The Martin Hill Another View: Collection of The Michael Seresin International Collection of and New Zealand International Black Ceramics and White Photography Auction: Wednesday 8 June at 6.30pm Auction: Thursday 9 June at 6.30pm

Important Photographs Auction: Thursday 9 June at 6.30pm to follow The Michael Seresin Collection A+O is pleased to welcome you to a unique For thirty years Michael Seresin has been catalogue containing two of the most significant a collector of vintage 20th century black and private collections assembled in New Zealand white photography. In this period his keen over many decades and which contain the finest eye has appreciated and located some of the examples of noted international practitioners. foundation images of art photography by leading This catalogue follows the most successful practitioners such as Henri Cartier-Bresson, Bill major art catalogue in the company’s history, a Brandt, Brassai, E.J. Bellocq, Mario Giacomelli, ART+OBJECT selection of highlights from our April Important W. Eugene Smith, Manuel Alvarez Bravo and Paintings & Contemporary Art catalogue can be Eugene Atget. His obvious affinity with artistic 3 Abbey Street found on page 4. potential of the camera lens has resulted in a Newton The Martin Hill Collection is an example of collection of museum quality and never to be a family devotion to the handmade principles of repeated opportunity for photography collectors PO Box 68 345 the English Arts and Crafts movement and the in New Zealand. Newton international webs of influence and inspiration The entire collection toured New Zealand Auckland 1145 which resonated around the world as the 20th public galleries in 2005 under the title Another century progressed. View. Telephone: +64 9 354 4646 Martin Hill came into direct contact with The Seresin collection is complemented with Freephone: 0 800 80 60 01 these far reaching ideals as a young boy in the a superb selection of New Zealand, Australian Facsimile: +64 9 354 4645 1930s in the village of Ditchling in Sussex which and international modern and contemporary [email protected] was founded by the noted English artist and photography. In the last 12 months interest has www.artandobject.co.nz typographer Eric Gill. From this period the Hill accelerated in the presentation of photography collection began and it travelled to New Zealand at auction. 2010 saw A+O sell over $500 000 of with Martin Hill and his mother in 1952. For photography and set numerous artist auction Cover: another forty years the collection was carefully records. This growth of interest has resulted in the added to with signature works by leading images presented in this catalogue which includes Yvonne Todd Bo-Drene international ceramicists such as Shoji Hamada, major names such as , Yvonne lightjet print, 3/3 Dame Lucie Rie and Hans Coper. New Zealand Todd, and and a 2004 works by Roy Cowan, , Juliet Peter, number of rarer works by Bill Henson, Boyd Webb Important Photographs Patricia Perrin and many others were added in and Ernst Haas. Lot #60 this period to result in the works presented in this catalogue: a near archive presentation of British, Venice Biennale 2011 ART+OBJECT has recently valued Michael Inside front cover: Japanese and New Zealand studio pottery over half a century. Parekowhai’s major sculptural installation for W. Eugene Smith Michael Seresin is perhaps best known as the journey and exhibition. On first looking into Thelonius Monk and his Smashed Cigarette an international cinematographer on such films Chapman’s Homer will be on exhibition at the Palazzo Loredan dell’ Ambasciatore from June 4 gelatin silver print as , Angela’s Ashes, Midnight 1965 Express and Harry Potter the Prisoner of Azkaban. and A+O’s Leigh Melville will be attending. Look The Michael Seresin Collection His career spans some thirty five years and for her Venice Blog in the news section of the A+O Lot #26 numerous major motion pictures. His decade’s website. A+O is also pleased to announce that we long collaboration with director has are a sponsor of the New Zealand presentation for Inside rear cover: resulted in many major motion picture classics the first time in 2011. including Birdy, , Fame and Dame Lucie Rie and Hans Online bidding Coper . He is also well known in New Zealand as an A+O is pleased to offer an online bidding service six-place coffee set for international bidders and those that cannot circa 1960 award winning winemaker with Seresin Wines based in Marlborough. be present at the auctions in early June. The The Martin Hill Collection complete catalogue of items will be available for Lot #41 viewing and bidding at www.liveauctioneers.com

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Important Paintings 12 April 2011 & Contemporary Art Auction highlights

Michael Parekowhai Andy Warhol Peter Stichbury Colin McCahon Colin McCahon Bill Jarvis Campbell’s Soup Walter Whitlow Necessary Protection He Calls for Elias taxidermied sparrow, (Vegetable) acrylic on linen, 2005 Synthetic polymer enamel on hardboard, two pot paint and silkscreen print, 1968 $60 618 paint and graphite 1959 aluminium, 2000 $25 162 on Steinbach paper $571 875 $9 435 Colin McCahon mounted to board, 1971 Shane Cotton Kauri and White Pine: $177 280 Julian Dashper 4 x 5 (ID) Domestic Landscape Untitled (1996) acrylic on canvas, 2001 oil and sawdust on Peter Robinson vinyl drumskin and $43 462 hardboard, 1947 In This Lost and drumhead $148 687 Forsaken Land $19 443 acrylic and oilstick on canvas $59 475 Michael Parekowhai Chapman’s Homer from On First Looking into Chapman’s Homer 2010–11 bronze 2710 x 2510 x 1750 mm overall courtesy of artist and Michael Lett photo Jennifer French

The Venice Biennale is the cornerstone of Creative New Zealand’s international visual arts strategy. This year Michael Parekowhai was invited by Creative New Zealand and 2011 Venice Biennale Commissioner Jenny Harper to represent Aotearoa. His multi-part sculptural installation On first looking into Chapman’s Homer, will be exhibited in the Palazzo Loredan dell’Ambasciatore from 4 June 2011. It was valued for the journey and the exhibition by ART+OBJECT, valuer of choice to Creative New Zealand for the 54th Venice Biennale. The David and Angela Wright Collection of Modern and Contemporary New Zealand Art 30 June 2011 Catalogue published 16 June

Bill Hammond Peter Robinson House and Garden Boy am I Scarred, Eh Dawn – Water Poem acrylic on unstretched acrylic and oilstick on acrylic on unstretched canvas, 2000 hessian canvas, 1985 2147 x 1736mm 1400 x 1060mm 2045 x 1830mm $200 000 - $300 000 $55 000 - $75 000 $300 000 - $400 000 The Connells Bay Submissions invited until 31st July 2011 Full details at www.connellsbay.co.nz Sculpture Park The Connells Bay Sculpture Park is open from Labour Weekend until Easter each year, Photographic visits are by appointment only

Installation project Spool Henge, South Pole, Antarctica, 2009 2011/2012 For more information Len Castle contact James Parkinson Inverted volcano moulded vase Objects and on 09 354 4646 or 021 222 8184 with red lava glaze to the interior or email [email protected] l.850mm Decorative Arts $2500 – $3500 14 July 2011

The Barry Ferguson Collection of Floral and Botanical Art 12 July 2011

Assembled over three decades in New E.I. Featon York, London and New Zealand this New Zealand Native Flowers watercolour with applied bodycolour, collection illustrates over three hundred circa 1880 years of the finest botanical engravings, 760 x 510mm lithographs and watercolours. The $10 000 – $12 000 collection is particularly strong in contemporary British and American artists including Rory McEwen, Margaret Stones, Valentine Lawford, Jessica Tcherepnine, Ann Farrer, Lucca Palermo and Alastair Gordon, Lord Aberdeen. Oceanic Artefacts 13 July 2011 Entries invited until 17 June

An important 18th century mere pounamu Provenance: formerly in the ownership of the Ngapuhi Chief Te Morenga (b.circa 1760, d. 1834) with a letter dating the gift of the mere to Te Morenga in 1821. l.425mm $80 000 – $120 000

This important mere is the centrepiece of a large offering of maori and pacific artefacts. The auction features contact and pre-contact pieces including wakahuia, weaponry, hei tiki, a large collection of toki and items of personal adornment. The sale will also feature fine aboriginal artefacts and Solomon Islands pieces.

For more information contact James Parkinson on 09 354 4646 or 021 222 8184 or email [email protected] Important Paintings & Contemporary Art 18 August 2011 Entries now invited

For more information contact Ben Plumbly on 09 354 4646 or 021 222 8183 or email [email protected]

Liz Maw Colleen oil on board, 2005 2320 x 1380mm $25 000 – $35 000 Invivo Marlborough Sauvignon Blanc 2010

“It delivers an enchanting balance between the herbaceous and tropical fruit camps” Cuisine Magazine

5 stars and rated Top 10 Sauvignon Blancs in New Zealand 2009 & 2010

Official Partner

For more information and Invivo outlets visit: www.invivowines.com The Ross Morrison Collection September 2011

Ross Morrison has been collecting the finest European modernist design, decorator items and antiques from around the world including France, Japan and America for the past 32 years. This catalogue includes fine furniture and design from Ross’ personal collection.

Interior view of designed exhibitions, including Modern Chairs 4. A William Katavolos, Ross Littell and private residence (1969) showcasing items 1918-1970 at the Whitechapel Art Douglas Kelly, Leather slung “T” from Ross Morrison’s private collection: Gallery organised by the Victoria & Chair Model 3LC designed in 1950 Albert Museum in 1970. 620 has been & produced by Laverne International 1. One of a pair of 620 series leather included in the V&A’s permanent U.S.A. sofa’s by German (Braun) design legend collection since 1970. Dieter Rams for Vistoe Germany. 620 5. Ernst Plischke pendant light designed was awarded the Rosenthal Studio Prize 2. 1960’s Portmeirion Greek Key coffee for St. Martins Presbyterian Church, St. in 1966 and received a Gold Medal at set by Susan Williams Ellis. Martins the International Furniture Exhibition in Vienna in 1969. It then went on to 3. 1970’s chrome & glass coffee table by be exhibited in numerous international Italian designer Marco Zanuso. The Rocket – the sexiest espresso machine in the world

WDNHRQHIRUDWHVWGULYH_ZZZWKHURFNHWFRQ]GLVWULEXWRUV Lot 46 (detail) Bryan Newman The Martin Hill Collection of International and New Zealand Ceramics

Auction Wednesday 8 June 2011 at 6.30pm 3 Abbey Street, Newton, Auckland

Opening Preview Thursday 2 June 6.00pm – 8.30pm

Viewing Thursday 2 June 9.00am – 5.00pm Friday 3 June 9.00am – 5.00pm Saturday 4 June 11.00am – 4.00pm Sunday 5 June 11.00am – 4.00pm Monday 6 June (Queen’s Birthday) 11.00am – 4.00pm Tuesday 7 June 9.00am – 5.00pm Wednesday 8 June 9.00am – 2.00pm Perry Martin Hill (1926 – 2005) F.N.Z.I. A, A.R.I.B.A is described in the biography prepared by the Victoria University, School of Architecture as one of ’s quiet achievers in the field of architecture. His accomplishments, however as an architect and writer mark him as a significant contributor to the post-war architectural scene in New Zealand. He is perhaps most well known in architectural circles as the co-designer with Raymond Boyce of the interiors for the New Zealand Pavilion at Osaka for Expo70.

His influence as a collector and mentor figure to New Zealand’s burgeoning studio pottery scene from the 1960s is also well documented and it this sphere of his life that we celebrate with this catalogue.

In 1952 Martin Hill arrived in New Zealand with his mother Mary via an assisted passage and was bonded to the Ministry of Works. It was the beginning of a long and diverse career which included both architectural work and his regular column for the Perry Martin Hill (1926 – 2005) Dominion between 1964 and 1975. He was also actively involved in architectural restoration and archaeology for important projects such as Katherine Mansfield’s birthplace and the Cottage, both of which continue as important historic education and artistic residencies.

Prior to arriving in New Zealand Martin Hill studied at the Architectural Association School of Architecture in London where he was taught by the likes of Alvar Alto, Ove Arup and received lectures from Frank Lloyd Wright and Le Corbusier.

In New Zealand after his time with the MOW he was a partner in a number of architectural practices concluding with Synaxon Hill Group Architects (1973–2005)

16 Hill grew up the village of Ditchling, Sussex, where well known artist and typographer Eric Gill founded an Arts and Crafts community. Many artists and craftspeople remained in the village once Eric Gill had moved on and Martin and his parents had direct contact with the work of artists such as Frank Brangwyn and studio pottery from leaders such as , Shoji Hamada and Michael Cardew, available in the village from the studio shop of their neighbour, weaver Ethel Mairet.

This collection travelled to New Zealand with Martin Hill and his mother and was augmented and expanded with works from the leading New Zealand practitioners whose work can be seen in this catalogue. It is no exaggeration to say that the Hill collection acts as a vital link between the most influential British, Japanese and Continental studio ceramicists of the immediate pre and Interior of the Hill residence, Wellington. post WWII period and the flowering of New Zealand practice in the late 1950s and 1960s.

Bernard Leach visited the Hills on his 1962 visit to New Zealand and inspected the collection, commenting on the pots he had made.

In short the importance of this collection cannot be overstated. To be able to present an archive collection spanning over half a century of international practice is a rare event.

