Plates 87 Lots
Specialist Enquiries Condition Reports
AUCKLAND
Tasha Jenkins Head of Art tasha@webbs.co.nz +64 22 595 5610
Stephanie AuYeung Manager, Art stephanie@webbs.co.nz +64 22 301 8259
WELLINGTON
Mark Hutchins-Pond Senior Specialist, Art mark@webbs.co.nz +64 22 095 5610
CHRISTCHURCH
Sean Duxfield Specialist, Art sean@webbs.co.nz +64 21 053 6504
Hannah Owen Registrar, Art hannah@webbs.co.nz +64 22 068 4932
Introduction Tasha Jenkins Head of Art
It is a great privilege to introduce The Becroft Collection. The Becrofts are legendary among the North Shore art community, and we are delighted to commemorate and celebrate their legacy and to share this amazing collection with their community and the wider public.
One of the most special aspects of being entrusted with a personal collection is seeing a life story mapped out in objects. In the case of The Becroft Collection the story told is one of community, family, and the significant impact that patronage and connection has within the arts. This collection is not just a remarkable acquisition of artworks and objects, but a reflection of the revered relationships and generosity of Genevieve and David Becroft over many years. Their patronage was crucial to the success of various arts institutions and events around Tāmaki Makaurau and particularly their beloved North Shore, including NZ Sculpture OnShore, The PumpHouse Theatre and the Lake House Arts Centre.
In the 1960s Genevieve Becroft was integral to the successful campaign to save the iconic PumpHouse building on the shore of Lake
Pupuke, in Takapuna. The spark of this mission came while living in the US, where David was working as a paediatric pathologist at the time. While in Cincinnati, Genevieve saw an old building being restored and converted into a theatre, and consequently – upon later learning that the derelict PumpHouse building was set to be demolished – was inspired to rally a group of equally concerned locals into advocating for it to be saved and converted into an arts centre. In 1969 the council voted to save the building, and after nearly a decade of fundraising, advocacy and hard work, The PumpHouse Theatre opened for performances in 1977. Later, the Becrofts’ passion for community support went further with the creation of the Genevieve and David Becroft Foundation. Through this they fundraised and donated life-changing sums to artists and architects, as well as many organisations, including Starship, Riding for the Disabled, and the Gift-a-Seat programme, which each year enabled hundreds of children at low-decile schools to attend theatre performances. In 2001 Genevieve received a Queen’s Service Medal for her services to the community.
Genevieve Becroft at the Lake House Arts Centre.
David and Genevieve Becroft.
Gil Hanly, Margaret Lawlor-Bartlett, Genevieve Becroft and Pat Hanly.
1998 newspaper article featuring Genevieve and David in their garden for NZ Sculpture OnShore.
Another hugely influential initiative Genevieve is known for is of course NZ Sculpture OnShore, which she co-founded along with Lenore Sumpter in 1996. In 1995 Genevieve joined the Friends of Women’s Refuge Trust to support its North Shore branch, which held a fundraiser art exhibition that raised $23,000. The following year, Genevieve opened her own home and beautiful garden on the shore of Lake Pupuke as the venue for the inaugural NZ Sculpture OnShore. The biennial exhibitions feature sculptures of all kinds from contemporary New Zealand artists, and all proceeds are donated to Women’s Refuge New Zealand, to date raising over $2.2 million.
The evidence of this iconic event being held in the Becrofts’ garden is obvious when looking at this fantastic collection of works, which features some 30 outdoor sculptures by artists including Dave McCracken, Greer Twiss, Bronwynne Cornish, Barry Brickell, John Edgar and many more. After each exhibition, Genevieve often acquired one or two of the sculptures herself, and it is fantastic to witness the works in this incredible garden where they were likely first exhibited.
