, the ‘infinite reproducibility’ of analog photographs is something of a fiction; the medium is self-limiting because of the effort and time required to produce a fine photographic print. The number of prints made from a negative is generally limited by demand for a particular image. If there is a high level of demand for an image at the beginning – in other words, it is popular – then print numbers will be higher than for another image. In the case of open editions, the collecting public does not know when the artist will actually stop making more prints of a particular image. With analog cameras, film and paper presently becoming something of an endangered species, print supply can stop abruptly. However, with closed editions, one will know in advance just how many prints are available. Popular images from an open edition [that eventually closes] will, of course, remain in demand in the secondary market and thereby attain a degree of rarity. Conversely, a less popular image from a closed edition may always remain available and be less rare. In other words, the ‘value’ of a specific image is not necessarily related to the quantity of prints made.

DISCUSSION PAPER If the artist does choose to limit the edition, which has became common practice since the 1980s, the negative is retired [but rarely destroyed] once the nominated edition has been printed; however, the whole edition is often not printed all at one time. Some photographers like to print the edition in stages so that they can interpret the negative differently, use different papers, or take advantage of newer technologies. Also, if demand is slow, the whole edition may never be fully realised. Conversely, with a popular image, when the finite [limited] edition sells out, interest can be deflected toward other images by the artist. Limited supply can, therefore, drive interest toward an artist’s entire body of work. My recommendation on editions is to have one sequentially numbered [as produced] edition of prints for each image which may be of the same or different dimensions [dimensions variable]. Since photographs can be printed in different sizes, there is potential for confusion if a photographer prints an edition in one size but later considers that a differently sized print can be produced in an additional edition. My recommendation is that there can be only one edition regardless of size. This is now becoming a more accepted practice. It is clearer to collectors and the artist remains free to vary the image size as the edition sells. Also, it is my practice to price work with little or no differential according to size. I favour a single [image] price with any required differential based on scale to be in accord with production costs. Large works can be more difficult to frame [from a conservation perspective] and more difficult to accommodate in domestic environs. The scale of image selected by the artist should be based only on aesthetic considerations.

My recommendation on titling and dating photographs is: title; image/negative year; print year; edition number*; signature *eg 3/15, if work is editioned, or print number [if it is an open edition of sequentially numbered prints]. I like to see two dates on all prints, unless the prints were all made in the same year as was the negative. Some artists refine this by writing “first printing” on a work. This is informative when there is an interval between the date of negative production and the date when the first print was made. One could make a case for a limited edition when photographs are: •

digitally produced

•

large and expensive to produce

•

presented as albums or portfolios

•

printed by a master printer, under the artist’s direction.

When actual prints are large, editions tend to be correspondingly small. Currently ‘recommended’ edition sizes are becoming smaller [internationally], and the range is: [‘artists’ using photography: 3 - ] 5 –10 [ - 25 ‘traditional’ photographers]. Large editions in this small country of ours seem naively optimistic in many cases. Once a photographic print is ﬁnally determined, the prints cease to be artist’s proofs in the correct sense of the word in that they are likely to be identical to the editioned prints. It is now preferable for the artist to make an edition and to retain artist’s copies from the edition [eg one artist’s copy* and one artist estate copy]. In other words, the edition includes any designated artist’s copies, the stated edition is ﬁnite and purchasers know just how many prints are produced and how many are for sale.

*Artists occasionally reserve one [or more] works in an edition for public institutions. It has been said that it is important for public collections to be developed with a longer view and curators don’t want to feel pushed to buy a work at its inception. They might consider buying a work long after it has been made as they believe this is the appropriate time to collect it. A vintage print is one made ‘close to the aesthetic moment’, and is thus an object made not only by the artist [or under their supervision] but produced, contemporaneously with the taking of the image – say within five years. Vintage photographs can be indicated with either a single date, or two dates: the second date being no greater than five years after the first. However, improved clarity is provided by the notation of negative year/print year outlined above. A vintage print tends to fetch a higher price because it best reflects the intentions and thinking of the artist at the time the negative was made, as well as the aesthetic of that period generally. More recent prints from an older negative are referred to as modern prints. A photograph may be printed differently at various stages of an artist’s career due to a change in the artist’s interpretation of the negative, a refinement in printing style, changes in available materials and improved technology. Also, another printer may be able to produce a better result than the photographer themselves can [I always acknowledge both the photographer and printer in such cases]. Therefore it follows that a vintage print is not implicitly superior.

IN FOCUS

CONTEMPORARY/ MODERN PHOTOGRAPHY DAY 1

WEDNESDAY 23 JULY 2008, 6.30PM Lots 1-125: Contemporary/Modern Photography PREVIEW: WEDNESDAY 16 JULY

6PM

– 8PM

VIEWING: THURSDAY FRIDAY SATURDAY SUNDAY MONDAY TUESDAY WEDNESDAY

9AM 9AM 11AM 11AM 9AM 9AM 9AM

– – – – – – –

17 JULY 18 JULY 19 JULY 20 JULY 21 JULY 22 JULY 23 JULY

5.30PM 5.30PM 3PM 3PM 5.30PM 5.30PM NOON

IMPORTANT NOTE: BUYER’S PREMIUM A buyer’s premium of 12.5% will be charged on all lots in this catalogue. GST of 12.5% is payable on the buyer’s premium only. ILLUSTRATED Lot 29, BOYD WEBB Incubus 1989

C O N T E M P O R A RY / M O D E R N + H I S T O R I C A L P H O T O G R A P H Y

THEO SCHOON Carved Gourds gelatin silver print 160mm x 195mm

$1,000 - $2,000 Theo Schoon’s interest in Maori and Javanese cultures is now relatively well documented. His experience of culture and life was inextricable from his art. Schoon photographed, drew and elaborated on its ebbs, flows and fluctuations through his studies of the patterns of nature. Gourds, which he grew himself from the mid 1950s, featured strongly, as well as geo-thermal activity which he fastidiously documented in Rotorua during the 1960s. His engagement with these phenomena was recognition of the ultimate beauty, transience and wonder of nature. Its absurdities prevail despite attempts to censor and homogenise it. His concern was not necessarily ecological but more an obsessive engagement with subject matter that he found compelling. This suite of three images Portraits with Gourds, (lot 106) exemplifies this. The artist as proud gardener, father and observer of nature’s capacity to produce infinitely fascinating, almost obscenely sensual, forms of beauty. IMOGEN KERR

PETER PERYER Erika Sunbathing at the Bach, Dec ‘75 or The Bracelet gelatin silver print title inscribed and inscribed Merry Christmas from Peter and Erika 1975 verso 230mm x 230mm

$2,500 - $3,500

ANN SHELTON Untitled (Sushi Barfly Series) five cibachrome prints 275mm x 195mm each Provenance: originally commissioned for Sushi Barfly

$1,000 - $2,000

C O N T E M P O R A RY / M O D E R N + H I S T O R I C A L P H O T O G R A P H Y

FIONA PARDINGTON Hei Tiki gelatin silver print signed and dated 2002 verso 550mm x 420mm

$4,000 - $6,000

ROSS T. SMITH Your Mouth is Stained with Sun fuji colour photographic print 1/10 title inscribed, signed and dated 2000 on original artistâ&#x20AC;&#x2122;s label afďŹ xed verso 1150mm x 1430mm

$2,000 - $2,500

KATE WOODS Iceberg at Clearwater colour photograph 285mm x 370mm

RICHARD MALOY White Rose #1 digital print title inscribed, signed and dated 2000 verso 755mm x 1005mm

$500 - $700 $2,500 - $3,500

C O N T E M P O R A RY / M O D E R N + H I S T O R I C A L P H O T O G R A P H Y

SHIGURO TAKATO Auckland Bowling Club, 2001 colour photograph 360mm x 465mm

$1,000 - $1,500

Shiguro Takato’s photographic practice aligns with the sort of nondeclamatory practice made well-known by photographers such as Andreas Gursky, Thomas Struth and Candida Hoffer (German) The question of whether photography is or is not an art form is a moot point for practitioners such as these. Their work clearly affords the level of conscious reﬁnement, precise focus on visual acuity and emphasis on the affect of the work that are normative expectations of high art practice. Although photographs such as lots 8 and 9 provide a concentrated representation of the two bowling greens, these are not documentary-oriented works. Rather, the attention is given to the formal interplay of the elements of their environments and the exactitude of the composition of the work. What is interesting about where they sit in relation to Takato’s practice in New Zealand is that they play with attitudes of the natural and the fake or at least the carefully constructed. The greens here are maintained spaces rather than naturally occurring ﬁelds and each work plays this state off against the surroundings (the Auckland Domain and Napier tank farm). This interest in highly constructed and regulated environments was somthing Takato pursued in subjects that included empty television studios or new subdivisions without residents appearing on the street. Since completing his BFA and undertaking postgraduate work at Elam School of Fine Arts, Takato undertook Meisterschule study in Dusseldorf, Germany, where he now lives. PETER SHAND