17 Lots

1. Winchcombe Pottery 6. Winchcombe Pottery 11. Michael Cardew 16. Michael Cardew Oval slipware dish with poured Large lidded slipware jar A Winchcombe Pottery slipware Wenford Bridge stoneware teapot cream slip decoration on a brown decorated with scrolling motifs in plate, brown painted decoration with painted decoration in iron ground beneath a rich galena brown and white under a galena with an incised cross hatched on an unglazed surface, with two glaze Unmarked, L.280mm glaze, patterning on yellow ground. pierced lugs at the shoulder and $150 – $250 Winchcombe Pottery seal mark, Impressed MC and Winchcombe attached cane handle. Impressed H.240mm Pottery seals, D.190mm personal seal and Wenford Bridge 2. Winchcombe Pottery $250 – $500 $150 – $250 impressed seal. Small rim frits, Lidded slipware jar, decorated W.300mm with a trailing wavy line wiped 7. Michael Cardew 12. Michael Cardew $400 – $800 though a layer of cream slip Winchcombe Pottery slipware A Winchcombe Pottery slipware between concentric bands tyg with three looping handles, bowl with green glazed interior, 17. Michael Cardew under a galena glaze, possibly cream slip under a galena glaze. on a raised circular foot. The Two early St Ives egg cups and by Michael Cardew. Impressed Impressed MC and Winchcombe exterior with a green slip trailing an early Winchcombe Pottery Winchcombe Pottery seal, Pottery seals. Broken and spiral design. Impressed MC egg cup together with two St Ives H.120mm repaired, D.170mm and Winchcombe Pottery seals, stoneware egg cups. The two $200 – $400 $100 – $200 D.190mm early egg cups impressed with $800 – $1400 personal seal marks (5) 3. Winchcombe Pottery 8. Michael Cardew $200 – $400 Slipware casserole dish and An early and rare St Ives slipware 13. Michael Cardew cover. The interior with a trailing bowl, cream slip with an amber Winchcombe Pottery slipware 18. Michael Cardew wavy line wiped through a layer of glaze. The well incised with floral Raisin jar. Cream slip under a rich Slipware teapot with stylised cream slip under a galena glaze. forms under the glaze. Impressed galena glaze, incised “Raisins” floral design in brown on a Winchcombe Pottery seal. The lid MC and St Ives pottery seals. to the jar and lid. The edge of cream slip with incised cross broken and repaired, D.230mm Circa 1920, D.180mm the lid with chipping evident hatching. Circa 1920. An almost $100 – $200 $400 – $800 under the glaze. Impressed MC identical example illustrated in and Winchcombe Pottery seals, British Studio Ceramics by Paul 4. Winchcombe Pottery 9. Michael Cardew H.200mm Rice. P34. Impressed MC and A large slipware casserole A Winchcombe Pottery slipware $400 – $600 Winchcombe Pottery seals to the dish decorated with a trailing water jar with brushed decoration base and lid, L.260mm wavy line wiped through a layer in brown on a cream slip under 14. Michael Cardew $400 – $800 of cream slip under a galena a rich galena glaze, with single Wenford Bridge stoneware wall glaze. The decoration repeated looping handle. Impressed MC pocket painted with a flower 19. Michael Cardew to the interior, exterior and lid. and Winchcombe Pottery seals, stem motif on oatmeal coloured Winchcombe Pottery slipware Unmarked, D.250mm H.290mm ground. Impressed MC and coffee pot with strap handle and $250 – $350 $1000 – $2000 Wenford Bridge seals, H.210mm slip trailed decoration under a $200 – $400 galena glaze. Impressed MC 5. Winchcombe Pottery 10. Michael Cardew and Winchcombe Pottery seals, Eight slipware dishes, each An oval slipware platter with dot 15. Michael Cardew (attributed) H.200mm decorated with a trailing line and line slip decoration on a An early circular slipware dish $300 – $500 design wiped through a layer of brown glazed ground. Impressed with trailed cream yellow slip cream slip under a galena glaze MC seal mark, L.420mm on a brown tenmoku ground. $400 – $800 $400 – $800 Unmarked, D.270mm $300 – $500

18 20. Michael Cardew (attributed) 28. Raymond Finch Michael Cardew success, his engagement with Slipware cheese dish and cover A slipware mug decorated with (b.1901, Wimbledon indigenous traditions was with a wavy line decoration wiped swimming fish in brown on a – d. Truro, 1983) sincere and had far reaching through cream slip under a galena white slip under a galena glaze. Cardew was the first apprentice consequences as these forms glaze. Unmarked, D.190mm Winchcombe Pottery seal mark at St.Ives and his achievements and ideas were reflected in his $250 – $500 and personal seal. Together with came to rival Leach’s in terms own work. a Winchcombe Pottery mug (2) of artistic distinction and Cardew’s influence in 21. Michael Cardew $150 – $250 global influence. Indeed Leach New Zealand was direct and Winchcombe Pottery slipware described Cardew as his best significant via Peter Stichbury dish decorated with a trailing line 29. Raymond Finch student. After his apprenticeship who in 1958 was the first western design wiped through cream slip Winchcombe Pottery slipware at St.Ives Cardew revived the student at Abuja and whose under a galena glaze. MC seal, bowl with deep brown glaze, Winchcombe Pottery in 1926 and subsequent work reveals the D.190mm decorated with a pattern of began to focus on rebuilding a profound effect of the Nigerian $200 – $300 intersecting lines. Impressed R.F large kiln which could hold up to work he encountered. seal and Winchcombe Pottery 3000 pieces. Cardew’s decision Cardew returned to Wenford 22. Winchcombe Pottery mark, D.210mm to persevere with the technically in 1965 and like Leach spent Five slipware bowls decorated $150 – $250 difficult and often dangerous lead a large portion of the rest of with a trailing line design under sulphide (galena) glaze which his life travelling and teaching a galena glaze. Winchcombe 30. Michael Cardew Abuja had been abandoned by Leach including a well remembered visit Pottery seal mark to each Pottery in favour of the more reliable to New Zealand in 1968. Te Papa $300 – $500 Stoneware baluster shaped lead oxide glaze resulted in both holds a wonderful photographic vase with three strap handles to huge firing losses rendering the record by David Carson-Parker 23. Winchcombe Pottery the shoulder covered in a grass Pottery financially marginal but of Cardew in action at the wheel Slipware dish with painted ash slate-grey glaze. Impressed on the plus side pots with the during this 1968 trip. decoration, cream slip on brown MC and Abuja Pottery seals, most marvellous chestnut to red ground. Winchcombe Pottery seal H.210mm to honey glaze gradations. By the mark, L.170mm $800 – $1400 $100 – $200 late 1920s Cardew’s diligence 31. Ladi Kwali paid off and The Winchcombe 24. Winchcombe Pottery Abuja Pottery stoneware oil bottle Pottery went on to produce a Four various slipware bowls, one with tenmoku glaze on a slate- dazzling array of pots, jugs, damaged and repaired blue ground. Impressed LK and bowls, cider jugs, plates and $150 – $250 Abuja Pottery seals, H.240mm teapots. $250 – $500 Cardew’s life can be read as 25. Winchcombe Pottery a quest for authenticity. Cornish (attributed) 32. Abuja Pottery by descent he re-engaged with Two lidded slipware casserole Lidded cup with a slate-grey his roots by learning the Cornish dishes. Unmarked, D.190mm glaze (probably by Michael language and traditions, even $200 – $300 Cardew) and another Abuja relocating to Wenford Bridge Pottery lidded cup with a tenmoku near Bodmin in Cornwall. 26. Winchcombe Pottery glaze, each with Abuja Pottery Such ambitious ventures kept Two slipware beakers with trailing seal marks him in financially straitened line design in brown on white slip $200 – $400 circumstances and as a result under a galena glaze. he readily accepted the offer $100 – $200 of a secure teaching position in 1942 he accepted a post in the 27. A small slipware ramekin Colonial service in Ghana. and vase, unmarked It was in Africa that Cardew $50 – $100 came into contact with a different ceramics tradition and although his various attempts to develop sustainable pottery production met with variable levels of

19 Ladi Kwali Dame Lucie Rie 33. Abuja Pottery 39. Dame Lucie Rie and Hans (b. circa 1925, Nigeria (b. Vienna, 1902 A large and impressive ovoid floor Coper – d.1984, Nigeria) – d. London, 1995). vase with incised bands at the Stoneware pouring vessel Ladi Kwali was born in the village Lucie Rie is regarded as one of neck above incised concentric with side handle, black glaze. of Kwali in the Gwari region of the major figures in British post- bands across the body. The Impressed LR and HC seal marks, Northern Nigeria, where pottery war ceramics. Her legacy was bands at the shoulder enclosing circa 1947-58 was a common occupation acknowledged in 2009 by the re- triangular geometric motifs with $500 – $1000 among women. She learned to creation of Rie’s longtime Albion cross hatched detailing in a white 40. Dame Lucie Rie make pottery as a child using the Mews studio at the Victoria and slip. Covered in a grass ash Stoneware cream jug with traditional method of coiling. Albert Museum. slate grey glaze over tenmoku. manganese glaze, LR seal mark, In the early 1950s her work In the 1920 Rie studied at Unmarked, H.350mm circa 1958, H.110mm was seen by Michael Cardew the Kunstgewerbeschule, Vienna $600 – $1200 $400 – $800 in Abuja, Nigeria and she where her teachers included 34. Alan Caiger-Smith subsequently became his only the renowned Michael Powolny. A small bowl with painted 40a. Dame Lucie Rie and Hans female student and learnt to It was in Vienna that she learnt abstract design under a lustrous Coper throw pots on the wheel. Her the processes of ceramic tin glaze. Painted monogram, Stoneware bowl with white tin work was shown to great acclaim chemistry which enabled her to D.130mm glaze flecked with iron, impressed in London in the 1950s and 60. develop a range of volcanic and $50 – $100 LR and HC seal marks, D.130mm Kwali’s combination of western textured glazes which became a $500 – $1000 form making and her distinctive characteristic of her later work. 35. Dame Lucie Rie interpretation of Nigerian pattern In the 1930s she lived in an Stoneware pouring vessel 41. Dame Lucie Rie and Hans making, complex sgraffito apartment designed by Ernst with extruded side handle and Coper decoration was received as an Plischke who went on to have a matching bowl. Oyster white Six place coffee set, comprising a elegant example of cross-cultural seminal role in the development exterior with yellow glazed coffee pot and milk jug each with influence in reverse to the normal of modernist architecture in New interior. Impressed LR seal mark, side handles, sugar basin and trend. Zealand after his arrival in 1939. circa 1957, bowl D.140mm, jug six cups and saucers. Stoneware Rie emigrated to England in H.80mm with manganese glaze with 1938 and in the 1940s she set up $1000 – $1500 sgraffito banding to the exterior her famous studio where Hans and white tin glazed interior. The Coper was an early assistant and 36. Dame Lucie Rie coffee pot with a small chip to later collaborator. Teapot with manganese glaze the rim of the spout. Impressed Rie and Coper worked with vertical radiating sgraffito LR and HC seal marks to the base closely together throughout the bands. The looping cane handle of the cups, the coffee pot, milk 1950s and made many technical attached at the shoulder through jug and sugar basin with LR seal breakthroughs by utilizing the pierced lugs. Impressed LR seal marks, circa 1960. then new technology of a high- mark, circa 1958. $8000 – $12000 firing electric kiln. $2500 – $5000 1967 Rie’s contribution was 42. Dame Lucie Rie officially recognized by a British 37. Dame Lucie Rie Stoneware oil bottle and vinegar Arts Council retrospective and Stoneware bowl of conical shape, bottle each complete with original a year later she was awarded an white tin glaze with manganese stopper, white tin glaze with OBE and an Honorary Doctorate glazed rim. Impressed LR seal manganese glaze to the rim, LR at the Royal College of Art. mark. Circa 197, D.110mm seal mark, circa 1958, H.160mm $400 – $800 and H.150mm $1000 – $1500 38. Dame Lucie Rie Stoneware bowl with yellow glaze to interior and exterior, manganese glazed rim. Impressed LR seal mark, with repairs, D.140mm $100 – $300

20 43. Dame Lucie Rie (attributed) 48. Kenneth Clark, Ann Wynn 55. Braunton Pottery 62. Colin Pearson Porcelain bowl of conical shape Reeves Peasant pottery jug with slip Two stoneware pan shaped with a metallic bronze glaze, the A tin glazed dish painted with trailed decoration, together with serving dishes together with a interior incised with concentric floral and geometric designs, a Paul Baron jug and one other Brighton Pottery lidded stoneware bands. The exterior with a broad together with a rectangular tin jug (3) casserole dish (3) incised band to the rim and glazed dish with abstract lozenge $100 – $200 $50 – $100 vertical radiating sgraffito bands design, a floral design tile by Ann with a further incised inky blue Wynn Reeves and two other tiles 56. Katherine Pleydell- Bouverie 63. St Ives band to the lower section of (5) Small stoneware bowl with A small stoneware bowl together the bowl and two further bands $100 – $200 celadon glaze, together with a with a vase, mug , small dish and highlighted in copper. Unmarked. blue glazed bowl and a small bowl lidded sugar basin. Impressed For a similar bowl see Sothebys 49. John Chappell with vertical sgraffito cut bands, marks to each (5) Art and Design from 1870 auction Stoneware dish and lidded butter impressed mark to each (3) $50 – $100 16th November 2006, Lot 529, D. dish, impressed initials to the $400 – $600 290mm base of each 64. St Ives $3000 – $5000 $100 – $200 57. Katherine Pleydell-Bouverie Stoneware Yunomi (tea cup) Six celadon glazed stoneware together with two beakers and a 44. Dame Lucie Rie 50. John Chappell bowls, impressed seal mark to saucer, each with tenmoku glaze A pair of stoneware white tin Stoneware dish in the Mashiko each, D.190mm and impressed marks (4) glazed beakers, one with pale style with a speckled iron glaze $200 – $400 $50 – $100 green glazed interior, the other and repeating wave design, with blue interior, impressed seal impressed mark, D.240mm 58. Katherine Pleydell-Bouverie 65. St Ives mark, H.110mm $100 – $200 Five earthenware planters and Lidded casserole dish, small $500 – $1000 eight small dishes (13) lidded dish, two lidded ramekins, 51. Marianne de Trey $200 – $300 lidded bowl and two small dishes. 45. Hans Coper Stoneware platter painted with Each with glazed interior and An early angular stoneware vase, a fish design together with a 59. Louis Hanssen (attributed) unglazed exterior, impressed the interior in mat manganese, the cup and saucer and coffee cup. Stoneware lidded bowl with mark to each (7) exterior textured with a buff white Impressed cipher mark (3) ribbed decoration covered in a $150 – $250 slip, raised on a cylindrical foot, $100 – $200 white slip (repair to lid) together circa 1958. Impressed HC seal with a small lidded stoneware 66. St Ives mark to the base, H.150mm 52. Philip Smeale Wadsworth octagonal box (2) Four stoneware mugs with ash $5000 – $8000 Stoneware ovoid vase, incised $150 – $250 and feldspar glaze, impressed initials to the base, H.170mm mark 46. Bryan Newman $50 – $100 60. Gwyn Hanssen Pigott $100 – $200 Rare composite sculpture, Two stoneware cups and constructed from numerous 53. Quentin Bell saucers, milk jug and three bowls. 67. St Ives thrown shapes. Earthenware with Earthenware jug painted with Tenmoku glazed, each with Nine stoneware plates with tin, iron and yellow glazing, some a floral design, together with impressed marks glazed interior and unglazed minor damage, 300 x 180mm. A stoneware mug (potter unknown) $300 – $500 exterior together with a pouring similar example illustrated in Art and an egg cup, H .90mm (3) vessel with celadon glaze (10) of the Modern Potter by Tony $50 – $100 61. Gwyn Hanssen Piggott $100 – $200 Birks p.66-67 Four stoneware cups and $1000 – $1400 54. Charles Brannam saucers. The cups with strap 68. St Ives Slip ware bowl together with an handles with bluish white glaze, Lidded stoneware jar, three 47. Kenneth Clark earthenware bowl by G Guilme, impressed marks plates and two small beakers with Four tin glazed plates painted D.120mm and 130mm (2) $200 – $300 tenmoku glaze, impressed mark with abstract designs $50 – $100 to each $150 – $300 $100 – $200