When moving inside to see the rest of the collection, one cannot help but delight in the vibrancy and variety of works. Indicative of the time that many were acquired, the late 1980s and early 1990s, we can see bold and colourful works by Alan Taylor and Michel Tuffery, Robert Ellis’s strong palette of blues and purples, and the bright floral painting by Teuane Tibbo. In a slightly softer palette are abstracted or stylised depictions of nature by Betty Curnow, Louise Henderson, Minnie White and Don Binney. The most striking and obvious artistic presence within the collection is of course Pat Hanly, who is represented by nine works in this offering. From drawings and prints to an early selfportrait to energetic 1980s enamel paintings, the works offered show Hanly’s diverse style and range of treatments, while all staying true to his consistent, bold joyfulness. The large-scale painting Doing It is quintessential late-80s Hanly, and it is a true pleasure to be able to present it here.
For this special collection we are pleased to showcase the works within the spectacular home and garden that Genevieve, David and their four children lived in for so many years. The Becroft House, designed by Harry Turbott and Peter Middleton in the 1960s, is architecturally significant in its own right and won the 25-Year Award at the 1994 New Zealand Institute of Architects Awards. At a more intimate level, the home emboldened Genevieve Becroft to pursue her love of art to its fullest expression, as she told the New Zealand Herald in 2003:
When I moved in I was too afraid to hang my pictures, the place was so pristine, but in the end this house gave me the freedom, it encouraged me to be an arty person, it liberated my thinking.
It is an honour to not only be granted access to this magical space, but to facilitate a full circle moment that enables the local community to once again connect with The Becroft House and the artworks within one last time.
It has been very special working with the Becroft family on this catalogue and I am truly grateful for their trust and cooperation. I have thoroughly enjoyed hearing memories of growing up in the iconic Becroft House and making kites with Pat Hanly. I hope to have captured some of the rich legacy of Genevieve and David within this small introduction but I am sure many of you will have your own stories of the Becrofts to cherish.
The full catalogue is available online for bidding, and works will be on view in the Becroft House from 10am to 4pm, Wednesday 30 October to Monday 4 November. We invite you to come along and see these treasures together one final time. If you have any questions, please reach out to our specialist team.
The Becroft House in 1966.
1 PAT HANLY
Summer Bride and Groom 1990
screenprint on paper, 3/19
signed, dated and title inscribed
530 × 650mm
EST $3,000 — $5,000
2
GRETCHEN ALBRECHT
Pounamu 2002
lithograph on paper, 50/100 signed, dated and title inscribed 560 × 750mm
EST $2,000 — $4,000
3 PAT HANLY
Life Goes On 1981
screenprint on paper, 31/50
signed, dated and title inscribed 510 × 570mm
EST $3,000 — $5,000
4 DON
untitled 1999 acrylic on paper signed and dated 540 × 710mm
EST $18,000 — $24,000
5
untitled corned beef tin cans and steel
480 × 690 × 243mm (widest points)
EST $4,000 — $8,000
MICHEL TUFFERY
BINNEY
Natura Morta
1993
watercolour and pastel on paper signed, dated and title inscribed 990 × 690mm
EST $5,000 — $8,000
6 ROBERT ELLIS
7 ROBERT ELLIS Maungawhau/Mt Eden 1998
acrylic, ink and pastel on paper signed, dated and title inscribed 280 × 250mm
EST $2,000 — $4,000
9 ALEXIS HUNTER untitled (Chimera) 1996
acrylic on paper signed and dated 345 × 400mm
EST $2,000 — $4,000
8 CHRISTINE SMITH Still Life with Cups III
acrylic on board signed 900 × 900mm
EST $1,000 — $2,500
10 PAT HANLY Sleep 1982
acrylic on paper signed, dated and title inscribed 580 × 580mm
EST $4,500 — $6,500
11
Near Albany, Auckland 1982