SHIGURO TAKATO Port Ahuriri Bowling Club, Napier, 2001 colour photograph 1/7 from the Bowling Green Series

JOHN REYNOLDS There is No China colour photograph title inscribed and signed 487mm x 490mm

360mm x 465mm

$600 - $800 $1,000 - $1,500

FIONA PARDINGTON Tertea 1982 three gelatin silver prints 290mm x 430mm each

$2,000 - $3,000

WAYNE BARRAR Tubed Fish Section (DNA Analysis) Christchurch (from An Immortal Double series 1996) gold toned gelatin silver print title inscribed, signed and dated 1996 with the artistâ&#x20AC;&#x2122;s stamp applied verso 145mm x 225mm

$1,500 - $2,000

C O N T E M P O R A RY / M O D E R N + H I S T O R I C A L P H O T O G R A P H Y

PETER PERYER Edward Bullmore’s Launch gelatin silver print 410mm x 275mm Illustrated: Burke, Greg and Weiermair, Peter, Second Nature, Peter Peryer, Photographer, New Zealand (City Gallery, Wellington, 1995) plate 55

$6,000 - $9,000

There is an uncanny comedy in much of Peter Peryer’s work. It is a kind of black humour which relates to all subjects but, most obviously, those subjects which are not human. In works such as Sandshark, Mother in Law’s Tongue and the portrait of Edward Bullmore’s Launch, Peryer presents an almost surreal cross between the factual photographic representation of his subject and a dramatic contextualisation that adds mystery, hides clues and manipulates our comprehension. The titles, combined with the dramatic, high-contrast light, imbue these inanimate subjects with character and a kind of ironic intrigue in a way that personiﬁes them. Peryer treats his subjects as models of curious beauty, worthy of our compassion, despite the fact that they are often not cognisant of it in any possible way. Peryer’s more recent work plays even more heavily with fakes and forgeries – plastic babies or penises (lot 114) that appear at ﬁrst to be real and plastic dogs in coloured jumpers. A new book, published by the Auckland University Press, and set to launch at Webb’s in September will provide insights into these aspects. Peter Simpson, co author of the publication, calls it Peryerland. As he comments: “Peryer has over the past three decades and more constructed a world — call it Peryerland — which has its own distinctive typography, climate and features. Only the best photographers are capable of such a feat”. IMOGEN KERR

MICHAEL PAREKOWHAI Elmer Keith (from the ‘Beverly Hills Gun Club’ series) c-type colour photograph from an edition of 10 980mm x 1175mm

$8,000 - $12,000

C O N T E M P O R A RY / M O D E R N + H I S T O R I C A L P H O T O G R A P H Y

PAUL JOHNS Little Histories (Jerusalem 2005) LED photograph 2/3 title inscribed, signed and dated 2005 on original artistâ&#x20AC;&#x2122;s label afďŹ xed verso 500mm x 500mm

$2,500 - $3,500 16

HARVEY BENGE BL Medici digital photographic print on fuji crystal archival paper 1/5 title inscribed, signed and dated 2003 verso 830mm x 635mm

$3,000 - $5,000

NATASHA CANTWELL Boxer c-type photograph 385mm x 255mm

$600 - $800

PATRICK REYNOLDS Two Bodies 01 c-type colour photograph from an edition of 5 827mm x 1195mm

$3,000 - $5,000

PETER PERYER Denise Naked 1975 vintage gelatin silver print title inscribed and dated 1975 on mount verso 175mm x 175mm

$2,000 - $3,000

C O N T E M P O R A RY / M O D E R N + H I S T O R I C A L P H O T O G R A P H Y

HALL INTERIOR. SOUTH SPRINGSTON, NEAR LEESTON

SHED. RURU ROAD MEMORIAL CEMETARY, CHRISTCHURCH

HEADSTONE. LINWOOD CEMETARY, CHRISTCHURCH

OBJECT. RIVERTON

SIGHT. NEAR BALCLUTHA

WAR MEMORIAL. BALCLUTHA

DENTAL TECHNICIAN’S BUILDING. RIVERTON

PAUA ROOM. BLUFF

HARWOOD’S HOLE. CANAAN, TAKAKA HILL

10. LYTTLETON HEADS. LYTTLETON

LAURENCE ABERHART View

The book includes 1.

Hall Interior. South Springston, near Leeston

ten 10” x 8”gold toned contact prints mounted in a limited edition artist’s book 2/10 signed

Shed. Ruru Road Memorial Cemetery, Christchurch

Headstone. Linwood Cemetary, Christchurch

Object. Riverton

Sight. Near Balclutha

War Memorial. Balclutha

Dental Technician’s Building. Riverton

Paua Room. Bluff

Harwood’s Hole. Canaan, Takaka Hill

250mm x 200mm each Provenance: Purchased directly from the artist in 1980 Published: Laurence Aberhart, Lyttleton, New Zealand, 1980 Edition Note: Two editions of this book are held by Te Papa Tongarewa, Wellington and one by the Christchurch Art Gallery, Te Puna o Waiwhetu

10. Lyttleton Heads. Lyttleton

$30,000 - $40,000

C O N T E M P O R A RY / M O D E R N + H I S T O R I C A L P H O T O G R A P H Y

SOFIA TEKELA-SMITH Savage Island with the Pure (Red) 2003 digital print 2/8 1700mm x 1300mm

$4,000 - $5,000

PETER PERYER Mother in Lawâ&#x20AC;&#x2122;s Tongue gelatin silver print title inscribed, signed and dated 1982 verso 200mm x 300mm Illustrated: Peter Peryer, Photographs, (Sarjeant Gallery, Wanganui, 1985) P.20 & 31

$6,500 - $8,500

PETER PERYER Pima Air Museum, Tuscon Arizona gelatin silver print title inscribed, signed and dated 14th September, 1985 verso 354mm x 350mm Note: A print from this edition is held in the collection of Te Papa Tongarewa, Wellington.

$6,500 - $8,500

C O N T E M P O R A RY / M O D E R N + H I S T O R I C A L P H O T O G R A P H Y

YVONNE TODD Martha or Self Portrait as an Anorectic (sic) LED print 1/3 title inscribed, signed and dated 7 July 2003 verso

LAURENCE ABERHART Mt Victoria gelatin silver print title inscribed, signed and dated 7 July 2003 verso 190mm x 470mm

220mm x 170mm

$4,500 - $6,500

$10,000 - $15,000

Laurence Aberhart is a documentarian and investigator of New Zealand’s collective unconscious. From his expansive, panoramic views of the landscape to the pokey interiors and bland exteriors of New Zealand, Aberhart has captured a sense of this country’s heartland. Nostalgia is a word that becomes unavoidable, with scenes where lights glow quietly, soft, misty horizons swell and monuments point heroically, tragically to the temporality of the landscape and the people with their customs, loves and losses of yesteryear. There is something funereal about much of his imagery, featuring churches, monuments, gravestones, taxidermy and tags bourne of the desire to mark and name things for posterity. Portraits do feature in Aberhart’s oeuvre, often with faces concealed or blurred in the throes of some form of activity. It is largely people’s absence, however, which sets his photography so much in the realm of meditation, memory and theatrical romanticism. For there is an undeniable sense of the romantic sublime wherever such tumultuous, stretching, skies are concerned, wherever the transience of life is presented. To many, this is our Aotearoa – the land of the long white cloud, middle earth, middle class, the bottom of the world, but not for long. IMOGEN KERR

C O N T E M P O R A RY / M O D E R N + H I S T O R I C A L P H O T O G R A P H Y

MARTI FRIEDLANDER Tony Fomison in front of his painting Omai in 1979 gelatin silver print 410mm x 390mm

$7,500 - $9,500

YVONNE TODD Crisis # 6 LED print from an edition of 3 title inscribed, signed and dated 1999 verso 480mm x 550mm

$5,500 - $7,500 Yvonne Todd’s highly composed, pristine photographs highlight her background as a commercial photographer. Whilst retaining an immaculate ﬁnish, second glances reveal subversion throughout her work. Instead of presenting perfect portraits, her pictures reveal un-glamourous women and girls with bottle-thick glasses, crooked teeth, badly applied make-up and totally dysfunctional, over-manicured nails. Her surreal compositions of strange, dislocated paraphernalia such as asthma inhalers, twigs or pipes act like a series of clues toward an unknown meaning, setting empty stages much the same way as a dust jacket gives entrée to a book. Clues given in the pseudo-Hallmark card The Crisis #6 and Martha or Self Portrait as Anorectic (sic), evoke thoughts of love or sentiment. Yet looking more closely, this sentiment is grossly misplaced. In Martha or Self Portrait as Anorectic (sic), from The Book of Martha (2003) Todd presents herself as an anorexic. Typical of her ﬁgures with ailments wearing homely clothes, they are composed and essentially anonymous; they could be anyone, anywhere... JESSICA PEARLESS