21 Bernard Leach 69. St Ives 75. Bernard Leach 80. Bernard Leach (b. Hong Kong, 1887 A stoneware waisted vase with Stoneware ashtray with glazed Stoneware tile incised and – d. England, 1979) tenmoku glaze, impressed mark, celadon interior and unglazed painted with a swimming fish on Regarded as the father of British H.150mm exterior. Impressed personal seal a cream ground. Painted St Ives studio pottery, Leach was $50 – $100 mark and St Ives Pottery mark, mark and painted Leach mark to the author of A Potter’s Book W.140mm, together with a small the front of the tile, the reverse 70. St Ives (London, 1940) widely regarded St Ives bowl, (2) with four impressed St Ives seal Two small slipware bowls and a as one of the most influential $200-300 marks, glaze damage to the vase decorated with cream slip publications of the 20th century . upper section of the tile, H.150 x on a brown ground, impressed 76. Bernard Leach Leach’s formative years W.150mm mark to each Stoneware teapot with celadon were spent in Hong Kong and $150 – $300 $100 – $200 glaze, small rim frits to the spout, Japan. He studied at both the impressed personal seal mark and 81. St Ives Pottery Slade School of Art in London 71. St Ives St Ives Pottery mark, H.150mm An earthenware dish, possibly and under Shigekichi Urano in Two slipware vases decorated $500 – $1000 by Bernard Leach with pie crust Japan. It was during this time with a cream slip on a brown rim decorated with intersecting he befriended a young potter ground, impressed mark to each 77. Bernard Leach combed lines on a rich brown named Shoji Hamada. His $50 – $100 Stoneware teapot with brown glazed ground, unmarked, collaboration with Hamada would floral decoration on a grey ash D.320mm have enormous resonance in the glazed ground, chipped to the lid, Martin Hill’s notes record that English speaking world and in 72. Bernard Leach impressed St Ives Pottery seal Leach mentioned to him that particular New Zealand, where Large and impressive stone ware mark and personal seal mark the piecrust rim was a design both visited in the 1960s. Len tile decorated with a well head $400 – $800 characteristic of some of his work Castle studied with Leach in the design on cream ground, five from the early 1930’s 1950s and introduced Leach’s impressed St Ives Pottery marks 78. Bernard Leach (attributed) $1000 – $2000 philosophies to the New Zealand to the back of the tile, H.225 x Small ovoid stoneware vase with audience. W.225mm deep black glaze. Firing flaw 82. David Leach In conjunction with Hamada, $2000 – $4000 to top rim. Martin Hill showed Stoneware vase of ovoid shape, Leach set up the St. Ives Pottery, Bernard Leach this small vase tenmoku glaze decorated with a Cornwall in 1920, including the 73. Bernard Leach when he visited New Zealand leaf pattern to the shoulder above construction of a traditional Stoneware tile decorated with a in 1962. Leach informed Martin two incised concentric bands, Japanese wood burning kiln. leaping deer on cream ground, that this vase was his work but he impressed mark, H.180mm They promoted pottery as a unmarked, H.100 x W.100mm had not marked it with a personal $400 – $800 combination of Western and $200 – $300 seal mark due to the flaw to the Eastern arts and philosophies. top rim. Impressed St Ives mark, 83. David Leach The founding of the St. Ives 74. Bernard Leach H.190mm Lowerdown Pottery stoneware Pottery is widely regarded as Stoneware rectangular pen tray. $200 – $400 tile, together with a milk jug and the birth of the studio pottery Pale celadon glaze over combed sugar basin painted with a leaf movement. white slip to the interior, the 79. Bernard Leach (attributed) design, impressed Lowerdown Leach’s contribution and exterior with tenmoku glaze, circa Earthenware dish with moulded Pottery marks connection to the Hill collection 1960. Impressed personal seal pie crust rim and feather pattern $100 – $200 spans at least thirty years of mark and St Ives Pottery mark. decoration on yellow ground, close contact. Mary Hill acquired For a similar example see Bernard impressed St Ives seal mark, circa 84. English potter unknown works by Leach in the 1930s Leach: A potters work, Plate 33, 1930, D.200mm Stoneware vase of ovoid form whilst at Ditchling, Sussex and W.210mm Martin Hill’s notes record that covered in a deep brown glaze Leach in turn visited Martin Hill in $400 – $800 he showed this dish to Bernard stopping short of the foot with Wellington in 1962 to inspect the Leach who confirmed that it iron brown brushed decoration, collection during his visit to New was his work when he viewed possibly by David Leach, Zealand in that year. the collection. Another identical unmarked, H.260mm example can be viewed in the $300 – $500 CBS Gallery collection at www. cbs.co.uk $1000 – $2000

22 85. St Ives 91. John Shelly Japanese Shoji Hamada Stoneware jug with painted motifs A slipware dish decorated in (b. 1894, Mizonokuchi, Kanagawa on a grey ash glazed ground, brown and cream slip on a brown 93. Shoji Hamada Prefecture, Japan impressed St Ives seal mark, frits glazed ground, impressed mark, Stoneware Yunomi (teacup), – d. Mashiko, Japan, 1978) layered cream slip and grey to the rim L.200mm Designated a ‘National Living crawling glaze with iron painted $100 – $200 $80 – $120 Treasure’ by the Japanese gestural design, H.90mm Government in 1955 Hamada 86. St Ives 92. Lewis Groves $500 – $1000 holds a pivotal position in the Two small stoneware tiles Stoneware mug with deep brown development of studio pottery in decorated with floral designs 94. Shoji Hamada glaze together with another conjunction with Bernard Leach together with a large tile with ash Square stoneware bottle vase, stoneware mug and as an inspirational teacher glaze, the two small tiles with the body with dry iron glaze $20 – $40 of luminaries such as Shimaoka impressed marks, H. 50 x W.50mm with poured loops of ‘nuka’ and Tatsuzo. and H.120 x W.130mm, (3) tenmoku to each face, H.230mm His life was intertwined with $40 – $80 $2500 – $5000 that of Bernard Leach, so much so that Leach was the author 87. St Ives 95. Shimaoka Tatsuzo of the definitive text Hamada: Stoneware teapot with floral Stoneware dish decorated with Potter in 1976. Len Castle decoration on a grey ash ground, stylized floral design in cream acknowledges just this in his unmarked slip on a brown glaze, impressed review of the book writing, ‘in $250 – $500 potter’s seal to the base, D.274mm the world of pottery, Leach and 88. St Ives $500 – $1000 Hamada have been messengers Stoneware tile painted with a between cultures on opposite simple flower design on cream 96. Shimaoka Tatsuzo sides of the earth: Bernard Leach ground. Painted St Ives mark A large stoneware dish decorated mainly through his writings, and to the front of the tile, four with a central roundel with Shoji Hamada by the practical impressed marks to the reverse, stylized fruit design in cream example of his work.’ H.150 x W.150mm, together with slip surrounded by impressed It is fair to say that Shoji another stoneware tile painted and inlaid herringbone pattern. Hamada’s visit to New Zealand with a swimming fish (cracked and Impressed seal to the base, with was both galvanizing for the local repaired), H. 140 x W.140mm, (2) wood box bearing the signature community. To this day it is still $150 – $250 and seal of Shimaoka Tatsuzo, discussed in reverential tones. On D.307mm this 1965 visit Hamada bought 89. Norah Braden $2000 – $4000 a selection of work which was Stoneware vase of ovoid shape exhibited and offered for sale with cream crackle glaze, painted 97. Shimaoka Tatsuzo in New Zealand. These items mark, H.210mm Sake set, comprising a bottle occasionally resurface at auction $400 – $800 (tokkuri) and five cups (guinomi), in New Zealand and are highly all decorated with impressed sought after by collectors. 90. Norah Braden and inlaid diagonal cord design Stoneware bowl with combed beneath a cream glaze, the decoration beneath a white slip. tokkuri with three iron-decorated Impressed mark and incised roundels and impressed seal to numerals to the foot ring probably footrim, H. 145mm referencing the glaze type, $400 – $800 D.170mm $350 – $700

23 Shimaoka Tatsuzo 98. Shimaoka Tatsuzo 103. Mashiko Pottery New Zealand Pottery (b.Tokyo, 1919 A pair of stoneware bottles Stoneware dish with poured – d.Manchiko, 2007) decorated with impressed and cream ‘nuka’ and persimmon 110. Juliet Peter Shimaoka Tatsuzo was born inlaid diagonal cord design glaze over tenmoku, D.320mm Large ovoid stoneware floor vase in 1919 in Tokyo. After having beneath a cream-coloured glaze, $400 – $800 with incised open rondure motifs studied ceramics at Tokyo H.140mm to the shoulder above incised 104. Institute of Technology, in 1946 $400 - $800 A Japanese Seto dish concentric bands on a mottled he began his apprenticeship covered with a cream crackled dark green ash glaze, incised 99. Shimaoka Tatsuzo with the potter Shoji Hamada, a glaze and iron-decorated with the initials to the base, H.440mm A stoneware teabowl, the exterior leading proponent of the mingei ‘horse eye’ design, Edo Period $400 – $800 decorated with a net design philosophy, which stressed the (19th Century), D.257mm in cream slip on brown glaze, 111. Juliet Peter connection between the quality $200 – $400 impressed potter’s seal to the Ovoid stoneware vase with blue of a craft object and the spirit base, D.120mm 105. A large Japanese Seto dish and green salt glaze, decorated with which it was made. In 1953 $400 – $800 covered with a cream crackled with incised geometric rondel and Shimaoka established his own glaze and iron-decorated with the sun forms in a checker pattern, kiln and the following year he held 100. Mashiko Pottery ‘horse eye’ design, Edo Period incised initials to the base, his first exhibition in Tokyo. In the Stoneware plate with tenmoku (19th century), D.340mm H.300mm 1970’s he held his first exhibitions glaze to the well and rope $400 - $800 $300 – $500 in USA and in Europe. impression pattern. Paper Shimaoka Tatsuko was a label with calligraphic charters 106. A small Japanese stoneware 112. Juliet Peter master of many slip decorating attached to the base, D.220mm vase with poured glaze on an Ovoid stoneware floor vase with and firing techniques for $150 – $250 unglazed surface together with oatmeal coloured ash glaze with pottery. His signature was his a Mashiko Pottery plate with deeply incised decoration to jomon zogan (rope-impressed 101. Mashiko Pottery tenmoku glaze to the rim, (2) the main body of the vase, the inlay) technique, a fusion of the An impressive stoneware vase $30 – $50 shoulder with an incised ribbed Japanese Jomon pottery and of ovoid form with brushed pattern, unmarked, H.350mm Korean decorative arts. Because tenmoku and persimmon marbled 107. A pair of Japanese stone $300 – $500 of his unique contribution to the glaze decoration on an oatmeal yunomi with wax resist decoration art of pottery, in 1996 Shimaoka coloured ground, incised and a tenmoku glazed bowl with 113. Roy Cowan was designated a ‘Living National character mark to the base, wax resist decoration (3) Ovoid vase with sun and koru Treasure’ by the Japanese H.300mm $100 – $200 spiral decoration in blue, brown government. $600 – $1200 and green salt glaze, incised 108. Japanese stoneware teapot initials to the base, H.340mm 102. Mashiko Pottery with cane handle $400 – $800 Stoneware dish with brushed dark $30 – $50 green and olive wave designs on 114. Roy Cowan (attributed) an oatmeal grey glazed ground, 109. A large Japanese bowl A large impressive stoneware D.370mm covered with blue crackled glaze, trough with speckled iron glaze, $400 – $800 together with two small dishes unmarked, W.430mm with painted floral decoration $600 – $1200 (damaged), the first D. 337mm (2) $100 – $200 115. Roy Cowan Large and impressive winged sculptural stone ware slab built vase with brown and oatmeal coloured glaze. Firing flaws to the base and lower section, unmarked, H. 720mm x W.720mm $1000 – $2000

24 116. Roy Cowan 123. Juliet Peter 130. Juliet Peter 138. Mirek Smisek ‘An outing’ Stoneware charger Rectangular stoneware dish Ovoid stoneware vase, original Large stone ware charger with painted with a scene of fish with wax resist decoration in a label affixed to the base, tenmoku glaze, wax resist swimming amongst aquatic mottled olive and brown ash glaze L.140mm decoration forming a flower plants, original label attached, together with a bowl decorated $40 – $80 head design, impressed initials, D.400mm with fish under an aqua glaze. D.390mm $300 – $500 Both pieces unmarked. l. 420mm 131. Juliet Peter $200 – $300 and d.190mm, (2) Stoneware milk jug and lidded 117. Juliet Peter $100 – $200 sugar basin, sedge vase, pot- 139. Mirek Smisek Slab sided stoneware floor vase pourri vase, and lidded dish (5) Large stoneware dish with with incised decoration through 124. Juliet Peter $100 – $200 gestural decoration on a green the mottled olive ash glaze, the Stoneware platter decorated and grey glaze, impressed mark, upper section with tenmoku with repeating lozenge motifs in a 132. Roy Cowan D.460mm glaze, incised initials to the base, tenmoku glaze, incised initials to Stoneware teapot together with $250 – $400 H.460mm x W.300mm the base, L.290mm another teapot with repaired $500 – $800 $100 – $200 handle (2) 140. Mirek Smisek $50 – $100 Circular stoneware tenmoku 118. Potter unknown 125. Harry and May Davis glazed dish with wax resist A large stoneware orb form raised Crowan Pottery small lidded 133. Roy Cowan decoration, impressed initials, on a tapering conical base with casserole dish with wax resist Stoneware teapot with ash and D.360mm incised concentric bands decoration, impressed mark to tenmoku glaze $150 – $250 h.470mm the lid, D.160mm $40 – $80 $100 – $200 $50 – $100 141. Mirek Smisek 134. Roy Cowan Tenmoku glazed teapot with 119. David Brokenshire 126. Juliet Peter Stoneware teapot with wax resist bamboo handle Two large ovoid floor vases, each Stoneware rectangular platter decoration $50 – $100 with umber pigmented textured decorated with three amoeban $50 – $80 surface pierced with small circular forms, incised initials and original 142. Mirek Smisek apertures to the upper section, label to the base, L.520mm 135. Roy Cowan Stoneware mortar and pestle impressed mark to each $200 – $400 Stoneware lamp base of tapering together with a yunomi, (2) $400 – $800 conical form with ash and $30 – $50 127. Juliet Peter tenmoku glaze 120. Juliet Peter Stoneware dish with wax resist $100 – $200 143. Mirek Smisek Rectangular stoneware dish with decoration, incised initials to the Stoneware vase with tenmoku incised geometric design in blue base, L.170mm 136. Roy Cowan glaze and wax resist decoration, and green salt glaze, incised $50 – $100 A collection of eleven tiles with impressed mark, H.260mm initials to the base, L.300mm, floral and various geometric $100 – $200 together with another small 128. Juliet Peter motifs rectangular dish L.170mm, (2) Stoneware plaque incised with $200 – $300 144. Warren Tippett (attributed) $50 – $100 a design of a Tuatara, ash glaze Stoneware dish, tenmoku glaze over tenmoku, L.240 x W.190mm 137. Roy Cowan with wax resist decoration, 121. Juliet Peter $200 – $400 Large and impressive lantern D.300mm Stoneware bowl with wax resist form stoneware floor vase with $150 – $250 decoration in brown and ecru ash 129. Juliet Peter and Roy Cowan numerous circular apertures, glaze, D.350mm Earthenware bowl painted with a brown and cream overglaze, 145. Warren Tippett $200 – $300 tree design in blue and green on H.1050mm Polychrome decorated porcelain cream ground, incised marks to $2500 – $5000 platter, W.210mm together with 122. Juliet Peter the base, D.190mm a small bottle with impressed Stoneware dish together with a $40 – $80 designs, H. 90mm (2) circular stone ware platter, each $200 – $400 with incised initials $100 – $200