oil and acrylic on canvasboard signed, dated and title inscribed 290 × 290mm
EST $800 — $1,200
13
Ploughed Fields Near Geraldine 1984
oil and acrylic on canvasboard signed, dated and title inscribed 290 × 290mm
EST $800 — $1,200
12
Evening Near Waimate 1984
oil and acrylic on canvasboard signed, dated and title inscribed 290 × 290mm
EST $800 — $1,200
14 BETTY
Lindis Pass, Otago 1984
oil and acrylic on canvasboard signed, dated and title inscribed 290 × 290mm
EST $800 — $1,200
BETTY CURNOW
BETTY CURNOW
BETTY CURNOW
CURNOW
Roses 1982 oil on canvas signed and dated 900 × 900mm
EST $25,000 — $35,000
15 LOUISE HENDERSON
untitled 1972 signed and dated
600 × 910mm
EST $18,000 — $26,000
16 TEUANE TIBBO
18
In My Dreaming I saw Te Ika a Maui 1989
acrylic on board
signed, dated and title inscribed 550 × 550mm
EST $800 — $1,200
19 PAT
Pacific Hope 1984
screenprint on paper, 19/40 signed and dated 480 × 540mm
EST $3,000 — $5,000
TAYLOR Fomison on the Manukau Harbour 1993
acrylic on canvasboard signed 495 × 650mm
EST $500 — $1,500
20 PAT HANLY Touches 1985
screenprint on paper, 20/25 signed, dated and title inscribed 490 × 670mm
EST $3,000 — $5,000
17 ALAN TAYLOR
HANLY
ALAN
21 BARRY BRICKELL
untitled earthenware
550 × 440 × 320mm (widest points)
EST $800 — $1,200
22 LEN CASTLE
Branch Vase stoneware signed
330 × 260 × 110mm (widest points)
EST $2,500 — $5,000
23 BRIAR GARDENER
Wheku Head Vessel ceramic signed
140 × 220 × 220mm (widest points)
EST $600 — $1,200
Podding Peas
1981 oil on board
signed and dated 560 × 580mm
EST $10,000 — $15,000
24 TREVOR MOFFITT
25 JEFF THOMSON untitled (Kete) corrugated iron
410 × 400 × 80mm (widest points)
EST $1,000 — $2,000
26 KAWAI TAKEICHI Slab Vase stoneware
160 × 100 × 60mm (widest points)
EST $800 — $1,400
27 LEN CASTLE Winged Hanging Vessel earthenware signed
230 × 285 × 750mm (widest points)
EST $400 — $600
28 ROBYN STEWART Incised Vessel ceramic
370 × 350 × 350mm (widest points)
EST $500 — $1,000
29 DONALD JACK Carved Blanket Box native timber
270 × 980 × 450mm
EST $2,000 — $4,000
marine bone
420 × 120 × 80mm
(widest points)
EST $2,000 — $4,000
31
native timber
580 × 150 × 80mm
(widest points)
EST $2,000 — $4,000
30 DONALD JACK Carved Trinket Box
DONALD JACK Carved Trinket Box
32 NIGEL BROWN Human Bridge 1985-86 oil on board
signed, dated and title inscribed 1200 × 900mm
EST $15,000 — $20,000
33 LEN CASTLE
Rectangular Dish stoneware signed 420 × 330 × 60mm
EST $1,000 — $1,500
34 LEN CASTLE
Circular Dish stoneware signed 420 × 420 × 100mm (widest points)
EST $1,000 — $1,500
35 LEN CASTLE
Vessel earthenware signed 951 × 100 × 100mm (widest points)
EST $500 — $1,000
36 LEN CASTLE
Vessel earthenware signed 135 × 130 130mm (widest points)
EST $500 — $1,000
37 LEN CASTLE Two Crucibles earthenware signed
30 × 70 × 70mm; 30 × 60 × 60mm (widest points)
EST $500 — $1,000
graphite and collage on paper signed and dated 750 × 640mm EST $500 — $1,000
MARGARET LAWLOR-BARTLETT untitled 1984
“When I moved in I was too afraid to hang my pictures, the place was so pristine, but in the end this house gave me the freedom, it encouraged me to be an arty person, it liberated my thinking.”1
2003.
1 Genevieve Becroft quoted by Douglas LloydJenkins in a New Zealand Herald article about the Becroft House in July
Pat Hanly by Lucinda Bennett Anything Could Happen
In 1962, Christchurch-trained painter Pat Hanly returned to Aotearoa after four years in Europe. The trip home was intended only as a stop-gap before immigrating to Australia, where he knew “there were lots of painters, about the same age, who were doing things.”1 However, in Tāmaki Makaurau
Auckland he found an unexpectedly vibrant art scene and formed connections with figures such as Hamish Keith and Peter Tomory at Auckland City Art Gallery, as well as artists Colin McCahon, Toss Woollaston and John Drawbridge. Hanly and his family, including his wife, acclaimed photographer Gil Hanly, ended up staying in Tāmaki until his death in 2004.