LAURENCE ABERHART Pines Beach Island Motel Kaipoi 1977/1981 gelatin silver print, agfa brouira, selenium toned, 81 title inscribed, signed and dated 1977 verso 185mm x 275mm

$3,000 - $5,000

C O N T E M P O R A RY / M O D E R N + H I S T O R I C A L P H O T O G R A P H Y

BOYD WEBB Incubus 1989 cibachrome 1/1 signed verso 1550mm x 1250mm

$25,000 - $35,000

Boyd Webb is a New Zealand photographer who studied at London’s prestigious Royal College of Art in 1972 and came to prominence alongside contemporaries such as Richard Wentworth and Richard Deacon. His work often involves the creation of humorous visual scenes in which men, women and plastic animals adopt Monty Pythonesque poses in fantastical environments. Figures are staged in surreal scenarios and photographed as large scale cibachromes. He creates a parallel universe where familiar objects no longer have their usual properties or functions and gravity is reversed. Reoccurring themes in his work have expressed his concern with ecological issues such as pollution, nuclear waste and the effects of technology. A genetically engineered designer baby hovers seemingly serene inside a Portuguese Man o War’s air bladder or sail. A creature that drifts at the mercy of the oceans current’s, directionless, its tentacles hang up to ten metres below ﬁlled with venom that causes excruciating pain. The work functions as an apocalyptic warning for humanity. Webb has four works in the Tate Collection, London and has exhibited widely in New Zealand, Europe and America since 1976. Highlights in his career include many major survey exhibitions such as; Whitechapel Art Gallery, London, 1978 and 1987; Hirschhorn Museum, Washington DC, 1990; and the Auckland Art Gallery touring exhibition, 1997. He was also included in Toi Toi Toi curated by the Auckland Art Gallery Toi o Tamaki, Auckland in1999 and toured to the Museum Fredericianum, Kassel. He represented New Zealand in the Sydney Biennale in 1995 and was shortlisted for the Turner Prize in 1988. JONATHAN ORGAN

C O N T E M P O R A RY / M O D E R N + H I S T O R I C A L P H O T O G R A P H Y

GREG SEMU Rain digital print and oil pastel on canvas title inscribed, signed and dated 2007 895mm x 755mm

$3,500 - $4,500

FRANK HABICHT Incomparable gelatin silver print 1/5 title inscribed and signed verso 700mm x 1055mm

$4,000 - $6,000

FIONA PARDINGTON Heavy Penance gold toned gelatin silver print title inscribed verso 450mm x 350mm

$3,500 - $5,500

HARVEY BENGE Tokyo Girl 3 digital print on archival plastic 1/3 title inscribed signed and dated verso 1800mm x 1200mm

$4,000 - $6,000

C O N T E M P O R A RY / M O D E R N + H I S T O R I C A L P H O T O G R A P H Y

RYUZO NISHIDA Portrait of a Young Family c-type print 1200mm x 915mm

$700 - $900

NATASHA CANTWELL Cobra c-type photograph 385mm x 255mm

$600 - $800

PAUL HARTIGAN Golden Warrior ultrachrome print Artist’s Proof II title inscribed, signed and dated 2007 600mm x 330mm

$1,800 - $2,500 37

PAUL HARTIGAN Mr Red and Mrs Green ultrachrome print Artist’s Proof II title inscribed, signed and dated 2007 600mm x 485mm

$1,800 - $2,500

PETER PERYER St Bathans gelatin silver print title inscribed, signed and dated 1988 verso 270mm x 410mm Illustrated: Burke, Greg and Weiermair, Peter, Second Nature, Peter Peryer, Photographer, New Zealand (City Gallery, Wellington, 1995) plate 29

$8,000 - $12,000

PETER PERYER Sandshark gelatin silver print title inscribed, signed and dated 1/191 verso 274mm x 414mm Illustrated: Burke, Greg and Weiermair, Peter, Second Nature, Peter Peryer, Photographer, New Zealand (City Gallery, Wellington, 1995) plate 44 Note: A print from this edition is held in the collection of Te Papa Tongarewa, Wellington

$8,000 - $12,000

C O N T E M P O R A RY / M O D E R N + H I S T O R I C A L P H O T O G R A P H Y

FOREIGN PHOTOGRAPHY

HERB RITTS AMERICAN (1952 - 2002) Jacqui Agyepong, Miami

HELMUT NEWTON GERMAN (1920 - 2004) Fetish Figure

gelatin silver print original photographer’s stamp applied verso

190mm x 140mm

175mm x 120mm

$3,000 - $4,000

$1,000 - $1,500

C O N T E M P O R A RY / M O D E R N + H I S T O R I C A L P H O T O G R A P H Y

HERBERT PONTING ENGLISH (1870 - 1935) The Terra Nova Icebound in the Pack (during Capt. Scott’s Expedition to the South Pole 1911) gelatin silver print original Paul Popper’s Photographic Agency label of authenticity afﬁxed verso 230mm x 180mm Illustrated: Scott’s Last Voyage: Through the Antarctic Camera of Herbert Ponting cover image and p45; David Mountﬁeld A History of Polar Exploration p169

$1,000 - $1,500

SOICHI SUNAMI JAPANESE (1885 - 1971) Dancer, Helen Tamiris vintage gelatin silver print signed with the photographer’s blind stamp; studio and copyright stamps applied verso 225mm x 185mm

$1,000 - $2,000

WILLIAM MORTENSON AMERICAN (1897 - 1965) Preparation for the Sabbot c. 1935 bromoil print title inscribed and signed 180mm x 140mm Exhibited: A print from this edition was exhibited in The Photographic Magic of William Mortenson at The Center for Creative Photography, University of Arizona, USA.

$1,000 - $2,000

FRANCESCO SCAVULLO ITALIAN (1921 - 2004) Dali 1972 c-type colour photograph original photographer’s studio stamp applied verso 140mm x 195mm

$1,000 - $2,000

GUY BOURDIN (FRANCE 1928 - 1991) Two Nudes 1969 (Paris Vogue December 1969) c-type colour photograph signed with the photographer’s stamp and credit stamp verso 170mm x 120mm

$2,000 - $3,000

JOSEF VETROVSKY CZECH (1897 - 1944) Reclining Woman 1930s/1950s gelatin silver print (printed 1950s) signed with the photographer’s blind stamp Copyright Josef Vetrovsky Prague

JOSEF VETROVSKY CZECH (1897 - 1944) Etude de nu gelatin silver print signed and dated 1932

DON MCCULLIN ATTRIBUTED ENGLISH (b. 1935) Untitled gelatin silver print 300mm x 200mm

920mm x 380mm

265mm x 260mm

$1,000 - $2,000 $1,000 - $1,500

$1,000 - $2,000

C O N T E M P O R A RY / M O D E R N + H I S T O R I C A L P H O T O G R A P H Y

EDWARD WESTON AMERICAN (1886 - 1958) Oceano, 1936 gelatin silver print title inscribed and inscribed 4750, Negative by Edward Weston, Print by Cole Weston and signed by Cole Weston 195mm x 245mm

$5,000 - $8,000

Edward Weston is arguably one of the most influential American photographers of the twentieth century working with the natural form, including the nude, seashells plants and landscapes. Weston was one of the founding members of group f/64 in 1932 with Ansel Adams and Imogen Cunningham. The f/64 is a style of camera that secured a greater depth of field, allowing the photograph to appear sharp from the foreground through to the background, as seen in this example. Weston was the first photographer to be awarded the Guggenheim Fellowship for experimental work in 1936, and had creative working partnerships with artist Tina Modotti, and poet Walt Whitman. In 1946 he began

experiencing symptoms of Parkinson’s disease, and over the next ten years this incapacitating illness became progressively worse. Because of this illness, Weston supervised the printing of his prints by his two sons, Brett and Cole. The ﬁne example illustrated is from his sand dune series. It is made directly from the original negative and printed by Cole Weston. It is a contact print made from a 10 x 8 inch negative, therefore creating a crystal sharp image. Weston is held in the most prestigious Museums and Public Art Galleries in the world, including the Metropolitan Museum of Art in New York, the Museum of Modern Art, NYC and the J Paul Getty Museum in Los Angeles.