25 146. Bruce Martin 154. Len Castle 163. 170. Lawrence Ewing Oil fired ikebana vase raised on Stoneware globular vase, Stoneware bowl of conical form Stoneware bottle vase with wax rectangular foot, impressed mark, impressed initials, H.110mm together with two beakers, resist decoration, impressed W.420mm $100 – $200 impressed marks (3) initials, H.290mm $100 – $200 $150 – $250 $40 – $80 155. Len Castle 147. Bruce Martin Stoneware globular vase, 164. Patricia Perrin 171. Wilfred Wright (attributed) Two small oil fired cheese impressed initials, H.100mm Unglazed stoneware onion Tenmoku glazed pouring bowl, platters. One ash glazed the other $75 – $125 jar with two pierced lugs at four small bowls and four small tenmoku glazed and decorated in the shoulder with rope handle plates the Winchcombe Pottery manner 156. Len Castle and and original cork stopper, $100 – $200 with a trailing wavy line design, Stoneware squat ovoid vase with decorated with poured glaze, each L.160 x W.110mm ash glaze, impressed initials, H.170mm 172. Mirek Smisek $100 – $200 D.100mm $100 – $200 Stoneware salt and pepper $100 – $200 castors with wax resist leaf 148. Ruth Castle 165. Patricia Perrin pattern decoration and impressed Jute and cane onion basket and 157. Len Castle Unglazed stoneware wine jug initials, together with a St Marks woven dish (2) Yunomi (tea bowl) with tenmoku with poured tenmoku glaze Pottery (Trevor and Marjorie $100 – $200 and tea dust glaze, impressed decoration, two pieced lugs at Bayliss) stoneware bowl (3) initials the shoulder with rope handle and $40 – $80 149. Len Castle $50 – $100 original cork stopper, H.160mm Stoneware hanging form sedge $150 – $250 173. Richard Parker vase with iron oxide wash, 158. Barry Brickell Circular terracotta disc with impressed initials, H. 170mm Large salt glazed crock with 166. Jeff Scholes cream glaze, D.120mm $100 – $200 original wooden lid, impressed Lidded stoneware vase with $30 – $50 mark, H.600mm iron glaze decorated with koru 150. Len Castle $400 – $600 spiral forms, impressed initials, 174. Small lidded porcelain bowl Stoneware hanging form sedge H.230mm decorated with a koru pattern and vase, textured surface with iron 159. Warren Tippett $50 – $100 inscribed Maori motif, dated 1977 oxide wash, impressed initials, Stoneware floor vase, ovoid to the base, D.90mm H.150mm shape with iron glaze with 167. Carl Vendlebosch $20 – $40 $100 – $200 gestural cobalt and aqua blue Stoneware cauldron shaped decoration, H.520mm vase with wax resist decoration, 175. Large 19th Century English 151. Len Castle $600 – $1200 together with two small earthenware dairy bowl, chips to Stoneware hanging avian form, stoneware platters by Paul the rim. D.490mm textured surface with iron 160. Harry and May Davis Meltzer, (3) $100 – $200 oxide wash, impressed initials, (Crewenna Pottery) $100 – $200 W.170mm Stoneware tenmoku glazed lidded 176. German 17th Century $150 – $250 bread crock, impressed mark, 168. Margret Vyles stoneware bellarmine with salt H.340mm Stoneware teapot with bamboo glaze, circa 1680, H.290mm 152. Len Castle $400 – $800 handle $300 – $500 Hanging stone ware bottle vase $20 – $40 of tapering form with oxide wash, 161. Peter Sitchbury 177. German 17th Century unmarked, H.300mm Stoneware oil bottle, H.170mm 169. Adrian Cotter stoneware bellarmine with salt $200 – $400 $20 – $40 Stoneware coffee pot with wax glaze, circa 1680, H.380mm resist decoration and four coffee $300 – $500 153. Len Castle 162. Barry Brickell mugs, impressed initials Yunomi (tea cup) with chun-type Stoneware teapot of lobed form Small chip to the spout of the glaze, impressed initials, H.90mm with loop handle, soda glazed, coffee pot $40 – $80 impressed mark, L.180mm $75 – $125 $250 – $500

26 178. Sussex pottery 187. Potter unknown 196. A selection of various 203. A group of Chinese export Stoneware water bottle, brown Cylindrical stoneware vase, pottery pieces including a famille rose ware, comprising glazed with strap handle, feldspar glaze over tenmoku, tea caddy, cups and saucers, a pair of handled coffee cups H.160mm together with two H.400mm earthenware pie dish etc (minor damage), a lidded ewer English provincial pottery bowls, $50 – $100 $50 – $100 and a bowl; together with a D.120mm, (3) small wucai-style saucer and an $30 – $50 188. Potter unknown 197. Potter unknown enameled wine cup, the coffee Stoneware bottle vase with ash A finely potted stoneware yunomi cups H.65mm 179. Two slipware jugs, a slipware glaze over tenmoku, together with sgraffito cut vertical bands, $ 100 – $200 dish, two slipware bowls and two with a stoneware dish H.310mm x unmarked, H.85mm egg cups, (6) D.370mm $50 – $100 204. A South-East Asian brown $40 – $80 $100 – $200 jar, H.355mm (faulted) 198. Potter unknown $50 – $100 180. Potter unknown 189. Potter unknown Stoneware slab vase, salt Stoneware casserole dish, Stoneware vase and small lidded glazed in green blue and brown, 205. A Turkish earthenware bowl D.290mm casserole dish (2) H.210mm together with four Turkish plates $50 – $100 $50 – $100 $50 – $100 hand painted with floral designs and Islamic motifs 181. Three stoneware yunomi 190. Potter unknown 199. A collection of South-East $100 – $200 $50 – $100 Stoneware vase together with a Asian pottery, comprising a small stoneware lidded jar with ash and Thai Sawankhalok lidded jar, an 182. Potter unknown tenmoku glaze Annamese blue and white jarlet, Stoneware vase of ovoid shaped $100 – $200 an Annamese blue and white with tenmoku glazed interior bowl, a small brown jarlet, and and oatmeal coloured exterior 191. Large 19th Century French two small blue and white stands decorated with an impressed Provincial stoneware tankard (one probably Chinese) stamp design, unmarked, together with a smaller tankard, $200 – $400 H.270mm (2) $100 – $200 $50 – $100 200. A large Thai celadon bowl with incised lotus petal 183. A large stoneware jug with 192. Decorative painted decoration to the exterior, D. pinched spout and single strap earthenware plate, two French 283mm and a small Thai celadon handle, unmarked, H.260mm Quimper plates and a small hand lidded jar $100 – $200 painted jarlet, (4) $150 – $250 $40 – $80 184. Potter unknown 201. A collection of South-East Stoneware casserole dish with 193. Potter unknown Asian pottery, comprising one tenmoku glaze, W.260mm Unusual stoneware ladle, small bottle vase, two squatted $40 – $80 L.290mm jars and two bowls with crackled $50 – $100 glaze, H.175mm (repaired chip to 185. Potter unknown one bowl) Stoneware teapot, two cups and 194. Potter unknown $100 – $200 saucers and a sugar basin Stoneware lidded casserole dish $30 – $50 together with a tenmoku glazed 202. A group of Chinese bottle vase and a stoneware pie porcelain, comprising a blue and 186. Potter Unknown dish (3) white lidded jar, a small copper Stoneware lidded jar with a pale $100 – $200 red circular box and cover, Kangxi celadon glaze, painted initials to mark to the base, a blue and the base G.B. H.170mm 195. Two stoneware yunomi white rectangular pillow and two $100 – $200 $40 – $80 celadon bowls $100 – $200

27 6 5

12

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10 1

15 31 13

8 19

18

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39 40 42 41 45 47 48

56 46

191

50

60

60

61 76

87 77

65

64

73

86

74 72

89

78 17 17 90 100

79

81

102

95

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103 105

104 93

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94 97 101 112 110

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117 116

143

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146 149

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151 165 164

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160 158 159

Another View The Michael Seresin Collection of International Black and White Photography

Auction Thursday 9 June 2011 at 6.30pm 3 Abbey Street, Newton, Auckland

Opening Previews Thursday 2 June 6.00pm – 8.30pm Tuesday 7 June 6.00pm – 9.00pm (Auckland Festival of Photography – Gravity Festival Circuit)

Viewing Thursday 2 June 9.00am – 5.00pm Friday 3 June 9.00am – 5.00pm Saturday 4 June 11.00am – 4.00pm Sunday 5 June 11.00am – 4.00pm Monday 6 June (Queen’s Birthday) 11.00am – 4.00pm Tuesday 7 June 9.00am – 5.00pm Wednesday 8 June 9.00am – 2.00pm Thursday 9 June 9.00am – 2.00pm Over many, many years Michael Seresin (ONZM) has quietly assembled a fantastic collection of images by international master photographers. In 2005 he generously offered the photographs he has kept in New Zealand to tour the country in exhibition form. It did so under the banner Another View: 20th Century Photographs from the Seresin Family Collection which travelled to public galleries including Dunedin Public Art Gallery, Millennium Public Art Gallery, Auckland Museum, Pataka Museum of Arts and Culture and Whangarei Art Museum. The exhibition afforded New Zealand audiences across the country a rare opportunity to see some of the most famous images in photographic history in their original form as black and white photographic prints as well as also providing a unique insight into the collection of expatriate New Zealander, Michael Seresin.

Lot 15. Bill Brandt, A Coal Searcher Returning Home, Jarrow, 1936 Seresin was born in Wellington in 1942 but by 1966 he left his native country and his job at Pacific Films to pursue a career in Europe which resulted in him becoming one of the most successful cinematographers in world cinema, directing the camera in films including Sleeping Dogs (1977), Midnight Express (1978), Angela’s Ashes (1999), Harry Potter and the Prisoner of Azkaban (2004) and more recently Paris je t’aime (2006). Seresin’s other great love is wine and as is the case with both his photography collection and his direction of the film camera, wine-making is not something he has done by halves. Organically and biodynamically grown, hand-tended and hand- picked on his Marlborough estate, the grapes from Seresin Estate are lovingly transformed into some of the most desirable wines in the world.

Another View is simply put, a world-class collection, the likes of which will not be seen in this country again. It represents an opportunity for New Zealand photography and art collectors

44 Lot 10. André Kertéz, Satiric Dancer Lot 11. Gyula Halász Brassaï, Fille au Billiards

to consider original photographs by artists whose work has only appear richer, lusher, enveloping and more affective when seen in been previously available for consumption in this country through the flesh. These are masterful studies in light and shade, with the the worn and torn pages of library and reference books. Included latter consistently threatening to suffocate the former. in this collection are almost all the big names of early to mid 20th Century photography including: Henri Cartier-Bresson, Andre Globalization and the increasing ease and speed of modern Kertesz, Eugene Atget, Josef Sudek, W. Eugene Smith, Bill Brandt, communication means that collections of this nature will invariably Mario Giacomelli, Brassai, Manuel Alvarez-Bravo and others. be sold offshore in future and we all have Michael Seresin to thank for making this collection available in the country in which it has The photographs he has bought reflect Seresin’s attraction to a been housed since being assembled and in which so little world- European aesthetic. They convey romance, beauty, sensuality, class international art resides. Another View provides a beautiful mystery and visual poetry. Another View is also, unequivocally, the encapsulation of modernist photography’s key styles and its collection of a cinematographer in the sense that all the images defining image-makers. There is no question that it is made all the appear as homage’s to cinema and more especially to film noir. more fascinating because of it provenance, it’s having been put These inky black and white prints each reveal individual tales of together by a New Zealander who also has made his living and romance and heroic struggle in a heightened surrealist fashion his name, like the photographers themselves, through the creative more closely related to the dreamscapes of the moving image than filtering of the world through his lens. what we’ve come to expect of the frozen photographic still. — Ben Plumbly Each original print in the collection is startlingly different and unique representing a supremely different viewing experience when studied first-hand. Witness Kertész’s Satiric Dancer, one of the most iconic art photographs of the 20th Century, or the classic images of Paris by fellow Hungarian expatriate Brassaï; freed from the shackles of the two dimensionality of the art monograph, they

45 Please note: All care has been taken in the preparation Lots of this catalogue. However, interested parties need to satisfy themselves as to authenticity, age and the nature of the photographic print in The Michael Seresin Collection. It is suggested that Absentee bidders request a detailed condition report prior to bidding.