Just a few years after his return, Hanly experienced an artistic crisis that led him to destroy most of his abstract Pacific Icons series – a collection of works reminiscent of his monumental airport mural, Prelude to a Journey (1977), which has since been divided into panels and distributed to various art galleries across the country. He then embarked on a radical experiment of painting in the dark, blacking out his Grafton studio and blindfolding himself in an
effort to unlearn what he’d learnt at art school, to excavate a more intuitive approach to painting and reinvigorate his practice. For a renowned colourist known for paintings infused with light –especially the celebrated Figures in Light series, created just before this period, when he had returned home and become newly attuned to the intensity of light in Aotearoa – this decision seemed paradoxical. What energy could Hanly possibly discover in the dark?
Writing in his notebook at the time, Hanly described the experience:
Eventually, intuitive actions with pencil and paints etc. began to happen in amongst the traditional jungle that had a natural rightness. And these marks continued creeping into the darkness, into the suggested void which I now knew as existing in huge vastness where anything could happen, and where it could only happen. 2
Back in the light, Hanly’s practice bloomed anew. In conversation with Hamish Keith, he explained how, after the darkness, everything
1973
enamel board signed and dated 370 × 340mm
EST $40,000 — $60,000
39 PAT HANLY untitled (Self Portrait)
he painted was connected, part of the same expansive project, the same swirl of experience. Gardens, flowers, tamarillos, the sun, the sea, boats, kites, stars, figures alone, figures embracing; there was no hierarchy among these objects, “everything had its own importance, its own incredible and meaningful reality, so anything you turned to, that whetted your visual appetite, you could develop. There was no image at the end. It was a continuing process, an expanding one, always opening out.”3 The works made in the ensuing decades, including the Golden Age and Torso series (from which Doing It [1988] and White Model Torso [1978] originate), are among Hanly’s most iconic, their apparent joyfulness and spontaneity belying their origins in a darkened Grafton studio.
At the centre of Doing It (1988) is the silhouette of a woman, her edges glowing white, hair streaming behind her as though caught in a strong wind. She is in motion, one foot off the ground, one arm swinging out behind her while the other reaches forward and upward, fingers splayed as though reaching – but what for? While her form is opaque black, some parts of her body have been painted over in vibrant hues: her arms, down to the fingertips, are fiery orange, as are her legs right down the centre, into each toe of her uplifted foot. Green paint, the colour of bronze patina, clings to her abdomen. Up close, you can glimpse orange, yellow and white through the black and white claw of her windblown hair. Abstract forms bloom in the twilight space around her; a diaphanous yellow miasma spreads like wings behind her shoulders; a splattered, blueringed island floats around her belly and lower back. A vaguely ominous dark-green shape almost touches her. It is hard to say whether these shapes emanate from or float around her body – does she share space with these abstract forms, is she one of them? Her lips are pursed with purpose, her posture controlled. Even the childlike scratch of her single eye seems narrowed in concentration. Whatever ‘it’ is, she is doing it.
In White Model Torso (1978), the paint is doing it. Lines are not random or chaotic, but they are alive, gestural, recalling the dynamism of the action paintings of American abstract expressionist Jackson Pollock. Yet unlike Pollock, Hanly delineates a form, a body suggested through a series of careful dribbles and less careful splatters; this one forms the curve of a waist, this one the angled crease of an arm. Two pale-blue splotches for nipples, four red daubs that could be red-painted nails or bloody fingerprints. Look too long or too closely and the body dissolves
40 PAT HANLY Doing It 1988 enamel on board signed, dated and title inscribed 1190 × 1190mm
EST $200,000 — $300,000
LITERATURE
1 Hamish Keith and Pat Hanly, “Patrick Hanly: A Conversation,” Art New Zealand 14, Summer 1979–80, https://artnewzealand.com/14-hanly/
2 Ibid.
3 Ibid.
Gregory O'Brien, Pat Hanly, (Auckland: Ron Sang Publications, 2012), 225.
into abstraction, not a pattern so much as an arrangement of shapes and colours that oscillates between resemblance and nonsense, like plasticine in a child’s hands, like clouds scudding across the sky. Throughout his career, Hanly returned repeatedly to the female form – so much so that in 1988 he mounted a survey titled Women by Hanly, although to contemporary audiences this title is something of a misnomer: as the Torso paintings suggest, Hanly’s tendency was to employ the female form as a formal device, a series of voluptuous lines loaded with symbolic potential rather than attempts to capture the essence of specific women in his life.