ARNOLD NEWMAN AMERICAN (1918 - 2006) Portrait of Man Ray gelatin silver print photographer’s stamp © Arnold Newman applied verso 170mm x 120mm

$2,000 - $3,000

ARNOLD NEWMAN AMERICAN (1918 - 2006) Picasso in his Studio, Vallauris, France 1954 gelatin silver print (printed 1976) signed with the photographer’s stamp © Arnold Newman and inscribed Pablo Picasso - 1954 Reprinted - 1976 195mm x 140mm

$2,000 - $3,000

C O N T E M P O R A RY / M O D E R N + H I S T O R I C A L P H O T O G R A P H Y

MARK SELIGER AMERICAN (b. 1959) Gisele, Cross Eyed Studio NYC 2000 colour photograph from an edition of 20 signed with the photographerâ&#x20AC;&#x2122;s stamp verso 534mm x 420mm

$2,500 - $3,000

BERT STERN AMERICAN (b. 1929) Marilyn Monroe - The Last Sitting 1962 pigment print 105/250 signed 500mm x 470mm

$1,000 - $2,000

JEREMY PARK AUSTRALIAN (b. 1973) Lovers from Homage to Magritte Series LED colour photograph 735mm x 540mm

$2,000 - $2,500

FRANTISEK DRTIKOL CZECH (1883 - 1961) Reclining Nude gelatin silver print signed with the photographer’s blind stamp Copyright Drtikol Prague 255mm x 310mm

$4,000 - $5,000

FRANTISEK DRTIKOL CZECH (1883 - 1961) Broken Arc 1925-26 gelatin silver print (printed 1950s) signed with the photographer’s blind stamp Copyright Drtikol Prague 210mm x 280mm Provenance: Purchased from the family of one of the artist’s models in Prague Illustrated: Drtikol (Rudolph Kicken Galerie, Cologne, 1983) p19

JOSEF VETROVSKY CZECH (1897 - 1944) Nude with Dagger gelatin silver print (printed 1930s/1950s) signed with the photographer’s blind stamp Copyright Josef Vetrovsky Prague 265mm x 265mm

$1,000 - $2,000

$2,000 - $3.000

C O N T E M P O R A RY / M O D E R N + H I S T O R I C A L P H O T O G R A P H Y

CHESTER HIGGINS JR. AMERICAN (b. 1946) Virgin, Ghana gelatin silver print photographer’s stamp and printing stamp applied verso

385mm x 570mm

$1,000 - $2,000

RALPH SNYDER AMERICAN (1902 - 1971) Nude with Gears gelatin silver print 268mm x 335mm

$500 - $1,000

HAROLD BATTER AMERICAN Anatomy 1952 gelatin silver print title inscribed and signed; title inscribed and signed and exhibition stamps applied verso 330mm x 260mm

$750 - $950

JOSEF VETROVSKY CZECH (1897 - 1944) Nude Lying on Her Front gelatin silver print (printed 1930s and 1950s) signed with the photographer’s blind stamp Copyright Josef Vetrovsky Prague 225mm x 325mm

$1,000 - $1,500

WILLIAM MORTENSON (AMERICAN 1897 - 1965) Caprice Viennois bromoil print c. 1935 title inscribed and signed 175mm x 130mm

$1,000 - $1,500

JOSEF VETROVSKY (CZECH 1897 - 1944) Female Nude gelatin silver print signed with the photographer’s blind stamp Copyright Josef Vetrovsky Prague 535mm x 355mm

$1,000 - $1,500

PAUL HEISSMAN AMERICAN (b.1912) Nude Double Exposure

LUCIEN CLERGUE (FRENCH b. 1934) Fiddler

gelatin silver print photographer’s stamp applied verso

290mm x 245mm

265mm x 185mm

$1,000 - $1,500

$700 - $1,000

C O N T E M P O R A RY / M O D E R N + H I S T O R I C A L P H O T O G R A P H Y

67 68

XIE HAILONG CHINESE Child in the Rain, Gui Zhou, Liu Pan Shui Province

XIE HAILONG CHINESE Two Children gelatin silver print

gelatin silver print

330mm x 490mm

500mm x 335mm

$600 - $900

$600 - $900 69

TOM MILLEA AMERICAN Victoria platinum photograph title inscribed and signed 300mm x 200mm

ROBERT MACFARLANE AUSTRALIAN (b. 1944) Beau Nude gelatin silver print title inscribed and signed; title inscribed verso 370mm x 250mm

$1,500 - $2,000 $1,500 - $2,000 70

A COLLECTION OF VINTAGE COLOUR PHOTOGRAPHS BY NEIL ARMSTRONG

NEIL ARMSTRONG AMERICAN (b. 1930) Buzz Aldrin on the Moon (Apollo XI 1969)

vintage colour photograph original NASA vintage red stamp applied verso

NEIL ARMSTRONG Buzz Aldrin on the Moon (Apollo XI 1969)

NEIL ARMSTRONG Charles Duke on the Moon (Apollo XVI)

vintage colour photograph original NASA vintage red stamp applied verso

175mm x 175mm

166mm x 175mm

$1,000 - $1,500

$1,000 - $2,0000

175mm x 170mm

$2,000 - $2,500

NEIL ARMSTRONG Ed White, First Space Walk (Gemini IV)

NEIL ARMSTRONG Buzz Aldrin on the Moon (Apollo XI 1969)

vintage colour photograph original NASA vintage red stamp applied verso

178mm x 175mm

175mm x 170mm

$2,000 - $3,000

$1,000 - $1,500

NEIL ARMSTRONG Edward White on Gemini 4 vintage colour photograph 180mm x 175mm

$1,000 - $1,500

C O N T E M P O R A RY / M O D E R N + H I S T O R I C A L P H O T O G R A P H Y

78 79

ERIC TAYLOR Port Waikato Cliff Face epson colour print 380mm x 1140mm

$1,800 - $2,200

GERALD JENKINS Going Back to the Nation

GERALD JENKINS Makara

ERIC TAYLOR Castle Hill

digital print 5/50 title inscribed, signed and dated ‘96

digital print A/P title inscribed, signed and dated ‘97

epson colour print

915mm x 1880mm

840mm x 600mm

$1,000 - $1,500

$1,500 - $2,500

$1,000 - $1,500

400mm x 600mm

FURTHER NEW ZEALAND WORKS 81

GLENN JOWITT The Devil and Baldie, Canterbury Plains, 1979

GREG SEMU CruciďŹ xion gelatin silver print

selenium toned bromide 6/7 signed and dated 1979 (printed 2008)

605mm x 505mm

405mm x 510mm Exhibited: Black Power, Christchurch, Robert McDougall Art Gallery, Christchurch 1980

$2,500 - $3,500

$1,800 - $2,200

PETER PERYER Grave Stone from the Gone Home Series vintage gelatin silver print original Photo Forum Print Auction, November 1977 stamp applied verso 170mm x 170mm

$3,000 - $3,500 84

FIONA PARDINGTON Footman gold toned gelatin silver print 375mm x 475mm

$2,500 - $3,500

C O N T E M P O R A RY / M O D E R N + H I S T O R I C A L P H O T O G R A P H Y

85 86

CAROLIN CASEY Girdles archival digital print on lustre paper with sandtex laminate 1100mm x 1100mm

$500 - $700 86

CHRISTINE WEBSTER Passing Through 2 cibachrome 560mm x 730mm

$700 - $900

87 88

MATHESON BEAUMONT The Marker giclee 2/25 380mm x 247mm

$450 - $650

JOHN TURNER Peppermint Twist 2005 digital print title inscribed and dated 2005 and inscribed Te Atatu Peninsula verso 375mm x 570mm

$1,000 - $1,500

JOHN TURNER Te Atatu Pony Club 2006 digital print title inscribed, signed and dated Te Atatu Peninsula, Auckland, Sunday 8 January 2006 verso 380mm x 560mm

$1,000 - $1,500

GLENN JOWITT Atiuan Dancers, Green Room, Gluepot Hotel, Ponsonby, Auckland p3 cibachrome 7/7 signed and dated 1992 510mm x 405mm Illustrated; ine/konei: The Paciﬁc in Photo Art, Australian Centre for Photography, Sydney; Feasts and Festivals, New Holland Publishers

$1,800 - $2,200

CHRISTINE WEBSTER Nutcracker - Liz Kirk ‘84 cibachrome photograph 500mm x 505mm

$700 - $900

FIONA PARDINGTON Akura’s Lips inkjet print 9/15 title inscribed, signed and dated 2000/2004 verso 60mm x 73mm

$500 - $700 91

C O N T E M P O R A RY / M O D E R N + H I S T O R I C A L P H O T O G R A P H Y

THEO SCHOON Mudpool gelatin silver print 150mm x 205mm

$1,000 - $2,000

ANNE NOBLE Untitled (Water Study) gelatin silver print title inscribed verso From the Untitled sequence published in Photoforum 32, June/ July 1976 203mm x 254mm

$1,000 - $2,000

GIL HANLY Barry Brickell Driving Creek Railway c. 1980s gelatin silver print 265mm x 375mm

$600 - $800

RICHARD COLLINS Auckland 1967 vintage gelatin silver print title inscribed and dated 1967 on original label afďŹ xed verso 130mm x 200mm Exhibited: Three New Zealand Photographers, Auckland City Art Gallery. 1973 Illustrated: ibid., plate 26