1. Baron Adolph de Meyer (1868 – 1949) de Meyer were employing soft-focus lenses transcend the craft of photojournalism and Still Life with Basket of Grapes and painterly darkroom techniques to reach the level of art. In this respect, he is photogravure, circa 1908 make photographs that closely resembled reminiscent of the great ‘Life Magazine’ 213 x 155mm drawings and prints and which reflected photographer W. Eugene Smith whose $7000 – $12 000 a handcrafted approach, deliberately photographs similarly not only told a story, asserting photography as an art medium in but also sought to capture the depth of 2. Baron Adolph de Meyer its own right. humanity, even in its less savory moments. From the Shores of the Bosphorus photogravure 3. Agustín Víctor Casasola (1874 – 1938) 235 x 155mm Assasination Vest of Emperor Maximillian – 4. Henri Cartier-Bresson (1908 – 2004) $5000 – $7000 1910 Mexican Revolution Santa Clara, Mexico gelatin silver print gelatin silver print Adolph de Meyer spent his childhood 210 x 158mm 245 x 365mm in Paris and Germany. He exhibited $2500 – $4000 signed photographs as an amateur photographer $4000 – $6000 when he was around twenty six years Agustín Victor Casasola was not a painter old. The following year he relocated from or a poet nor one of the many intellectuals Cartier-Bresson’s imagery is intimate Dresden to London, where he was admitted or revolutionaries during the early decades but utterly respectful of his subjects. In to the Royal Photographic Society. He of the twentieth century who consciously his travels throughout the world, he has maintained a professional correspondence strove to forge a Mexican identity. Yet, as captured glimpses of individual lives and friendship with Alfred Stieglitz and witness and recorder of those tumultuous in scores of countries. Taken together, de Meyer’s photographs were published years, his influence was as great and Cartier-Bresson’s works constitute a in several issues of Stieglitz’s publication may prove to be more lasting. There is no personal history of quite epic scope. Camera Work. de Meyer eventually joined medium that has greater immediacy than Henri Cartier-Bresson has had a decisive Stieglitz’s Photo-Secession group, which the photograph and as such, the camera influence on creative documentary was instrumental in the promotion of can wield great power. Casasola left a photography for half a century. Several photography as fine art in the early stages legacy to the people of his country that has generations of photographers have been of the 20th century. In 1914 publisher etched itself in the minds of every Mexican, influenced by his work. He is an undisputed Conde Nast hired de Meyer as the first a visceral connection to whom they were master with a vast oeuvre. He was the full-time photographer at Vogue magazine at the rebirth of their nation. Moreover, he first photographer to master the art of and contracted him to work for Vanity Fair. has assured future generations of Mexicans recording reality in constant flux, and In 1921 he left Nast to work for the William that their past will never be forgotten. shaping the immediate into detailed and Randolph Hearst publication Harper’s Casasola never considered himself to be an austere photographic compositions. For Bazar in Paris, where he became the “art” photographer like Edward Weston or Cartier-Bresson, photography was always preeminent fashion photographer of the Manuel Alvarez Bravo, two men who sought a way of narrating stories about life. He day. From early on and especially during to capture the face of Mexico and whose sees a photograph as a document and his magazine years, de Meyer associated work he would have certainly known at the photography as a documentary art. In with and photographed the upper echelons time. Rather he saw himself as a journalist 1947 Cartier-Bresson, Robert Capa, David of society. By the first decade of the 20th first — a man who took pictures which Seymour and others founded the famous century, art photographers like Baron Adolf told a story. Yet, many of his photographs co-operative photo agency Magnum.

46 5. Eugène Atget rather chose a straight course, making the Friedlander couldn’t forget the images, and Versailles, femme et soldat, Maison Close, medium speak for itself. Within the limits felt they should be preserved and seen, so 1921 of his equipment, he recorded all phases in 1966, he bought all of the plates from toned gelatin silver print, photograph taken of life about him: the people and streets of a local New Orleans dealer. At the turn in 1921 and printed in 1956 the modern city. Atget was poised on the of the century, prostitution was an even original blind stamp applied verso reads cusp between the techniques and materials more unusual subject for photography Photograph by Eugene Atget, printed by of early photography and the moment than today, and the experience of being Bernice Abbott, No. 10 and signed Bernice things began to change and modern photographed was far different. At Abbott photography was born. From a laborious that time, it would have been a special 200 x 160mm and time-consuming process came a much occasion, a form of attention that required $4000 – $6000 faster method that changed the nature of time and collaboration. In spite of the photography forever. Atget was among large, unwieldy 8 x 10 camera which he 6. Eugène Atget the first generation to photographically operated, Bellocq’s Storyville Portraits Mannikin capture the world of ordinary citizens. appear natural, and the women seem open toned gelatin silver print, photograph taken While the subject matter was new, he and trusting. There’s a nonthreatening in 1927 and printed in 1956 was nevertheless steeped in the tradition presence with an unprecedented degree of original blind stamp applied verso reads of the old-world photograph. Atget’s empathy permeating his work, rather than Photograph by Eugene Atget, printed by photographs are delicate and romantic, the usual sense of someone in a power Bernice Abbott, No. 10 and signed Bernice making everything seem more romantic position objectifying his or her subject. With Abbott and beautiful in France. After Atget’s the women’s obvious trust, warmth, and 228 x 165mm death in 1927, Bernice Abbott acquired ease, these pictures transcend the normal $2000 – $3000 a large part of his archive and exhibited, customer-to-prostitute relationship, and printed and wrote extensively about his therefore one must assume Bellocq and the 7. Eugène Atget (1857-1927) work. In 1968, Abbott arranged for New women shared a greater than usual degree Group Watching the Eclipse, Paris 1911 York’s Museum of Modern Art to buy this of familiarity and intimacy. Much has been toned gelatin silver print, photograph taken archive, and through a series of MOMA made throughout the years of Bellocq’s in 1911 and printed 1956 exhibitions and publications Atget finally supposed identity and its relationship to original blind stamp affixed verso reads entered the pantheon of ‘Masters’ of the women he photographed. Until recently, Photograph by Eugene Atget, printed by photography. Abbott, as a result of all this, photographic history described him as a Bernice Abbott, No. 4 and signed Bernice is given much credit for the recognition that physically nonthreatening and asexual man, Abbott Atget’s photographs have received in the different from the others who would have 167 x 255mm contemporary photographic world. frequented the brothels. Regardless of the $3000 – $5000 mythology surrounding Bellocq and the Storyville Portraits, whether he was a dwarf 8. Eugène Atget 9. E. J Bellocq (John Ernest Joseph or an ordinary man, whether his familiarity Parc de St Cloud Bellocq 1873 – 1949) at brothels was based on being a customer toned gelatin silver print, photograph taken Prostitute, Storyville, New Orleans, circa or a confidant, the genius of his work between 1915 – 1919 and printed in 1956 1912 cannot be diminished. Whatever Bellocq’s original blind stamp affixed verso reads gold-toned P. O. P print intentions were, whatever the nature of his Photograph by Eugene Atget, printed by original blind stamp applied verso relationship to these women, his portraits Bernice Abbott, No. 1 and signed Bernice reads Photograph by E. J Bellocq. New transcend the portrayal of the prostitute Abbott Orleans circa 1911 – 1913. Collection Lee as an object. I imagine that, with his loving 170 x 214mm Friedlander and signed by Lee Friedlander. gaze, the desire and the sexual act that $7000 – $12 000 228 x 165mm normally occurs in prostitution had been $7000 – $14 000 sublimated into the act of photographing. In In the first three decades of the twentieth the end Storyville Portraits remains a unique century, Eugène Atget tirelessly and Without Lee Friedlander’s intervention, no collection of love poems and one of the sensitively photographed the city of Paris one would know the work of E.J. Bellocq. most important photographic essays ever and its environs. In doing so he did not veer After being shown a number of the glass made. toward excessive concern with technique plates which were discovered in a drawer nor toward the imitation of painting but in one of Bellocq’s desks after his death,

47 10. André Kertéz (1894 – 1985) 11. Gyula Halász Brassaï 12. Gyula Halász Brassaï (1899 – 1984) Satiric Dancer Fille au Billiards A Female Habituee, c. 1931 gelatin silver print gelatin silver print gelatin silver print signed and dated 1926 verso title inscribed, signed and dated Paris 1932 title inscribed, signed and dated 1931 240 x 194mm verso; blind stamped Tirage de l’Auteur verso; blind stamped Tirage de l’Auteur $7000 – $10 000 Copyright inscribed verso Copyright Brassaï verso 285 x 222mm 210 x 288mm Throughout most of his career Kertész was $6000 – $9000 $15 000 – $25 000 depicted as the ‘unknown soldier’ who worked behind the scenes of photography. Brassaï was a Hungarian photographer, 13. Gyula Halász Brassaï He was rarely cited for his work, even into sculptor, and filmmaker who rose to La Fumeuse d’Opium his death in the 1980s. Kertész thought international fame in France in the 20th gelatin silver print himself unrecognised throughout his life, century. He was one of the numerous title inscribed, signed and dated Paris circa despite spending his life in the eternal Hungarian artists who flourished in Paris 1932 – 33 verso; blind stamped Tirage de search for acceptance and fame. Though between the World Wars. In the early 21st l’Auteur Copyright Brassaï verso Kertész received numerous awards for century, the discovery of more than 200 198 x 290mm photography, he never felt both his style letters and hundreds of drawings and $15 000 – $25 000 and work was accepted by critics and other items from the period 1940-1984 art audiences alike. Although, in 1927, he has provided scholars with material for 14. Frantisek Drtikol (1883 – 1961) was the first photographer to have a solo understanding his later life and career. Nude exhibition, Kertész said that it was not Brassai took his name from the town of his warm-toned pigment print until his 1946 exhibition at the Art Institute birth, Brasso, in Transylvania, then part of 110 x 150mm of Chicago, that he first felt he received Hungary, later of Romania, and famous as $15 000 – $25 000 positive reviews on his work, and often the home of Count Dracula. He studied cites this show as one of his finest moments art at the academies of Budapest and Born in 1883, Frantisek Dritkol became one in America. Kertész’s work itself is often Berlin before coming to Paris in the mid- of the most important Czech photographers described as predominantly utilising light twenties. He was completely disinterested of the 20th century. His work, mainly and even Kertész himself said remarked in photography, if not scornful of it, portraits and nude photographs, reflect the “I write with light”. With his art’s intimate until he saw the work being done by his late 19th century decorative style as well feeling and nostalgic tone, Kertész’s acquaintance André Kertész, which inspired as the signs of a new age symbolized by images alluded to a sense of timelessness him to take up the medium himself. In the geometric backgrounds and the movement which was inevitably only recognised early thirties he set about photographing of the age. He created vivid images unlike after his death. Although Kertész rarely the night life of Paris, especially at its more anything anybody had ever seen. And received bad reviews, it was the lack of colorful and disreputable levels. The result yet when he died 78 years later, he was them that lead to the photographer feeling of this project – a fascinatingly tawdry impoverished and virtually unknown. I am distant from recognition. Now, however, collection of prostitutes, pimps, madams, inspired by three things,” Drtikol said, he is often considered to be the father of transvestites, apaches, and assorted cold- “decorativeness, motion, and the stillness photojournalism. Many photographers eyed pleasure-seekers – was published and expression of individual lines.” He today have remarked on how Kertész and in 1933 as Paris de Nuit, one of the most frequently contrasted the suppleness his photographs as being inspirational; remarkable of all photographic books. and flexibility of the female body against Henri Cartier-Bresson once said of him in Making photographs in the dark bistros solid and unyielding geometric forms. the early 1930s, “We all owe him a great and darker streets presented a difficult Despite those differences, he emphasized deal”. technical problem. Brassai’s solution was the strength to be found in both human direct, primitive, and perfect. He focused and geometric forms. Drtikol’s approach his small plate camera on a tripod, opened essentially transformed the genre of the shutter when ready, and fired a classical nude photography and showed flashbulb. If the quality of his light did not a willingness to incorporate anything match that of the places where he worked, that might make his nude studies more it was, for Brassai, better: straighter, more powerful. In addition to the inclusion of Art merciless, more descriptive of fact, and Deco details, he used lighting techniques more in keeping with his vision. developed for the new medium of silent 48 movies and integrated elements of modern makers. His own work already possessed Grosstadt. In 1926 Umbo began a career expressive dance. He synthesized the a strongly surrealist character --- not the as a professional photographer, opening modern and the classical, and the results intellectually playful irrationalisme of his a portrait studio with the assistance of were startling. Nobody had ever seen teacher Man Ray, but a mordant, poetic Paul Citroën. From 1928-33 he worked for anything like it. Dritkol’s craving for truth romanticism suggestive of de Chirico and Dephot, (Deutsche Photodienst), the first ultimately led him to eastern philosophies Dore. When Brandt returned to London in cooperative photojournalist agency. He is and remote areas such as the world of the thirties, England had forgotten its rich best known for his experimental work with Cabbala and Buddhism where he sought for photographic past, and showed no signs multiple exposures, unusual camera angles, and found an artistic language of his own. of seeking a photographic present. In the photomontage, collage, and x-ray film. He died in 1961, lonely and forgotten. forty years since, Brandt worked virtually alone, with only intermittent contact with the main channels of contemporary 20. Lee Miller (1907 – 1977) 15. Bill Brandt photography. Such isolation can starve Portrait of Picasso A Coal Searcher Returning Home, Jarrow, all but the most independent talents, but gelatin silver print, 21/30 1936 for these it can provide a sanctuary where artist’s estate blind stamp applied verso gelatin silver print radical visions can develop undisturbed. 185 x 270mm signed Brandt’s work has been consistently $1000 – $2000 345 x 291mm separate from the photographic consensus 21. Lee Miller $10 000 – $15 000 of the moment: reflective when it should Picasso have been militant, romantic when it should 16. Bill Brandt gelatin silver print, 21/30 have been skeptical, experimental and A Snicket in Halifax artist’s estate blind stamp applied verso formal when it should have been factual. In gelatin silver print 250 x 245mm the years following his return to England, 345 x 291mm $1000 – $2000 Brandt concentrated on photographing his $17 000 – $27 000 countrymen, of all classes and conditions. Lee Miller was the world’s most fashionable These pictures are moving and strange; 17. Bill Brandt (1904 – 1983) face by the end of the 1920s, and muse to they express both sympathy and tranquil St Paul’s Cathedral in Moonlight some of the 20th century’s mightiest artists. detachment, as though Brandt were gelatin silver print She was also a great photographer in her photographing something that had existed signed own right. In 1929, she traveled to Paris long ago. Though unsparingly frank, his 110 x 150mm with the intention of apprenticing herself pictures seem to refer less to the moment $15 000 – $25 000 to the surrealist artist and photographer described than to the issues of role, Man Ray. Although, at first, he insisted tenacity, courage, and survival. 18. Bill Brandt (attributed) that he did not take students, Miller soon Buckingham Palace, London became his photographic assistant, as gelatin silver print 19. Umbo – Otto Umbehr (1902 – 1980) well as his lover and muse. While she was 240 x 160mm Portrait of an Artist in Paris, she began her own photographic $1500 – $3000 gelatin silver print, image taken circa 1927 studio, often taking over Man Ray’s fashion and printed in 1980, edition 35/50 assignments to enable him to concentrate Bill Brandt was an influential British signed; artist’s blind stamp applied verso on his painting. In fact, many of the photographer and photojournalist known 230 x 167mm photographs taken during this period and for his high-contrast images of British $1000 – $2000 credited to Man Ray were actually taken society and his distorted nudes and by Miller. Together with Man Ray, she landscapes. Born in Hamburg, Germany, Umbo (Otto Umbehr) was one of the most rediscovered the photographic technique of son of a British father and German mother, important photographers to emerge from solarisation. She was an active participant Brandt grew up during World War I. Brandt the Bauhaus. Umbo was trained at the in the surrealist movement, with her witty spent much of his youth on the Continent, Bauhaus from 1921-3 with Johannes Itten, and humorous images. Amongst her circle and in the late twenties went to Paris Oskar Schlemmer and Wassily Kandinsky. of friends were Pablo Picasso, Paul Éluard, to study with Man Ray. There he also He moved then to Berlin where he was and Jean Cocteau. discovered the photographs of Atget and camera assistant to Walter Ruttmann for the works of the French Surrealist film- his masterpiece, Berlin, Die Sinfonie einer