Next to Doing It and White Model
Torso, Self Portrait (1973) may seem murky, severe and ironically less Hanly-esque, despite depicting the man himself. Hanly has painted his own profile in confident shades of red over a pale mustard ground, his head tilted slightly back to emphasise a beak-like nose that traces back to become his brow. I cannot help but think ‘Roman nose’ as I gaze at it – in ancient Rome, an aquiline nose was considered a sign of strength and nobility, with coins featuring emperors sometimes exaggerating the nose to emphasise the ruler’s power. As a painter very much attuned to the subtleties of bodies in repose, Hanly likely emphasised his nose on purpose – yet so often people cannot really see themselves, or see past the end of their own nose. Perhaps this is why the majority of Hanly’s self-portraits are far less easily identifiable as Hanly, taking the form of anonymous silhouettes posed against various backgrounds, titled unconventionally not as selfportraits, but with different versions of the question – who am I?
41 PAT HANLY
White Model Torso 1978
enamel on board signed, dated and title inscribed 710 × 550mm
EST $90,000 — $120,000
LITERATURE
Gregory O'Brien, Pat Hanly, (Auckland: Ron Sang Publications, 2012), 200.
Perhaps it is as Hanly wrote, that even for such an avid painter of the human condition, there is no answer to that question, no image at the end, only the continuation of a practice, of looking and seeing more, always opening out.
Installation of sculptures by Dave McCracken and Greer Twiss into the Becrofts' garden.
42 BARRY LETT Bird in Flight found stones on cement; metal 450 × 1600 × 700mm (widest points, excluding pole)
EST $10,000 — $16,000
43 BRONWYNNE CORNISH untitled bronze
770 × 270 × 280mm (widest points)
EST $3,000 — $5,000
44 SOPHIA
untitled glass and metal
1800 × 300 × 300mm (widest points)
EST $1,000 — $3,000
46
1100 × 900 × 500mm (widest points) EST $3,000 — $5,000
45 ARTIST UNKNOWN untitled steel and timber
450 × 970 × 670mm (widest points)
EST $2,500 — $5,500
47 DAWN PEARCE untitled bronze
2000 × 1200 × 1200mm (widest points) EST $1,500 — $3,000
ATHENEOU
LYNDON SMITH Hurdler bronze
Albatross in Flight
2500 × 4000 × 2000mm (widest points)
EST $18,000 — $26,000
48 GREER TWISS
welded aluminium
bronze
280 × 280 × 240mm (widest points)
EST $3,000 — $6,000
1240 × 530 × 640mm (widest points)
EST $8,000 — $12,000
51
steel
Intricate Contemplation
500 × 500 × 500mm (widest points)
EST $3,000 — $6,000
49 GREER TWISS Three Feeders
50 CHRISTINE HELLYAR Garotte bronze
MARTÉ SZIRMAY
52 DAVE MCCRACKEN
untitled stainless steel
1200 × 1200mm (widest points)
EST $20,000 — $30,000
53 SALLY TAGG Pollen Hybrid glass and metal
950 × 950 × 950mm (widest points)
EST $1,500 — $3,500
55 BILL HAYES untitled bronze
800 × 575 × 575mm (widest points)
EST $2,000 — $4,000
54 PHIL NEARY untitled wood; cast metal
2550 × 1200 × 1200mm (widest points)
EST $2,000 — $4,000
56 DION HITCHENS untitled woven metal tubing
2200 × 500 × 500mm (widest points)
EST $4,000 — $7,000
58
Mother and Child composite stone
1800 × 900 × 500mm (widest points)
EST $3,000 — $5,000
59
900 × 500 × 450mm (widest points)
EST $5,000 — $8,000
580 × 500 × 480mm (widest points)
EST $1,200 — $2,200
60