RICHARD COLLINS Washing, Freemans Bay, Auckland, 1970 gelatin silver print title inscribed, signed and dated 1970 verso

gelatin silver print

GIL HANLY Dame Whina Cooper Speaking at the Lower Marae, Waitangi, 1985

200mm x 300mm

gelatin silver print

203mm x 255mm

$600 - $800

Exhibited: Three New Zealand Photographers, Auckland City Art Gallery. 1973

RICHARD COLLINS Colin McCahon on Newton Road c. 1975

280mm x 395mm

$600 - $800

Illustrated: ibid., plate 41

$800 - $1,200 $1,000 - $2,000

C O N T E M P O R A RY / M O D E R N + H I S T O R I C A L P H O T O G R A P H Y

100 FIONA PARDINGTON Reuben gold toned photograph title inscribed and dated 1990 and original City Gallery, Wellington stamp applied verso 220mm x 160mm

$2,500 - $4,500

101 FIONA PARDINGTON Bird in Fist inkjet print 9/15 title inscribed, signed and dated 2000/2004 verso

gelatin silver print

76mm x 60mm

$2,000 - $2,500

$500 - $700

102 ROBIN MORRISON Plumbershed 165mm x 130mm

103 ALAN MILLER Ohinemutu gelatin silver print 300mm x 200mm

$1,500 - $2,500

104 VICTORIA GINN Hanuman, Kerala, India cibachrome 405mm x 510mm Published: In 1990 by Rizzoli International New York, as the lead image to the 4th chapter - The Journey - in the the book “The Spirited Earth” , Dance, Myth and Ritual from South Asia to the South Paciﬁc (Rizzoli International New York, 1990). Published in international magazines in Italy, Canada, China, Australia, and elsewhere.

105 RICHARD COLLINS Auckland, 1969 gelatin silver print inscribed Photo by Richard Collins ‘Auckland, 1969’ on original label afﬁxed verso 200mm x 125mm Exhibited: Three New Zealand Photographers, Auckland City Art Gallery. 1973 Illustrated: ibid., plate 29

$1,000 - $2,000

Exhibited: in 1985 at the Lincoln Centre for the Performing Arts Exhibition Gallery, New York. Note: As one of the major characters in the Hindu epic story, the Ramayana (a religious poem about the battle between good and evil written between 200BC - 200 AD), the Hindu monkey hero Hanuman possesses the power of ﬂight, the ability to disappear, to uplift mountains, and to heal.

$2,800 - $3,500

106 THEO SCHOON Portraits with Gourds three gelatin silver prints 110mm x 70mm each

$750 - $1,250

107 GIL HANLY Portrait of Roy Dalgarno colour photograph c.1980s 390mm x 280mm

$600 - $800

C O N T E M P O R A RY / M O D E R N + H I S T O R I C A L P H O T O G R A P H Y

108 PADDY O’ROURKE This Brave Woman Was Queen of a British Tribe together with Queen of a British Tribe

108

109

photogram on ﬁbre based paper (unique print) complete with original drawings title inscribed, signed and dated August 2007 and inscribed photogram on ﬁbre based paper verso 440mm x 310mm each

$700 - $1,000

109 FIONA PARDINGTON Hostess gelatin silver print title inscribed, signed and dated 1993 verso 110

320mm x 260mm

$2,500 - $3,500

110

110 FIONA PARDINGTON Anthirium gelatin silver print title inscribed, signed and dated 1993 300mm x 225mm

$2,500 - $3,000

111 FIONA PARDINGTON Tears gelatin silver print 520mm x 400mm

$3,500 - $5,500

112 PAUL THOMPSON Niu Tireni #2

112

115 HENRY JEN Untitled (Carpark)

lambda print

metallic LED print

300mm x 450mm

1000mm x 1000mm

$900 - $1,200

$1,000 - $1,500

113 ROBIN MORRISON Mr Moriarty Glenbervie Terrace, Wellington

116 LES CLEVELAND Raceday c.1950s

gelatin silver print

gelatin silver print signed verso

185mm x 230mm

170mm x 280mm

$2,000 - $3,000

$300 - $500

114 PETER PERYER Untitled (Penis) gelatin silver print title inscribed, signed and dated 1997 verso

113

120mm x 165mm

$2,500 - $3,500 115

114

116

C O N T E M P O R A RY / M O D E R N + H I S T O R I C A L P H O T O G R A P H Y

118

117

119

117 LES CLEVELAND Bank of New Zealand, Greytown, August 1957 gelatin silver print title inscribed, signed and dated August 1957 (printed 2005) and stamped Les Cleveland Photographer verso

118 LES CLEVELAND Man and Waterfall gelatin silver print signed verso 245mm x 185mm

$300 - $500

197mm x 245mm

$400 - $600

120

119 LES CLEVELAND Trotman Bros Building digital print from the original negative title inscribed, signed and dated 4 August 1957 (printed 2005) and stamped Les Cleveland Photographer verso 187mm x 233mm

$400 - $600

120 RICHARD COLLINS Auckland Roofs 1973 vintage gelatin silver print title inscribed and dated 1973 on original label afďŹ xed verso 285mm x 405mm

$800 - $1,200

121

122

121 PAUL THOMPSON Niu Tireni #9

122 GREG WILSON Cabbage Tree

lambda print

123

digital photograph 1/1 title inscribed and signed verso

300mm x 450mm

255mm x 255mm

$900 - $1,200 $550 - $750

123 HENRY JEN Untitled (Tunnel)

124 GREG WILSON Tired and Lonely

metallic LED print

digital photograph title inscribed and signed verso

1000mm x 1000mm

175mm x 280mm

$1,000 - $1,500 $550 - $750

125 MATHESON BEAUMONT Ready To Wear giclee 3/10 335mm x 250mm

124

$450 - $650

125

C O N T E M P O R A RY / M O D E R N + H I S T O R I C A L P H O T O G R A P H Y

HISTORICAL PHOTOGRAPHY & UTU FILM STILLS DAY 2

THURSDAY 24 JULY 2008, 6.30PM Lots 126-289: Historical Photography & UTU Film Stills PREVIEW: WEDNESDAY 16 JULY

6PM

– 8PM

VIEWING: THURSDAY FRIDAY SATURDAY SUNDAY MONDAY TUESDAY WEDNESDAY THURSDAY

9AM 9AM 11AM 11AM 9AM 9AM 9AM 9AM

– – – – – – – –

17 JULY 18 JULY 19 JULY 20 JULY 21 JULY 22 JULY 23 JULY 24 JULY

5.30PM 5.30PM 3.00PM 3.00PM 5.30PM 5.30PM NOON NOON

IMPORTANT NOTE: BUYER’S PREMIUM A buyer’s premium of 12.5% will be charged on all lots in this catalogue. GST of 12.5% is payable on the buyer’s premium only. ILLUSTRATED Lot 128, ELIZABETH PULMAN King Tawhiao

C O N T E M P O R A RY / M O D E R N + H I S T O R I C A L P H O T O G R A P H Y

126 BURTON BROS. ALFRED BURTON (1834-1914) WALTER BURTON (1836-1880) Maori Hongi or Salutation gelatin silver print title inscribed and numbered 2543 310mm x 425mm Reference: A print from this edition is held by Te Papa Tongarewa and is credited to Burton Bros. A Hongi (with Sophia) Whakarewarewa. 1887. Registration Number 0.000837/02

$2,000 - $3,000

127 HENRY WINKELMANN (1861-1931) Maori Canoe, Lake Rotorua gelatin silver print title inscribed 300mm x 380mm Reference: A print from this edition is held by the Rotorua Museum of Art and History. Title: Part of a Regatta (1903 or 1904). Accession No: OP-699 System ID: 6174 Note: Winkelmann often used the waterfront as a subject because of his love of the sea. For Winkelmann photography represented a positive force, an active and healthy pursuit. His athleticism and ďŹ&#x201A;air with portable cameras allowed him to get photos from interesting vantage points, such as this superb image, obviuosly taken from another vessel.

$1,800 - $2,500

128 ELIZABETH PULMAN King Tawhiao gelatin silver print 130mm x 92mm Reference: A carte de visite of this photograph is held at the Auckland Art Gallery Toi o Tamaki purchased 1998. (88 x 57mm.) Illustrated: David Eggleton, Into the light, A History of New Zealand Photography, (First Published 2006 by Craig Potton Publishing, Nelson) P. 17. Illustrated: John Turner and William Main, New Zealand Photography from the 1840â&#x20AC;&#x2122;s to the present, (First Published 1993 by PhotoForum Inc, Auckland) P.12.