49 22. Josef Sudek (1896 – 1976) having lived through the most tumultuous 25. Mario Giacomelli (1925 – 2000) Wine Glass and Olives from the Glass period of Mexico’s history — a history Poené di luci vel Paesaggio Labryinths series that molded his vision and stirred his gelatin silver print pigment print creativity. “I am content with my country: title inscribed and signed; artist’s blind signed and 1968 – ’72; title inscribed verso good, bad, and worse than bad; I am stamp applied verso 285 x 225mm enchanted by my country.” In 1938, he met 385 x 278mm $25 000 – $35 000 the Surrealist Andre Breton through Diego $3000 – $5000 Rivera. Breton was greatly taken with his Josef Sudek spent nearly his entire life in work. He reported back to a French avant- A self-taught painter from the age of 13 Prague, where he created a body of work garde magazine, “Never before has reality and a printer by profession, Giacomelli of extraordinary complexity. Recognized as fulfilled with such splendor, the promises of began working as a photographer in the one of the most significant photographers dreams.” When Breton returned to Paris, he early 1950s and quickly developed an of the twentieth century, Sudek was also a included Alvarez Bravo’s work in an exhibit intense and personal style, rendering cult figure in his homeland. He worked from he organized, and the next year chose poetic, dream-like visions in strongly the 1910s through the 1960s, producing his pictures for an international Surrealist contrasting blacks and whites. From the ethereal landscapes, modernist still lifes, exhibition in Mexico City start he worked on a range of themes that and sweeping panoramas of the city of closely reflect his concerns for the life of Prague. Subsequent Czech photographers the rural communities of his birthplace; acknowledged Sudek’s pioneering work 24. Herman Leonard (1923 – 2010) he also extensively documented the often and contributed, in their own way, to the Stanley Kenton’s Shoes, New York, 1949 miserable living conditions of the old, poor rich photographic legacy of their country. gelatin silver print, 1937 and sick, with great intensity of feeling and Among them were the modernists Frantisek 385 x 285mm uncompromising directness. Although he Drtikol and Jaromir Funke, the surrealist $1500 – $2500 sometimes worked on commissions, mainly Eva Fuka, and the contemporary figure- for the national television company, his best photographer Jan Saudek. These and In the late 1940’s, Herman Leonard’s works spring from the need to exorcise his other individuals working in what is now passion for jazz brought him to the swinging personal obsession with decay, death and the Czech Republic created one of the clubs of Broadway, 52nd Street and Harlem. old age. Consequently, he intensely disliked strongest contributions to twentieth- With the camera as his free ticket, he documentary photography and printed century photography in all of Europe. photographed and developed friendships only the images that reveal his experience, with some of the greats of jazz history rejecting those that appear to be ‘just taken including Charlie Parker, Dizzy Gillespie, by the camera’. He generally used a simple 23. Manuel Alvarez-Bravo (1902 – 2002) Billie Holiday, Duke Ellington and many twin-lens reflex Kobel press camera, with Retrato de lo Eterno more. A year’s apprenticeship with Yousuf an 80 mm lens and no exposure meter, platinum palladium print Karsh provided invaluable experience allowing himself the maximum technical title inscribed and signed and inscribed photographing the likes of Albert Einstein, freedom in the taking and developing of Mexico verso Harry S. Truman and Clark Gable. In 1956 the images. He regarded landscape as a 236 x 185mm Leonard was chosen to be Marlon Brando’s subject comparable to the human face and $7000 – $12 000 personal photographer for an extensive explored its possibilities throughout his research trip to the Far East. In the late career. Manual Alvarez Bravo was one of the truly 1950’s Leonard headed for Paris where great photographers of the twentieth he worked in fashion and advertising and century. His work sprang from a vision served as the European photographer for born of his time and his culture, but it Playboy Magazine. touched people from every society all over the world. Diego Rivera called his work a profound and discrete poetry, remarking that it was ‘like those particles suspended in the air that render visible a ray of light as it penetrates a dark room’. Manuel Alvarez Bravo died on October 19, 2002, 100 hundred years after his birth,

50 26. W. Eugene Smith (1918 – 1978) 27. O. Winston Link (1914 – 2001) Prix Nadar and provoked intense reaction, Thelonius Monk and his Smashed Hot Shot Eastbound, lager, West Virginia both pro and con. He spent the next ten Cigarette, from the loft inside gelatin silver print, image taken 1956 but years under contract to Vogue, establishing gelatin silver print, 1965 probably printed mid 1980s a reputation as a revolutionary and talented title inscribed and signed verso 386 x 480mm fashion lensman. In 196S, he moved to 133 x 212mm $5000 – $8000 films, directing and often producing and $6000 – $9000 writing them. Most received more attention Ogle Winston Link, known commonly as overseas than in the United States, Robert Frank described W Eugene Smith O. Winston Link, was a distinctly American particularly Muhammad Ali: The Greatest, as “the last American photographer who photographer. He is best known for his The Little Richard Story, and Who Are believed that his work was the message black and white photography and sound You, Polly Magoo? Since 1972, Klein has and he was the messenger to tell you recordings of the last days of steam produced more than 250 TV commercials that it was true and that it will survive.” In locomotive railroading on the Norfolk mainly aired in Europe for such clients as 1957 Smith moved into a rundown loft at & Western in the United States in the Citroen and Fiat, and he has continued to 821 Sixth Avenue in New York City later in late 1950s. A commercial photographer, produce photo books. Close Up and In 1957, his marriage had recently capsized, Link helped establish rail photography and Out of Focus secured his reputation, and his dependency on amphetamines as a hobby. He also pioneered night as did a 1981 Museum of Modern Art and alcohol was increasing. For the next photography, producing several well retrospective of his 1950s work. Klein eight years, the building became his home, known examples including this image, a was named one of the 30 most important his studio and, to an extent, his world. It photograph of a steam train passing a photographers in the history of the medium also became the home of what came to drive-in movie theater and Hawksbill Creek by the International Jury at Photokina in be known as the Jazz Loft, a rehearsal Swimming Hole showing a train crossing a 1963. He has produced several books of his and performance space that attracted the bridge above children bathing. photographs and has exhibited in one man likes of Charles Mingus, Thelonious Monk shows in London, Paris, and New York. His and Bill Evans, as well as their retinue of work is owned by the Museum of Modern 28. William Klein (b. 1928) musicians, hangers-on, dealers, girlfriends, Art in New York, the Pompidou Centre in Holy Family on Moto, Rome visiting writers and photographers, and Paris, and the Victoria and Albert Museum gelatin silver print, 1956 (printed 1977) various colourful characters from the city’s in London. demimonde. Diane Arbus passed through, title inscribed, signed and dated and as did Norman Mailer, Salvador Dalí, inscribed 1977 verso Henri Cartier-Bresson and Robert Frank. It 350 x 280mm 29. Artist Unknown became a kind of microcosm of the ever- $2000 – $3000 Piazza Venezia, Rome changing nocturnal city. W. Eugene Smith’s gelatin silver print Better known in Europe and his adopted Jazz Loft Project resulted from this period 284 x 274mm home town of Paris than in his native (1957–1965) and is a riveting work of social $1000 – $2000 United States, Klein is accomplished in archaeology, an extraordinary testament to three distinctly different media. Born in artists whose music caught all the tumult 30. Artist Unknown New York, he served in the military with and excitement of a fast-changing America. Untitled – Portrait through a Car Window the U.S. Army. He was discharged from It is also a glimpse inside the frenetic mind gelatin silver print the service in Paris and remained there of a photographic pioneer; an obsessive, 172 x 114mm to study painting with Fernand Leger. He maverick genius, who died, poor and $1000 – $2000 had his first exhibition at the age of 23. relatively unsung leaving behind some His work, though, retains a keen American 22 tons of archive material, including his sensibility. While photographing artwork unfinished and ultimately unfinishable jazz in Milan, he became interested in the project. possibilities of abstract photography and published a book of abstract photos. He achieved recognition on the photography scene with the publication of New York, a photographic journal of his impressions there in the mid 1950s. The book won the

51 Baron Adolph de Meyer 1 / 2 Agustín Víctor Casasola 3 Henri Cartier-Bresson 4 Eugène Atget 5 / 6 Eugène Atget 7 Eugène Atget 8 E. J Bellocq 9 André Kertéz 10 Gyula Halász Brassaï 11 Gyula Halász Brassaï 12 / 13 Frantisek Drtikol 14 Bill Brandt 15 Bill Brandt 16 Bill Brandt 17 Bill Brandt (attributed) Umbo – Otto Umbehr 18 19 Lee Miller 20 / 21 Josef Sudek 22 Manuel Alvarez-Bravo 23 Herman Leonard 24 Mario Giacomelli 25 W. Eugene Smith 26 O. Winston Link 27 William Klein 28 Artist Unknown 29 / 30

Important Photographs

Auction Thursday 9 June 2011 at 6.30pm — to follow The Michael Seresin Collection 3 Abbey Street, Newton, Auckland

Opening Previews Thursday 2 June 6.00pm – 8.30pm Tuesday 7 June 6.00pm – 9.00pm (Auckland Festival of Photography – Gravity Festival Circuit)

Viewing Thursday 2 June 9.00am – 5.00pm Friday 3 June 9.00am – 5.00pm Saturday 4 June 11.00am – 4.00pm Sunday 5 June 11.00am – 4.00pm Monday 6 June (Queen’s Birthday) 11.00am – 4.00pm Tuesday 7 June 9.00am – 5.00pm Wednesday 8 June 9.00am – 2.00pm Thursday 9 June 9.00am – 2.00pm July 2007 October 2007

Within three months of opening our doors to the public a whisker over four years ago, ART+OBJECT published their first catalogue dedicated to the photographic image in its many guises. Our inaugural catalogue of Important Contemporary Photographs featured Jae Hoon Lee’s A New Farm (type C print, 1/5) on the cover and announced to New Zealand audiences the importance that photography had as a viable auction category at A+O and more broadly and importantly, its status as a burgeoning area of collecting.

Fast forward a very short three years to last year and our annual photography auction catalogue looked and felt a very different beast. 2010 represented a massive leap forward for the market for photographs in New Zealand. Our annual photography catalogue resulted in an unprecedented sales total that year in excess of twice that which had been recorded previously, coming in at $250 000. On top of this our final act of the calendar year was to bring some sixty photographs from the estate of Brian Brake to market in a monographic slip-cased catalogue which again exceeded expectations and realized $220 000 of sales by value. Thus 2010 witnessed the expansion of the photographic market at auction by nearly five fold, a result which as little as a few years previous would have seemed fanciful at best. Such figures are not greatly impressive when contrasted with the market for the more traditional forms of art in this country or alternatively with the international market. Indeed we present this catalogue in the shadow of Christies recent New York auction in which the record price for a photograph was

78 April 2008 June 2009 May 2010 December 2010

broken by Cindy Sherman’s Untitled Film Still No. 96 (colour Edith Amituanai’s photographs have appeared at auction. coupler print, 1/10), selling for the equivalent of 4.9 million New Featuring as a finalist in the last Walters Prize her photographs Zealand dollars. are immaculately constructed and marked by an affinity with her subjects which is unparalleled in current practice. Nonetheless 2011’s annual Important Contemporary Photographs auction catalogue is our strongest offering of We do hope that many of you make the effort to come down photographs to date. This could well be the result of a market and see the photographs on display. We are aware that this area becoming more confident in itself, both at primary and secondary can be somewhat daunting with the seemingly endless array of market levels. Aside from the many important Australian and print types, the differing philosophies towards the editioning international consignments there are a few photographs in this of prints, and the age and nature of the photographic print, but catalogue which are among the most important photographs we will be available throughout the course of the exhibition to produced in this country to date. The cover lot is definitely one. discuss any aspect of photography, collecting and caring for it, Bo-Drene is one of the central images from Todd’s landmark and the growing appreciation which we’re now witnessing for the exhibition 11 Colour Plates, perhaps one of the most assured medium. and compelling art exhibitions of the last ten years. It should comfortably set a new record for her work at auction. Another highlight and a great opportunity for collectors is represented by Robin Morrison’s vintage colour cibachrome, Rachael and Fanny Short, Bannockburn, a classic image which features in the famous publication, The South Island from the Road (1981). We are also delighted to have three of the incredibly beautiful and large-scale, 1975 Dowse Art Gallery exhibition prints from the estate of Brian Brake including the iconic, Monsoon Girl. Lastly, the sale represents the first time young photographer