and earthenware
450 × 210 × 300mm (widest points) EST $1,500 — $2,500
JEFF SCHOLES untitled paua
IOSEFA LEO
BARRY BRICKELL untitled earthenware
57 PAMELA HOWARD-SMITH untitled aluminium
61 BARRY BRICKELL untitled earthenware
950 × 250 × 250mm (widest points)
EST $5,000 — $8,000
62 JOHN EDGAR
The Eel stone and marble
1500 × 350 × 350mm (widest points, base inclusive)
EST $12,000 — $16,000
63 ARTIST UNKNOWN untitled
glazed ceramic
1400 × 250 × 250mm (widest points)
EST $2,000 — $4,000
65 GILLIAN ELMSLIE Flow
stone
400 × 350 × 120mm (widest points)
EST $300 — $500
64 BILL
Gymnast (Handstand) bronze wire; wood
1350 × 300 × 250mm (widest points; excluding base)
EST $1,000 — $2,000
66 PAORA TOI TE
untitled bronze
490 × 520mm (widest points; each)
EST $2,000 — $5,000
HAYES
RANGIUAIA
67 SAM IRELAND untitled (from the Pack of Beasts series) stainless steel and recycled plastic
800 × 1500 × 300mm (widest points)
EST $800 — $2,000
68 JEFF THOMSON untitled screenprint on corrugated iron
750 × 2400 × 750mm (widest points)
EST $7,000 — $14,000
70 ARTIST UNKNOWN
Integrare
bronze
1750 × 350mm (widest points)
EST $1,500 — $3,000
69 BARRY LETT
untitled acrylic on wood
1100 × 570mm (widest points)
EST $3,000 — $6,000
72 SHEYNE TUFFERY
SFM#1
acrylic on timber and aluminum
650 × 650mm (widest points)
EST $200 — $400
2006
woodcut on paper signed, dated and title inscribed
670 × 480mm
EST $400 — $800
71 DUGALD PAGE
Stravinski Firebird
73 BILL HAYES
Torso Study NZ 2006
bronze
signed, dated and title incised
480 × 290 × 255mm (widest points)
EST $1,500 — $2,500
75 LYNDON SMITH Mother and Child
bronze
320 × 200 × 150mm (widest points)
EST $1,000 — $3,000
74 BILL HAYES untitled acrylic on bronze
200 × 200 × 100mm (widest points)
EST $500 — $1,000
76 JONATHAN CAMPBELL Lot #6 2006
bronze
signed, dated and title incised
205 × 390 × 515mm (widest points)
EST $1,500 — $2,500
77 MAYLON BOUZAID Changing Tide 1989
acrylic on board
signed, dated and title inscribed 890 × 780mm
EST $1,000 — $2,000
78 JOHN PAPAS Arabesque
acrylic on ceramic on board
signed and title inscribed 740 × 570mm (widest points)
EST $700 — $1,300
80 SYLVIA SIDDELL Romertopf 1986
graphite on paper
signed and dated 590 × 350mm
EST $300 — $600
81 KEITH PATTERSON Gull
1960
gouache on paper signed and dated 500 × 300mm
EST $400 — $600
79 MAYLON BOUZAID Towards the Mokohinaus
2003
acrylic on canvas
signed, dated and title inscribed 1520 × 1380mm
EST $1,000 — $2,500
82 ALEXIS HUNTER Hormone 4 1998
ink on paper
signed, dated and title inscribed 360 × 220mm
EST $300 — $900
83 HELEN BROWN untitled watercolour and graphite on paper signed
250 × 360mm
EST $400 — $600
84 MINNIE WHITE Portland Road, Remuera watercolour on paper signed
375 × 480mm
EST $400 — $600
85 MINNIE WHITE untitled
acrylic on board signed
400 × 500mm
EST $1,200 — $3,200
86 PAT HANLY untitled 1974
graphite on paper signed and dated
230 × 290mm
EST $3,000 — $5,000
87 FRANCES ELLIS untitled watercolour on paper signed
260 × 350mm
EST $2,000 — $4,000
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Any prospective new buyer must complete and sign a registration form and provide photo identification before bidding. Webb’s may request bank, trade or other financial references to substantiate this registration.