$1,000 - $2,000

129 ELIZABETH PULMAN Rewi Manga Maniapoto gelatin silver print numbered 45 137mm x 93mm Reference: A print from this edition is held by the Alexander Turnbull Library Illustrated: Michael King, New Zealanders at War, (Heinemann Publishers 1981) P.37. Illustrated J.E. Gorse, The Maori King, (Oxford University Press, 1959) Illustrated: James Cowan, Hero Stories of New Zealand, (Harry H. Tombs, 1935) P99 - 110 Illustrated: James Cowan, The New Zealand Wars: A History of the Maori Campaigns and the Pioneering Period: Volume I: 1845 - 1864, (R.E Owen, Wellington, 1955)

$900 - $1,500

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130 ERNEST DE TOURETT Auckland, Queen Street

131 ERNEST DE TOURETT Auckland, Queen Street

gelatin silver print title inscribed and numbered 1070

gelatin silver print title inscribed and numbered 865

310mm x 410mm

310mm x 420mm

$2,000 - $3,000

132 ERNEST DE TOURETT Grafton Bridge, Auckland gelatin silver print title inscribed and numbered 2399 310mm x 420mm

$2,000 - $3,000

133 ERNEST DE TOURRET Auckland from Albert Park gelatin silver print title inscribed and numbered 2378 310mm x 420mm

$1,800 - $2,500

134 ERNEST DE TOURETT Auckland, Grafton Road and Hospital gelatin silver print title inscribed and numbered 2367 310mm x 425mm

$1,500 - $2,500

135 FRANK ARNOLD COXHEAD Queen Street, Auckland gelatin silver print title inscribed 135mm x 186mm

$500 - $700

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136 ERNEST DE TOURETT Auckland, Mt Eden from top of Symonds Street gelatin silver print title inscribed and numbered 1058 330mm x 420mm

137 ERNEST DE TOURETT The Waterfront, Auckland Harbour gelatin silver print title inscribed and numbered 2377 330mm x 420mm

$1,800 - $2,500

$1,500 - $2,500

138 ERNEST DE TOURETT Takapuna Beach gelatin silver print title inscribed and numbered 2373 315mm x 425mm

139 HENRY WINKELMANN (1861-1931) ATTRIBUTED Golf Links, One Tree Hill gelatin silver print title inscribed 275mm x 370mm

$1,500 - $2,500

140 HENRY WINKELMANN Wairua Falls, Whangarei gelatin silver print title inscribed 300mm x 380mm

$1,800 - $2,500

141 HENRY WINKELMANN Russell gelatin silver print title, inscribed and signed 280mm x 350mm

$1,000 - $1,500

142 ERNEST DE TOURETT Auckland, One Tree Hill gelatin silver print title inscribed and numbered 560 310mm x 420mm

$600 - $900

143 GEORGE VALENTINE (1852-1890) Auckland Harbour from Mt Eden gelatin silver print title inscribed, signed with initials and numbered 97 133mm x 212mm

$800 - $1,200

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144 GEORGE PULMAN (1826-1871) Paora Tuhaere gelatin silver print title inscribed and numbered 10 134mm x 96mm Note: Paora Tuhaere was painted by Gottfried Lindauer. Illustrated: Gottfried Lindauer, Maori Paintings, From the Partridge Collection, (A.H and A.W. Reed, Wellington, 1965) P.64

145 GEORGE PULMAN Untitled (Woman with Moko and White Feather) gelatin silver print title inscribed and numbered 217

146 GEORGE PULMAN Tattooed Man with White Feather gelatin silver print title inscribed and numbered 113 140mm x 93mm

136mm x 96mm

$500 - $700 $500 - $700

$500 - $700

147 GEORGE PULMAN Hera

148 GEORGE PULMAN Moi Torihua

149 GEORGE PULMAN Akirikiri

gelatin silver print title inscribed and numbered 201

gelatin silver print title inscribed and numbered 18

gelatin silver print title inscribed and numbered 273

130mm x 91mm

135mm x 95mm

137mm x 98mm

$500 - $700

$500 - $1,000

$350 - $450

150 BURTON BROS. Taipari’s Carved House Parawai gelatin silver print title inscribed and numbered 155 153mm x 200mm Reference: A print from this edition is held by the Alexander Turnbull Library. (PA7-05019)

151 GEORGE PULMAN ATTRIBUTED Hau Mai, Tawhiti, Maketu gelatin silver print title inscribed and numbered 151 130mm x 190mm

$500 - $700 Note: This whare has been in the collection of the Auckland Museum since 1925, placed by the son of Te Hotereni Taipari and the Ngati Maru people. The exterior consists of corrugated iron roof and milled timber has been reconstructed with the help of historical photographs. This whare was named Hotuni, after an ancestor of the Tainui tribes of Thames and Coromandel. It was a wedding gift from the Ngati Awa experts at Whakatane between 1875 - 1878. On May 1878, carvings were taken by ship to Parawia where the house was erected. Source: Auckland Museum

$600 - $900

152 GEORGE PULMAN Te Koata gelatin silver print title inscribed and numbered 239 135mm x 95mm

$600 - $900

153 UNKNOWN PHOTOGRAPHER New Zealand Native Football Club 1888-1889 gelatin silver print title inscribed 128mm x 200mm Reference: The New Zealand Native Football Representatives’ tour of Britain is relatively unknown. It was a private endeavour rather than an official representative team. The first New Zealand representative rugby team to tour beyond Australia, they played a staggering 107 rugby matches in New Zealand, Australia and Great Britain, winning 78 of them. They played their first game in Britain on 3 October 1888. Greg Ryan, Forerunners of the All Blacks (Canterbury University Press, 1993),

$2,000 - $3,000

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154 GEORGE PULMAN Rangi Tatara

155 UNKNOWN PHOTOGRAPHER No Terauoriwa Potatau

156 GEORGE PULMAN Moa (Mohi Te Ngu)

gelatin silver print title inscribed and numbered 60

gelatin silver print title inscribed and numbered 109

gelatin silver print title inscribed and numbered 206

134mm x 89mm

134mm x 99mm

134mm x 93mm

$500 - $700

Note: Three white feathers worn in the hair as illustrated in this imaged are called Parihaka Te Whiti and signifies peace. Te Whiti was the first ever Pacifist in New Zealand’s history and the leader of Parihaka, a Maori village in Taranaki.

$450 - $650

$350 - $450

157 GEORGE PULMAN ATTRIBUTED Peahaua, Ngarawha

158 GEORGE PULMAN Untitled (Cloaked Women Performing Hongi)

gelatin silver print title inscribed

gelatin silver print title inscribed and numbered 185

130mm x 96mm

136mm x 95mm

$500 - $700

$350 - $450

159 UNKNOWN PHOTOGRAPHER Ripeka Rotorua gelatin silver print title inscribed and numbered 222 134mm x 97mm

$350 - $450

160

161

163

162

164

160 HENRY WINKELMANN ATTRIBUTED Waimungu gelatin silver print title inscribed 295mm x 370mm

$600 - $900

161 ERNEST DE TOURETT Rotorua, The “Malfoy” Geyser, Sanatorium gelatin silver print title inscribed and numbered 2549 270mm x 420mm

$600 - $900

163 ERNEST DE TOURETT Ohinemutu, Rotorua gelatin silver print title inscribed and numbered 2550 310mm x 420mm

162 ERNEST DE TOURETT Rotorua Sanatorium Grounds gelatin silver print title inscribed and numbered 2547 300mm x 425mm Note: This image shows Bath House buildings in Rotorua. These were New Zealand government’s ﬁrst commitment to the ﬂedging tourist industry. Once offering spa and therapeutic treatments, and today the building houses the Rotorua Museum of Art and History.

$900 - $1,200

164 ERNEST DE TOURETT Rotorua, The Angry Pohetu Geyser gelatin silver print title inscribed 310mm x 420mm

$600 - $900

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165

166

167

168

165 FRANK ARNOLD COXHEAD Road to Waiaro together with Buggy on the Hokitika Road two gelatin silver prints titles inscribed and numbered 297 and title inscribed 188mm x 136mm, 139mm x 202mm Reference: A print from this edition is held at the Christchurch City Library. Ca 1888 File Reference CCL Photo CD13, IMG0055.

168 HENRY WINKELMANN (1861-1931) Port Fitzroy and Great Barrier together with Whangarua two gelatin silver prints titles inscribed 290mm x 375mm, 285mm x 370mm

$1,200 - $2,000

$300 - $500

169

166 JOSIAH MARTIN (1843-1916) ATTRIBUTED New Zealand Tree Ferns and Creek Scene together with Bush Scene, Auckland together with Nikau and Tree Ferns three gelatin silver prints titles inscribed 198mm x 142mm, 200mm x 140mm, 198mm x 140mm

$800 - $1,100

167 UNKNOWN PHOTOGRAPHER Waiwera together with Waiwera two gelatin silver prints titles inscribed and numbered 606 133mm x 197mm each

$300 - $500

169 HENRY WINKELMANN ATTRIBUTED Waiwera gelatin silver print title inscribed 300mm x 380mm

$800 - $1,500

170

171

172

173

174

172 UNKNOWN PHOTOGRAPHER Logs at Mercury Bay Sawmill together with Mercury Bay Sawmill two gelatin silver prints titles inscribed and numbered 324 and 32 134mm x 200mm each

$300 - $500

170 UNKNOWN PHOTOGRAPHER Opening of a Gold Mine at Thames together with Caledonian Gold Mine, Thames and Opening of a Gold Mine, Thames