79 Lots

31. Edith Amituanai 37. Bill Culbert to be able to include in the photograph Ioka’s Fa’ali’I Tree with Plank, I the pictures of them, their surroundings, type C print, 3/5 gelatin silver print, 1/25 their cream walls, the old telephone, the title inscribed, signed and dated 2004 verso artist’s original catalogue label affixed old radio, the cushions they sit on, the way 400 x 500mm verso they dress, their pearls around their necks, $2500 – $4000 400 x 400mm the way they have their hair, the way they $2500 – $4000 hold themselves, fold their arms, fold their 32. Edith Amituanai hands, look at the camera. The Amituanai Family, Lotu 38. Robin Morrison The only thing I do is that I sit people type C print, 3/5 Christ at Whangape Harbour in a position so that the light is good and title inscribed, signed and dated 2004 verso vintage gelatin silver print,2/3 ask them to look at the camera. But I’ll take 400 x 500mm title inscribed, signed and dated 1992 verso a number of photographs, so they can $2500 – $4000 200 x 300mm relax into them. And what comes through Illustrated: Robin Morrison and Laurence is as near as possible to the way they are, 33. Fiona Pardington Aberhart, Robin Morrison: A Journey with no disturbing influence in their faces Huia Love Triangle (Auckland, 1992), cover, p. 35. of anxiety, or nervousness over being toned silver bromide fibre-based print, 3/5 $2000 – $3000 photographed. original Two Rooms label affixed verso 420 x 550mm 39. Robin Morrison — Robin Morrison Provenance: Purchased by the current Rachael and Fanny Short, Bannockburn owner from Two Rooms, Auckland in 2006. vintage cibachrome print 40. Laurence Aberhart $5500 – $7500 265 x 400mm Interior, Waitarere, 29 March 1993 Illustrated: Robin Morrison, The South gold and selenium toned gelatin silver print 34. Fiona Pardington Island From The Road (Alister Taylor, 1981) title inscribed, signed and dated The Kai Iwi, Kawhia, Red Hill Triptych Illustrated: Rhondda Bosworth, ‘Robin 195 x 245mm three sulphite-toned gelatin silver prints Morrison’, Art New Zealand, No. 21, Spring, Illustrated: Gregrory O’Brien, Laurence 275 x 400mm: each 1981, p. 31. Aberhart and Justin Paton, Aberhart $7000 – $12 000 Reference: ibid., pp. 29 – 31. (Victoria University Press, 2007), plate 13. $4000 – $6000 $3000 – $5000 35. Bill Culbert Small Glass Pouring Light, August 1979 I’d actually met Rachael and Fanny Short a 41. Laurence Aberhart gelatin silver print year before I took their photograph. They (Untitled), near Morrinsville, 2 June 1982 title inscribed, signed and dated 1993 verso seemed to me to be archetypes – symbols, gold and selenium toned gelatin silver print 400 x 400mm totems, tokens – of what old ladies can be, title inscribed, signed and dated; artist’s $2500 – $4000 of what old ladies in their situation are. We original catalogue label affixed verso got on well without knowing anything about Illustrated: Gregrory O’Brien, Laurence 36. Bill Culbert each other, talking on that clear, polite Aberhart and Justin Paton, Aberhart Bonbonne with Landscape, France 2001 level. I set up the equipment I needed, (Victoria University Press, 2007), plate 178. gelatin silver print very minimal, – tripod, 35 mm camera, film, 195 x 245mm 400 x 400mm no meters, bracketed the exposures. All $3000 – $5000 $2500 – $4000 straightforward, simple, fairly wide-angle

80 42. Laurence Aberhart 45. Brian Brake 47. Robert McFarlane Taranaki, Waitara, 20 June 1982 Gathering Dyed Cloth on the Banks of the Fish Auctioneer, Sydney gold and selenium toned gelatin silver print Sabarmati River, Ahmedabad, India, 1958 gelatin silver print inscribed No. 383 and dated; artist’s colour photograph printed from Kodak title inscribed, signed and dated 1977 and original catalogue label affixed verso transparency on Ektacolour paper inscribed To Brian Brake in appreciation Illustrated: Gregrory O’Brien, Laurence original Dowse Art Gallery exhibition label From robert McFarlane, 14/2/79 verso; Aberhart and Justin Paton, Aberhart affixed verso (catalogue no. 19), printed artist’s original blind stamp affixed verso (Victoria University Press, 2007), plate 179. 1975-1976 175 x 265mm 195 x 245mm 455 x 665mm Provenance: Gifted to the late Brian Brake $3000 – $5000 Exhibited: ‘Brian Brake: 40 Photographs’, by the artist. Dowse Gallery, , 1976 (touring); $1000 – $2000 43. Laurence Aberhart ‘Brian Brake: Lens on the World’, Museum Memorial Amberley, North Otago, October of New Zealand, Te Papa Tongarewa, 48. Werner Bischof 1981 Wellington, 23 October 2010 – 8 May 2011 India gold and selenium toned gelatin silver print (touring) gelatin silver print artist’s original catalogue label affixed Illustrated: Athol McCredie (ed), Brian title inscribed, signed and dated 1951 and verso Brake: Lens on the World (Te Papa Press, inscribed To Brian with love from Rosellina 195 x 245mm 2010), p. 125. in New Zealand, May 1985 verso Illustrated: Gregrory O’Brien, Laurence Provenance: From the estate of Brian Brake 215 x 265mm Aberhart and Justin Paton, Aberhart Note: Included with the sale of this lot Provenance: Gifted to the late Brian Brake (Victoria University Press, 2007), plate 117. is a copy of the original Dowse Gallery, by Rosellina Burri-Bischof, wife of the artist $3000 – $5000 exhibition catalogue in which this print was and member of the foundation for Swiss exhibited Photography. 44. Brian Brake $5000 – $7000 $1000 – $2000 Pablo Picasso, son Claude and Jean Cocteau at a Bullfight , Vallauris, France, 46. Brian Brake 49. Ernst Haas 1955 Indian Girl in Early Monsson Rains, 1960 White Island black and white photograph printed from colour photograph printed from Kodak dye transfer print Kodak transparency on Ektacolour paper transparency on Ektacolour paper impressed signature original Dowse Art Gallery exhibition label original Dowse Art Gallery exhibition label 155 x 230mm affixed verso (catalogue no. 1), printed affixed verso (catalogue no. 17), printed Provenance: Gifted to the late Brian Brake 1975-1976 1975-1976 by the artist. 470 x 300mm 665 x 445mm $2000 – $3000 Exhibited: ‘Brian Brake: 40 Photographs’, Exhibited: ‘Brian Brake: 40 Photographs’, Dowse Gallery, Lower Hutt, 1976 (touring); Dowse Gallery, Lower Hutt, 1976 (touring); 50. Ernst Haas ‘Brian Brake: Lens on the World’, Museum ‘Brian Brake: Lens on the World’, Museum The Creation of New Zealand, Te Papa Tongarewa, of New Zealand, Te Papa Tongarewa, boxed portfolio of ten dye-transfer prints, Wellington, 23 October 2010 – 8 May 2011 Wellington, 23 October 2010 – 8 May 2011 number 201 in an edition of 300 (1981) (touring) (touring) signed and numbered 201 on original Illustrated: Athol McCredie (ed), Brian Illustrated: Athol McCredie (ed), Brian coversheet; each print signed Brake: Lens on the World (Te Papa Press, Brake: Lens on the World (Te Papa Press, 325 x 495mm: each print 2010), p. 49. 2010), p. 125. Provenance: from the estate of Brian Brake Provenance: From the estate of Brian Brake Provenance: From the estate of Brian Brake $7000 – $12 000 Note: Included with the sale of this lot Note: Included with the sale of this lot 51. Peter Madden is a copy of the original Dowse Gallery is a copy of the original Dowse Gallery, Global Burning exhibition catalogue in which this print was exhibition catalogue in which this print was found image photographic collage exhibited exhibited title inscribed, signed and dated 2006 verso $5000 – $7000 $7000 – $12 000 935 x 730mm $7000 – $10 000

81 52. Peter Madden 58. Matthias Petrus Schaller 60. Yvonne Todd Three Chairs Untitled Bo-Drene found image photographic collage type C print mounted to aluminium,1/3 lightjet print, 3/3 title inscribed, signed and dated ’05 verso signed and dated 31–7–03 verso title inscribed, signed and dated Feb 15th 950 x 500mm 1000 x 1000mm 2004 $3500 – $5000 Provenance: Private collection, Auckland. 993 x 800mm $6000 – $9000 Exhibited: ‘11 Colour Plates’, Ivan Anthony 53. Shigeyuki Kihara Gallery, Auckland, 2004; ‘Telecom Dusky Bombing from Faleaitu: House of Matthias Schaller was born in Dillingen, Prospect: New Art, New Zealand’, City Spirits Germany, in 1965. He now lives between Gallery, Wellington, 30 May – 22 August, type C print, edition of 5 with 2 artist’s Venice and New York City. Over the last 2004. proofs (2003) decade he has garnered a significant Illustrated: Hannah Holm and Lara title inscribed and signed verso international following and has been widely Strongman, Contemporary New Zealand 1185 x 885mm exhibited around the world including Photographers (Mountain View Publishing, $2500 – $4000 solo exhibitions at the Picasso Museum 2005), p. 36. in Münster, Germany, the Architectural Provenance: Private collection, Auckland. 54. Shigeyuki Kihara Biennale, Venice, Italy, Danziger Projects, $12 000 – $18 000 Lau Niu Maiden from Faleaitu: House of New York, America, and is currently the Spirits subject of a solo show at the Museum of 61. Yvonne Todd type C print, edition of 5 with 2 artist’s Contemporary Art, Rio de Janiero. He has Resulta proofs (2003) also been awarded the German Photo Book lightjet print, 1/3 title inscribed and signed verso prize twice. title inscribed, signed and dated 23 April 1185 x 885mm 2004 verso $2500 – $4000 59. Yvonne Todd 310 x 400mm Werta Exhibited: ‘11 Colour Plates’, Ivan Anthony 55. Boyd Webb lightjet print, 1/3 Gallery, Auckland, 2004. Mazurka title inscribed, signed and dated 1 July 2005 Illustrated: Hannah Holm and Lara unique cibachrome print (1989) verso Strongman, Contemporary New Zealand artist’s name and title printed on catalogue 1060 x 830mm Photographers (Mountain View Publishing, label affixed verso Exhibited: ‘Vagrants’ Reception Centre’, 2005), p. 39. 1230 x 1580mm Ivan Anthony Gallery, Auckland, 2005; Provenance: Private collection, Auckland. $20 000 – $30 000 ‘Dead Starlets Assoc. by Yvonne Todd’, $3000 – $5000 Institute of Modern Art, Brisbane, February 56. Matthias Petrus Schaller 10 – March 31, 2007. 62. Patricia Piccinini Untitled Illustrated: Robert Leonard (ed), Dead Waiting for Jennifer type C print mounted to aluminium,1/3 Starlets Assoc. by Yvonne Todd (Brisbane, type C print, 27/60 signed and dated 31–7–03 verso 2007), p. 41. signed and dated 2000 1000 x 1000mm Provenance: Private collection, Auckland. 800 x 800mm Provenance: Private collection, Auckland. $7000 – $10 000 $6000 – $9000 $6000 – $9000 63. Anne Zahalka 57. Matthias Petrus Schaller Marriage of Convenience (Graham Budgett Untitled and Jane Mulfinger/Artists) from the type C print mounted to aluminium,1/3 Resemblance Series signed and dated 31–7–03 verso ilfochrome print, edition of 10 (1987) 1000 x 1000mm 800 x 800mm Provenance: Private collection, Auckland. Exhibited: ‘Hall of Mirrors: Portraits 1987 $6000 – $9000 – 2007’, Developed by the Centre of Photography, Touring Australia wide, 2007 – 2010. $3500 – $5500

82 64. Anne Zahalka 66. Bill Henson 70. Michael Parekowhai The German Woman (Ulriche Grossarth/ Untitled 2/1 from The Paris Opera Project Le Quesnoy from The Consolation of Artist) from the Resemblance Series type C photograph, edition of 10 (1990 – Philosophy – Piko nei te matenga ilfochrome print, edition of 10 (1987) 1991) c-type colour photograph, edition of 8 Exhibited: ‘Hall of Mirrors: Portraits 1987 1270 x 1270mm (2001) – 2007’, Developed by the Centre of Provenance: Private collection, Auckland 1500 x 1200mm Photography, Touring Australia wide, 2007 Illustrated: Edmund Capon (ed), $12 000 – $16 000 – 2010. Mnemosyne (Scalo, Zurich, 2005), p. 379. 800 x 800mm Exhibited: ‘Bill Henson’, Art Gallery of New 71. Michael Parekowhai $3500 – $5500 South Wales, 8 January – 3 April 2005 and What’s the Time Mr Woolf? National Gallery of Victoria, 23 April – 10 type C print and marker pen, unique Anne Zahalka is one of Australia’s pre- July 2005. original Michael Lett label affixed verso eminent photomedia artists. Her work has $25 000 – $35 000 1000 x 1000mm examined and critiqued the conventions of $10 000 – $15 000 portraiture, representation and identity in a 67. Bill Henson career which has spanned well over twenty Untitled 1985/86 No. 115 72. Patrick Reynolds years. The artist created the Resemblance type C print, 5/20 Ralph Hotere series during a residency in Berlin in 1987, title inscribed, editioned and dated 1985/86 gelatin silver print sourcing the tables, stools, fabrics and verso 400 x 500mm props from local flea markets. Referencing 1040 x 940mm $1000 – $2000 Dutch genre paintings by artists such Provenance: Purchased by the current as Vermeer and Jan Van Eyck, the latter owner from Peter McLeavey Gallery, 73. directly in Marriage of Convenience by Wellington; Private collection, Wellington. Gordon Walters in his Studio, 1980 way of his famous painting The Arnolfini Illustrated: Edmund Capon (ed), gelatin silver print, 3/3 Portrait (1434), where Zahalka pays homage Mnemosyne (Scalo, Zurich, 2005), p. 315. signed on the mount to the traditions of art history whilst Exhibited: ‘Bill Henson’, Art Gallery of New 290 x 220mm simultaneously subverting them through South Wales, 8 January – 3 April 2005 and Provenance: Purchased by the current extraneous details such as her own portrait National Gallery of Victoria, 23 April – 10 owner from FHE Galleries, Auckland in the circular mirror on the wall and a July 2005. $4500 – $6500 modern tape deck in the foreground. Anne $17 000 – $25 000 74. Marti Friedlander Zahalka’s photographs are held in every Ralph Hotere, Studio Port Chalmers (1975) major public collection in Australia. She is 68. Kim Joon vintage gelatin silver print represented by Roslyn Oxley9. Blue Fish III type C print mounted to aluminium, 2/5 500 x 400mm 65. Thomas Ruff (2008) Provenance: Purchased by the current Portrait (S. Ergolovitch) 1015 x 1015mm owner from FHE Galleries, Auckland chromogenic colour print Diasec face Provenance: Purchased by the current $5500 – $7500 mounted, 3/4 owner from Hamburg Kennedy 75. Anne Noble signed and dated 1999 verso Photographs, New York. Kaikoura from the series Te Hikoi o Kati Kuri 2100 x 1650mm $10 000 – $15 000 selenium-toned gelatin silver print Illustrated: M. Winzen, Thomas Ruff: 1979 to 405 x 735mm the Present (New York, 2003) p. 189. 69. Laurence Aberhart Provenance: Private collection, Auckland Provenance: Purchased by the current Release $2500 – $4000 owner from Christies, New York in 2006; a limited edition portfolio of eight 8” x 10” selenium and gold toned contact prints, Private collection, Auckland 76. Anne Noble $50 000 – $70 000 edition 10/14 (1989). Published by the artist Ruby’s Room No. 23 and Pyramid Press of the Antipodes. pigment print on archival paper, edition of 193 x 245mm: each print 10 Provenance: Private collection, Auckland. 500 x 750mm $20 000 – $30 000 $3000 – $5000