173 ERNEST DE TOURETT The Green Lake gelatin silver print title inscribed and numbered 2546

three gelatin silver prints titles inscribed

300mm x 420mm

146mm x 207mm, 203mm x 256mm, 146mm x 207mm

$600 - $900

$1,000 - $1,200

171 HENRY WINKELMANN (1861-1931) ATTRIBUTED Kauri Bush gelatin silver print title inscribed 380mm x 300mm

$400 - $600

174 ERNEST DE TOURETT The Beautiful Blue Lake, Tikitere gelatin silver print title inscribed and numbered 2548 300mm x 425mm

$600 - $900

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175

176

177

178

179

175 UNKNOWN PHOTOGRAPHER Auckland Harbour from Campbells Point together with Auckland Harbour from Albert Park together with Potters Paddock, Epsom, Auckland three gelatin silver prints titles inscribed and numbered 606 and 18 133mm x 200mm,156mm x 190mm, 99mm x 130mm

$500 - $800

176 UNKNOWN PHOTOGRAPHER Salon Hall, SS Mariposa together with Mariposa two gelatin silver prints title inscribed and title inscribed and numbered 4083; inscribed Taber Photography San Francisco

178 UNKNOWN PHOTOGRAPHER Sugar Works, Auckland together with Sugar Works, Northcote, Auckland two gelatin silver prints titles inscribed 144mm x 198mm each

140mm x 197mm, 190mm x 237mm

$400 - $600 $300 - $500

177 UNKNOWN PHOTOGRAPHER Union SS “Rotomahana” together with Orient SS Uzalea, Sandbridge Pier, Melbourne together with Mariposa at San Francisco three gelatin silver prints titles inscribed 130mm x 200mm,132mm x 195mm, 118mm x 182mm

$400 - $600 78

179 UNKNOWN PHOTOGRAPHER Railway Station and Firth’s Mill, Auckland together with Orakei Creek, Auckland two gelatin silver prints title inscribed 135mm x 198mm, 98mm x 146mm

$400 - $600

180

181

183

182

184

180 HENRY WINKELMANN ATTRIBUTED AND JOSIAH MARTIN ATTRIBUTED Kawau together with Kawau two gelatin silver prints titles inscribed and title inscribed, signed and numbered 606 285mm x 380mm,146mm x 200mm

181 UNKNOWN PHOTOGRAPHER H.M.S Nelson together with H.M.S. Egenia together with SS Doric together with Untitled Ship

183 UNKNOWN PHOTOGRAPHER Shop on Mariposa together with Calliope Dock, Auckland H.M.S. Diamond and H.M.S Calliope

four gelatin silver prints titles inscribed

two gelatin silver prints titles inscribed

93 x 142mm,120mm x 88mm, 97mm x 136mm, 97mm x 136mm

189mm x 230mm, 148mm x 200mm

$600 - $900 $400 - $800 182 HENRY WINKELMANN ATTRIBUTED Lake Waitakere

184 HENRY WINKELMANN ATTRIBUTED Okahumoko Bay, Whangaroa

gelatin silver print title inscribed

300mm x 380mm Note: The title of this photograph is incorrectly inscribed as Bethells Lagoon

310mm x 380mm

$400 - $600

$800 - $1,500

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185 BURTON BROS Cave Rock, Sumner together with Shag Rock, Sumner two gelatin silver prints titles inscribed and signed 140mm x 190mm each Reference: A print from this edition is held at Te Papa Tongarewa. (Registration Number C.011681)

186 BURTON BROS. Lake Taupo from Motutere gelatin silver print title inscribed, signed and numbered 3757 140mm x 190mm

$150 - $250

187 HARDING AND BILLING ATTRIBUTED AND JOSIAH MARTIN Calliope Dock, Auckland H.M.S Calliope and Diamond together with Queen Street Wharf, S.S. Rimutaka - Bismark, Auckland two gelatin silver prints titles inscribed and numbered 19 202mm x 150mm, 142mm x 198mm

$200 - $400 $500 - $700

188 UNKNOWN PHOTOGRAPHER Boiling Lake, White Island together with Rotomahana and Tarawera two gelatin silver prints titles inscribed 130mm x 200mm each

$200 - $400

189 BURTON BROS. TOGETHER WITH FRANK A. COXHEAD Railway Station, Christchurch together with Dunedin Gardens two gelatin silver prints title inscribed and numbered 2909 and numbered 335

gelatin silver print

138mm x 188mm each Reference: A print from this edition is held by Te Papa Tongarewa. (Registration Number: C.011556)

$50 - $100

$500 - $700

190 UNKNOWN PHOTOGRAPHER Photograph of a Painting 131mm x 94mm

C-10 FILM STILLS FROM UTU BY VICTORIA GINN 191

191 VICTORIA GINN Early Morning Calm in Te Wheke’s Village

204 VICTORIA GINN Williamson $400 - $600

$400 - $600 192 VICTORIA GINN The Assault and Burning of Te Wheke’s Village $400 - $600 193 VICTORIA GINN Te Wheke Cries ‘UTU’ $400 - $600 194 VICTORIA GINN Portrait of ‘Matu’

205 VICTORIA GINN Young Lieutenant Scott $400 - $600 206 VICTORIA GINN Lieutenant Scott and Kura Fall in Love $400 - $600 207 VICTORIA GINN Kura Running Away with Lieutenant Scott’s Gun $400 - $600

192

$400 - $600 195 VICTORIA GINN Te Wheke Undergoing the Ritual of the Warrior, the Moko

208 VICTORIA GINN Te Wheke’s Whanau Hiding in their Bushcamp $400 - $600

$400 - $600 196 VICTORIA GINN Portrait of Te Wheke Upon his Transformation $400 - $600 197 VICTORIA GINN An Exodus of European Settlers Flee, As Word Spreads of Te Wheke’s Intent to Avenge the Murder of his People $400 - $600 198 VICTORIA GINN Emily’s Fate $400 - $600 199 VICTORIA GINN Emily’s Killer $400 - $600 200 VICTORIA GINN Emily’s Shoes $400 - $600 201 VICTORIA GINN Te wheke Clutching the Severed Head of the Vicar $400 - $600 202 VICTORIA GINN NZ British Army Drummers on Parade $400 - $600 203 VICTORIA GINN Williamson Returns After Hunting for Te Wheke

209 VICTORIA GINN Te Wheke Berating his Woman, Matu $400 - $600 210 VICTORIA GINN Matu Folded in Sorrow $400 - $600 211 VICTORIA GINN Matu Sitting at the Edge of a River $400 - $600

193

212 VICTORIA GINN Colonel Elliot Aiming to Shoot at One of Te Wheke’s Whanau $400 - $600 213 VICTORIA GINN Puni After a Shoot Out $400 - $600 214 VICTORIA GINN Wiremu, the Brother of Te Wheke

194

$400 - $600 215 VICTORIA GINN High Country Landscape with a Member of Te Wheke’s Whanau $400 - $600 216 VICTORIA GINN NZ British Army to Battle with Te Wheke and his Band of Warriors $400 - $600

$400 - $600

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195

196

197

198

199

200

201

202

203

204

205

208

207

208

209

210

211

212

214

215

217 VICTORIA GINN Drummer Burnt by the Remains of Virgin Forest $400 - $600 218 VICTORIA GINN Colonel Elliot Playing Chess with his Scout Wiremu $400 - $600 219 VICTORIA GINN One of Te Wheke’s Warriors Opens Fire Inside the Te Puna Hotel $400 - $600 220 VICTORIA GINN NZ British Army Wagon Blown Up by Te Wheke’s Men $400 - $600 221 VICTORIA GINN Atmpospheric in Camera Montage of Puni $400 - $600 222 VICTORIA GINN Te Wheke and his Men After their Assault on the Te Puna Hotel $400 - $600 223 VICTORIA GINN Portrait of Te Wheke and Matu $400 - $600 224 VICTORIA GINN Te Wheke Wearing the Feather Cloak $400 - $600 Note: All of Utu ﬁlm stills (lot 191 - 224) listed are: signed and dated 1983 and inscribed UTU photographers print 240mm x 240mm, except for lot 212 and lot 239, which is 160mm x 240mm each

213

C O N T E M P O R A RY / M O D E R N + H I S T O R I C A L P H O T O G R A P H Y

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217

218

219

220

221

222

223

224

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 hammer or selling price Webb’s will apply a buyer’s premium of 12.5% of the hammer price for works in the Contemporary Art sale and 15% on items in the Beatles memorabilia & Modern Design sections of the sale, together with GST on such premium, which combined sum shall be the total purchase price. 5. PAYMENT. Payment for all items purchased is due on the day of sale immediately following completion of the sale. If full payment cannot be made on the day of sale a deposit of 10% of the total sum due must be made on the day of sale and the balance must be paid within 5 working days. Payment is by cash, bank (cashiers) cheque or Eftpos. Personal and private bank cheques will be accepted but must be cleared before delivery of goods will be given. Credit cards are not accepted. 6. LOTS SOLD AS VIEWED. All lots are sold as viewed and with all errors to description faults and imperfections whether visible or not. Neither Webb’s nor its vendor are responsible for errors of description or for the genuineness or authenticity of any lot or for any fault or defect in it and make no warranty whatever. Buyers proceed upon their own judgement. Buyers shall be deemed to have inspected the lots or to have made enquiries to their complete satisfaction prior to sale and by the act of bidding shall be deemed to be 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 proceeding against the purchaser for damages for breach of contract. b. To rescind the sale of that or any other lot sold to the purchaser at the same or any other auction. c. To resell the lot by public or private sale. Any deﬁciency resulting from such resale after giving credit to the purchaser for any part payment together with all costs incurred in connection with the lot shall be paid to Webb’s by the purchaser. Any surplus over the proceeds of sale shall belong to the seller and in this condition the expression “proceeds of sale” shall have the same meaning in relation to a sale by private treaty as it has in relation to a sale by auction. d. To store the lot whether at Webb’s own premises or elsewhere at the sole expense of the purchaser and to release the lot only after the purchase price has been paid in full plus the accrued cost of removal storage and all other costs connected to the lot. e. To charge interest on the purchase price at a rate 2% above Webb’s bankers’ then current rate for commercial overdraft facilities to the extent that the price or any part of it remains unpaid for more than seven days from the date of the sale. f. To retain possession of that or any other lot purchased by the purchaser at that or any other auction and to release the same only after payment of money due. g. To apply the proceeds of sale of any lot then or subsequently due to the purchaser towards settlement of money due to Webb’s or it’s vendor. Webb’s shall be entitled to a possessory lien on any property of the purchaser for any purpose while any money remains unpaid under this contract. h. To apply any payment made by the purchaser to Webb’s towards any money owing to Webb’s in respect of 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. 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 wheich the sale is negotiated.

C O N T E M P O R A RY / M O D E R N + H I S T O R I C A L P H O T O G R A P H Y

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 the reverse of this catalogue and displayed in the saleroom. Registration: All intending buyers must complete a bidding form available from the reception desk BUYING AT AUCTION 1. Floor 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 or 15%+GST is payable by all buyers in addition to the hammer price. Please make sure that you are aware of the amount of the buyer’s premium. Make your bids clear preferably by holding up your buyer number card. If you make a mistake e.g. the auctioneer takes a bid from you at a higher level than you had intended or you realise that you had bid on the wrong lot call out to the auctioneer immediately so that the bidding can be adjusted. Waiting until after the hammer falls is too late. If your bid is the highest and the lot is knocked down to you then you have entered a binding obligation to pay for that lot. 2. Sales Subject to Vendor’s 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 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. Valuation Service Webb’s provide free market appraisals on Monday mornings from 9am-1pm or at other times by appointment. Webb’s appraisers will come to your home to view and appraise larger items. Webb’s will provide valuations for insurance matrimonial division family division etc. Please enquire at reception for charges. Valuation charges are refundable on occasion when goods are subsequently offered for sale within a reasonable period.

BANK ACCOUNT DETAILS PAYMENT BY DEPOSIT Important: Fax this form to Webb’s: +64 9 524 7048 so payment can be conﬁrmed and purchases released. BUYER NAME: ........................................................... BUYER NUMBER: ................................................................ SALE NUMBER:.......................................................... Balance owing for purchase/s: NZ *Please include a sale number and buyer number as reference for on direct credits to enable us to dispatch your items efﬁciently.

BANK ACCOUNT DETAILS: BANK: WESTPAC 79 QUEEN ST AUCKLAND NAME: PETER WEBB GALLERIES LTD ACCOUNT NUMBER: 03-0104-0448184-03 FOR INTERNATIONAL DEPOSITS SWIFT CODE: WPACNZ2W Amount transferred (including freight if applicable): NZ DATE TRANSFERRED: ............................................... SIGNED: .............................................................................. CONFIDENTIALITY: The information contained in this facsimile is legally privileged and/or conﬁdential. If you are not the addressee listed below you are notiﬁed that except as authorised agent to the addressee any use disclosure copying or distribution of any of the contents of this facsimile by you is prohibited. Recipients other than the addressee listed below are asked to notify us immediately and return the original facsimile to us.

BIDDING SLIP FOR ABSENTEE BIDDERS ON LOTS IN THE PHOTOGRAPHY 2008 SALE: 23 - 24 JULY 2008 Please bid on my behalf at the above sale for the following lots up to prices recorded below. These bids are to be executed as cheaply as is permitted by other bids or reserves if any. * I agree to comply with the Conditions of Sale as printed in the catalogue. I understand that in the case of a successful bid on items in the Photography 2008 sale a buyer’s premium of twelve and a half percent (12.5%) will be added to the hammer price and that G.S.T is charged on the premium. On major lots customers may prefer to bid by telephone. Please enquire regarding this service which Webb’s carry out at no charge. CATALOGUE DESCRIPTION

LOT NO.

MR/MRS/MS

HOME PHONE

BID*

INITIALS

BUSINESS PHONE

MOBILE

SURNAME/COMPANY

FACSIMILIE

EMAIL ADDRESS

POSTAL 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 be cleared before purchases are delivered.

* 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.

18 Manukau Rd Newmarket PO Box 99251 Auckland New Zealand Ph: 09 524 6804 / Fax: 09 524 7048 auctions@webbs.co.nz / www.webbs.co.nz

SIGNED &

DATED C O N T E M P O R A RY / M O D E R N + H I S T O R I C A L P H O T O G R A P H Y

INDEX OF ARTISTS ABERHART, LAURENCE ARMSTRONG, NEIL

20, 25, 28 71–76

JEN, HENRY

115, 123

JENKINS, GERALD

78-79

JOHNS, PAUL BARRAR, WAYNE

BATTER, HAROLD

BEAUMONT, MATHESON BENGE, HARVEY

87, 125 16, 33

BOURDIN, GUY

BURTON BROS

150, 185–186, 189

CANTWELL, NATASHA

17, 35

CASEY, CAROLIN CLERGUE, LUCIEN

HANLY, GIL HARDING AND BILLING (ATTRIBUTED TO)

MACFARLANE, ROBERT MALOY, RICHARD MARTIN, JOSIAH

SCHOON, THEO

SELIGER, MARK

166, 180, 187

SEMU, GREG SHELTON, ANN

SMITH, ROSS T.

103

SNYDER, RALPH

STERN, BERT

54 44

MILLER, ALAN

51–52

TAKATO, SHIGURO

102, 113

NEWTON, HELMUT

TAYLOR, ERIC

NISHIDA, RYUZO

TEKELA-SMITH, SOFIA

NOBLE, ANNE

THOMPSON, PAUL

O’ROURKE, PADDY

108

PARDINGTON, FIONA

56-57 26 104, 191–224 31 67-68

4, 11, 32, 84, 92, 100–101, 109–111

PAREKOWHAI, MICHAEL

PARK, JEREMY

PERYER, PETER

2, 13, 19, 22, 23, 38, 39, 83, 114

PHOTOGRAPHER, UNKNOWN 153, 155, 159, 167, 170, 172, 175, 176-179, 181, 183, 188, 190 PONTING, HERBERT

95, 99, 107

PULMAN, GEORGE

187

PULMAN, GEORGE (ATTRIBUTED TO)

151, 157

PULMAN, ELIZABETH

128-129

HARTIGAN, PAUL

36-37

HEISSMAN, PAUL

HIGGINS JR., CHESTER

53 30, 82

MILLEA, TOM

NEWMAN, ARNOLD

130–134,

1, 93, 106

MCCULLIN, DON (ATTRIBUTED TO) 49

SUNAMI, SOICHI

136–138, 142, 161–164, 173–174

HAILONG, XIE

45, 63

COXHEAD, FRANK ARNOLD 135, 165, 189

HABICHT, FRANK

SCAVULLO, FRANCESCO

81, 90

MORTENSON, WILLIAM

96–98, 105, 120

GINN, VICTORIA

COLLINS, RICHARD

FRIEDLANDER, MARTI

RITTS, HERB

MORRISON, ROBIN

116-119

DRTIKOL, FRANTISEK

JOWITT, GLENN

REYNOLDS, PATRICK

CLEVELAND, LES

DE TOURETT, ERNEST

REYNOLDS, JOHN

126, 144-149, 152, 154, 156, 158

8–9 77, 80 21 112, 121

TODD, YVONNE

24, 27

TURNER, JOHN

88–89

VALENTINE, GEORGE

143

VETROVSKY, JOSEF 47–48, 58, 62, 64 WEBB, BOYD WEBSTER, CHRISTINE WESTON, EDWARD WILSON, GREG WINKELMANN, HENRY

29 86, 91 50 122, 124 127, 140–141, 168

WINKELMANN, HENRY (ATTRIBUTED TO) 139, 160, 168, 169, 171, 180, 182, 184 WOODS, KATE