83 77. Bill Culbert 83. Yuk King Tan 88. Bonbonne with Landscape, Almond Tree, 12 June 2004 Trig Rail Line on Road (Port Chalmers), Brick digital print gelatin silver print, 1993 and Stone Building, Car Tyre Bonbonne, title inscribed 540 x 355mm Lampshade Frames, Tyre with Pole 350 x 350mm Illustrated: Gregory Burke and Peter (Greymouth), Wall Light, Untitled $500 – $1000 Weiermair, Second Nature: Peter Peryer nine gelatin silver prints (Auckland, 1995), p. 129. titles inscribed and dated 2002 –’03 verso 84. Kaz Stankowski $3000 – $5000 192 x 192mm Villa I $8000 – $12 000 type C photograph mounted to aluminium, 89. Ans Westra 1/1 Untitled – On the Marae 78. Fiona Pardington title inscribed, signed and dated 2007 verso vintage gelatin silver print Taranaki Heitiki with Mussell Shell Eyes 193 x 245mm 270 x 140mm gelatin silver archival hand print, edition of Provenance: Purchased by the current Illustrated: James Ritchie and Ans Westra, 5 (2002) owner from Tim Melville Gallery in 2007; Maori (Wellington, 1967), p. 64. 565 x 430mm Private collection, Auckland. Provenance: Private collection, Auckland Provenance: Private collection, Wellington $1500 – $2500 $1500 – $2500 $5500 – $7500 85. Boyd Webb 90. Ans Westra 79. Fiona Pardington Unwrought Untitled Little River Female Heitiki, Ngain Tahu type C print, 9/25 vintage gelatin silver print gelatin silver archival hand print, edition of title inscribed, signed and dated 1995 verso 315 x 300mm 5 (2002) 420 x 600mm Provenance: Purchased by the current 565 x 430mm $1000 – $2000 owner from FHE Galleries; Private Provenance: Private collection, Wellington collection, Auckland $5500 – $7500 86. Megan Jenkinson $3000 – $5000 Justitia – Justice 80. Neil Pardington ilfochrome print, collage and mixed media 91. Les Cleveland Land Invertebrates Store No. 1 in two parts House at Akaroa LED print on Fuji crystal archival paper, inscribed on the mount Justitia is wounded vintage gelatin silver print edition of 15 by the sword of liberty Au Dessus de la title inscribed, signed and dated 1975 and 1000 x 1200mm Melee; we retain no solid and express blindstamped Les Cleveland Vintage Print $4000 – $6000 effigies of true and right justice; we have verso only the shadow and images of it 193 x 242mm 81. Ava Seymour 495 x 590mm and 195 x 185mm $700 – $1200 La Disparue Reference: Megan Jenkinson et al., Under type C print, edition of 3 the Aegis: The Virtues (Auckland, 1997) 92. Les Cleveland title inscribed, signed and dated 2005 Illustrated: op.cit., pl. xxiv. The Norna, Greymouth fishing trawler in verso; original Michael Lett label affixed $2500 – $4000 Milford Sound, 1955 verso vintage gelatin silver print 275 x 225mm 87. Christine Webster title inscribed, signed and dated and $800 – $1200 Craigwell House – Patrick Waller inscribed printed 1956 verso; blindstamped cibachrome print Les Cleveland Vintage Print verso 82. Ava Seymour signed and dated ’84 250 x 230mm La Dormeuse 485 x 485mm $700 – $1200 type C print, edition of 3 Exhibited: ‘New Women Artists’, Govett- title inscribed, signed and dated 2005 Brewster Gallery, New Plymouth. verso; original Michael Lett label affixed $800 – $1400 verso 240 x 290mm $800 – $1200

84 93. Les Cleveland Jacqui Richards in a Dinghy On Lyttleton Harbour, 1955 vintage gelatin silver print title inscribed, signed and dated and inscribed printed 1955 and blindstamped Les Cleveland Vintage Print verso 208 x 190mm $700 – $1200

94. Peter Peryer Camelia pigment ink on Hahnemuhle photo-rag paper, 5/25 title inscribed and signed verso 205 x 155mm $1200 – $2000

95. Peter Peryer Barn inkjet print, edition of 10 signed verso 250 x 330mm Illustrated: Illustrated: Hannah Holm and Lara Strongman, Contemporary New Zealand Photographers (Mountain View Publishing, 2005), p. 8. $2500 – $4000

96. Mark Adams ‘The Food Basket of Rakaihautu’ from Horomaka gold-toned silver bromide print, edition of 5 (diptych) inscribed The Eyes of the Crab, Kaituna – Waihora; title inscribed, signed and dated 1991 verso (printed 2004) 510 x 1220mm overall Illustrated: Mark Adams and Harry Evison, Land of Memories (Auckland, 1993), pl. 24a, 24b. $5000 – $7000

85 Edith Amituanai 31 / 32 Fiona Pardington 33 / 34 Bill Culbert 35 / 36 / 37 Robin Morrison 38 / 39 Laurence Aberhart 40 / 41 Laurence Aberhart 42 / 43 Brian Brake 44 / 45 Brian Brake 46 Robert McFarlane 47

Ernst Haas Werner Bischof 49 48 Ernst Haas 50 Peter Madden 51 / 52 Shigeyuki Kihara 53 / 54 Boyd Webb 55 ‘What I strive for is a satisfying resonant amalgam of word and image’ 1

Boyd Webb’s mis-en-scene creations began in the 1970s It is a work that showcases Boyd’s unique image-making process, anticipating by almost fifteen years the wave of large-format, where hints of the soundstage and the proscenium engage in a heavily art-directed photographic setpiece tableaus created discourse with a bookish reading of surrealism’s poetry of the by artists such as Justine Kurland, Gregory Crewdson and Jeff unconscious. This mélange results in a profound ‘reveal’ that Wall. These cinematic productions were a defining feature of enchants whilst not being undermined by the lo-fi aesthetic of the photography from the mid 1990s which aimed to compete with constructed environment. history painting in ambition, scale, and narrative scope utilizing the bravura production technology normally associated with big- Boyd’s ability to elegantly circumscribe these references is at the budget film making. heart of his discursive and seductive practice. These images are loaded, but with what, and why? Webb describes their allure as Boyd Webb’s practice is similarly constructed and bears direct follows, ’the most successful can’t be pinned down. They exist in a comparison with the processes of film making – specifically to the state of limbo and are memorable in that the mirage of meaning is surrealist and dada influenced work of auteur-directors such as always shimmering just out of reach.’ 2 Derek Jarman and Peter Greenaway. New Zealand born Webb has enjoyed a distinguished international What Boyd’s fantasy pieces share with this distinctive and in the career with major exhibitions at the Whitechapel Gallery, London, main English school of film making is the disrupting of the role of The Museum of Contemporary Art, Los Angeles and the Centre narrative, in its traditional linear or chronological sense, as the Georges Pompidou in Paris. In 1997 he was the subject of a solo primary vehicle for delivering meaning, as well as a Puckish sense mid-career retrospective at the Auckland Art Gallery. of visual of humour in the presentation of alternate realities. — Hamish Coney Mazurka from 1989 comes from a period of Webb’s output rich with literary and allegorical references. A Mazurka is a Polish folk 1 Boyd Webb in conversation with Ron Brownson, in Jenny dance form noted for its frenetic pace. It came to be used as Harper (ed), Boyd Webb, Auckland Art Gallery, 1997 a metaphor for heightened emotion in many literary texts most 2 Ibid. notably in Tolstoy’s War and Peace.

99 Matthias Petrus Schaller 56 / 57 / 58

Yvonne Todd 59 Yvonne Todd 60 Yvonne Todd 61

Patricia Piccinini 62 Anne Zahalka 63 / 64 Thomas Ruff 65 Thomas Ruff began making portraits of friends and acquaintances in 1980. These were initially quite small but by 1986 he was monumentalizing his subjects and printing on the largest photographic paper available. Appearing like gigantic passport photos this ongoing series features sitters in a standardized frontal pose before universal, neutralized off-white backgrounds. The effects of portraits such as this one of S. Ergolovitch are unsettling simply by virtue of their immense scale. Every detail, every pore and every imperfection on the sitter’s over-sized face is plainly visible.

Ruff began studying photography in the late 1970s under Bernd and Hilla Becher, whose strict photographic realism and black- and-white typologies of industrial structures and landscapes has influenced a whole generation of German photographers, including Ruff’s contemporaries Thomas Struth and Andreas Gursky. The Portraits, which taken together represent a ‘portrait gallery’ of anonymous young people who wear ordinary clothes and who confront us with a deadpan gaze, became one of the most internationally renowned bodies of work from the 1980s and 1990s. Ruff’s opinion that a photograph represents only the surface of things is exemplified in this series by the clear composition, which rarely provides any narrative details or psychological insights about the sitters.

Instead of presuming to depict the transcendent, individual essence of the sitter, Ruff’s portraits deliberately assume the neutrality of the mug shot, physiognomic study, and identity card, and, by extension, the entire brightly lit world of surveillance in which his subjects were raised. The age and milieu of his sitters are crucial to the pictures’ meaning: these young, media-savvy people are not threatened by the camera eye but adjust themselves comfortably yet firmly to its probing vision. The results are both seductive and subtly disquieting, like studying a human specimen whose every pore and hair is available for careful study, yet whose thoughts and feelings are always just out of reach.

— Ben Plumbly The photograph has to suggest, not prescribe. — Bill Henson

Bill Henson’s catalogue is a deep one. His first public exhibition The Paris Opera series was responsible for shooting Henson to was at the National Gallery of Victoria in 1975 and many of his international prominence. Given a free hand by the Paris Opera photographs are part of aesthetic projects that span over twenty to photograph anything he wanted from props to performances, years and which include series on ballet, photographs of street- Henson instead opted to photograph the audience. The result crowds, Baroque Triptychs, pictures taken in the Australian was a phenomenal body of work which taken as a whole is about suburbs and in Egypt, Los Angeles and New York nightscapes, as close as one can get to capturing in two dimensions the effect his famous cut-out collages shown to great acclaim at the of listening to music. Henson himself remarked of the project: centenary Venice Biennale in 1995 and, most infamously, his “What I was interested in terms of the Paris Opera series was nude portraits of adolescent figures. The latter witnessed his that whole strange business of finding oneself with a whole lot of considerable reputation take a massive battering recently when other people gathered in a darkened space, such as the opera, in May 2008 New South Wales police and detectives from the awaiting some special event. There is something quite magical Child Protection and Sex Crimes Unit, acting on a complaint about it. I’ve always found that people sitting in the dark just from an anti-child abuse campaigner, confiscated 20 of his waiting for something is the most haunting sort of experience. photographs from the Roslyn Oxley 9 Gallery in Sydney, where It seemed to me it was a common experience, a universal thing his latest exhibition was scheduled to open. The righteous that everyone feels, really, at some point or another.” condemnation which followed seemed somewhat absurd when considered in light of the major retrospective of Henson’s work — Ben Plumbly at Art Gallery of New South Wales and the National Gallery of Victoria in 2004 – 2005 which was visited by over 65,000 people, and which included a number of images more explicit than those seized. Not a single complaint was received during the retrospective and this is perhaps no surprise as Henson’s images may well be many things – hypnotic, unsettling, polarizing – yet despite the sometimes explicit nudity, never are they arousing. The defining tropes of Henson’s work are rather, as the two luscious prints in this catalogue amply serve to demonstrate, dislocation, the subconscious and a sublime aesthetic marked by light and dark.

Henson photographs seem to polarize all who come into contact with them, with people either being passionate supporters or devout critics. The great shame of recent arguments and of much of the dialogue which has taken place around the artist’s work is that it obscures the technical virtuosity of his photography and the unparalleled richness of his photographs. Henson's photographs are all shot on negative film and are made in the traditional manner in the darkroom. Bill Henson 66

Bill Henson 67 Kim Joon 68 Laurence Aberhart 69

Michael Parekowhai 70 / 71

Marti Friedlander 73 / 74

Patrick Reynolds 72 Anne Noble 75 / 76

Bill Culbert 77

Neil Pardington 80

Fiona Pardington 78 / 79 Ava Seymour 81 / 82

Yuk King Tan 83

Kaz Stankowski 84 Christine Webster 87

Boyd Webb 85

Megan Jenkinson 86 Peter Peryer 88

Ans Westra 89 / 90 Les Cleveland 92 / 93 / 91 Mark Adams 96

Peter Peryer 94 / 95

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Auction No. 43 Lot no. Description Bid maximum (New Zealand dollars)

The Martin Hill Collection 8 June 2011 at 6.30pm

The Michael Seresin Collection

9 June 2011 at 6.30pm

Important Photographs 9 June 2011 at 6.30pm

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127 Artists Index

Aberhart, Laurence 40, 41, 42, 43, 49 McFarlane, Robert 47 Adams, Mark 96 Madden, Peter 51, 52 Alvarez-Bravo, Manuel 20 Miller, Lee 28, 29 Amituanai, Edith 31, 32 Morrison, Robin 38, 39 Artist Unknown 23, 24 Noble, Anne 75, 76 Atget, Eugene 4, 5, 6, 7 Pardington, Fiona 33, 34, 78, 79 Bellocq, E.J. 8 Pardington, Neil 80 Bischof, Werner 48 Parekowhai, Michael 70, 71 Brake, Brian 45, 46 Peryer, Peter 88, 94, 95 Brandt, Bill 14, 15, 16, 17 Piccinini, Patricia 62 Brassai, Gyula Halasz 10, 11, 12 Reynolds, Patrick 72 Cartier-Bresson, Henri 19 Ruff, Thomas 65 Casasola, Agustin Victor 3 Schaller, Matthias, Petrus 56, 57, 58 Cleveland, Les 91, 92, 93 Seymour, Ava 81, 82 Culbert, Bill 35, 36, 37, 77 Smith, W. Eugene 30 De Meyer, Baron Adolph 1, 2 Sudek, Josef 18 Drtikol, Frantisek 13 Stankowski, Kaz 84 Friedlander, Marti 73, 74 Tan, Yuk King 83 Giacomelli, Mario 22, 25 Todd, Yvonne 60, 61 Haas, Ernst 19, 20 Umbo, Otto Umbehr 27 Henson, Bill 66, 67 Webb, Boyd 55, 85 Jenkinson, Megan 86 Webster, Christine 87 Joon, Kim 68 Westra, Ans 89, 90 Kertez, Andre 9 Zahalka, Anne 63, 64 Kihara, Shigeyuki 53, 54 Klein, William 25 Leonard, Herman 21 Link, O. Winston 26

128

The Martin Hill Collection of International and New Zealand Ceramics

Wednesday 8 June

Another View: The Michael Seresin Collection of International Black and White Photography

Thursday 9 June

Important Photographs

Thursday 9 June