4.3. Bidding as a Principal
When making a bid, a bidder is accepting personal liability to pay the purchase price including the buyer’s premium and all applicable taxes, plus all other applicable charges, unless it has been explicitly agreed in writing with Webb’s before the commencement of the sale that the bidder is acting as agent on behalf of an identified third party acceptable to Webb’s and that Webb’s will only look to the principal for payment.
4.4. International Registrations
All International clients not known to Webb’s will be required to scan or fax through an accredited form of photo identification and pay a deposit at our discretion in cleared funds into Webb’s account at least 24 hours before the commencement of the auction. Bids will not be accepted without this deposit. Webb’s also reserves the right to request any additional forms of identification prior to registering an overseas bid.
This deposit can be made using a credit card, however the balance of any purchase price in excess of $5,000 cannot be charged to this card without prior arrangement.
This deposit is redeemable against any auction purchase and will be refunded in full if no purchases are made.
4.5. Absentee Bids
Webb’s will use reasonable efforts to execute written bids delivered to us AT LEAST 24 Hours before the sale for the convenience of those clients who are unable to attend the auction in person. If we receive identical written bids on a particular lot, and at the auction these are the highest bids on that lot, then the lot will be sold to the person whose written bid was received and accepted first. Execution of written bids is a free service undertaken subject to other commitments at the time of the sale and we do not accept liability for failing to execute a written bid or for errors or omissions which may arise. It is the bidder’s responsibility to check with Webb’s after the auction if they were successful. Unlimited or “Buy” bids will not be accepted.
4.6.
Telephone Bids
Priority will be given to overseas and bidders from other regions. Please refer to the catalogue for the Telephone Bids form. Arrangements for this service must be confirmed AT LEAST 24 HOURS PRIOR to the auction commencing. Webb’s accepts no responsibility whatsoever for any errors or failure to execute bids. In telephone bidding the buyer agrees to be bound by all terms and conditions listed here and accepts that Webb’s cannot be held responsible for any miscommunications in the process. The success of telephone bidding cannot be guaranteed due to circumstances that are unforeseen. Buyers should be aware of the risk and accept the consequences should contact be unsuccessful at the time of Auction. You must advise Webb’s of the lots in question, and you will be assumed to be a buyer at the minimum price of 75% of estimate (i.e. reserve) for all such lots. Webb’s will advise Telephone Bidders who have registered at least 24 hours before the auction of any relevant changes to descriptions, withdrawals, or any other sale room notices.
4.7.
Online Bidding
Webb’s offers an online bidding service. When bidding online the buyer agrees to be bound by all terms and conditions listed here by Webb’s.
Webb’s accepts no responsibility for any errors, failure to execute bids or any other miscommunications regarding this process. It is the online bidder’s responsibility to ensure the accuracy of the relevant information regarding bids, lot numbers and contact details. Webb’s does not charge for this service.
4.8. Reserves
Unless otherwise indicated, all lots are offered subject to a reserve, which is the confidential minimum price below which the Lot will not be sold. The reserve will not exceed the low estimate printed in the catalogue. The auctioneer may open the bidding on any Lot below the reserve by placing a bid on behalf of the Seller. The auctioneer may continue to bid on behalf of seller up to the amount of the reserve, either by placing consecutive bids or by placing bids in response to other bidders.
4.9.
Auctioneers Discretion
The Auctioneer has the right at his/ her absolute and sole discretion to refuse any bid, to advance the bidding according to the following indicative steps:
Increment Dollar
Range Amount
$20 $0–$500
$50 $500–$1,000
$100 $1,000–$2,000
$200 $2,000–$5,000
$500 $5,000–$10,000
$1,000 $10,000–$20,000
$2,000 $20,000–$50,000
$5,000 $50,000 – $100,000
$10,000 $100,000–$200,000
$20,000 $200,000–$500,000
$50,000 $500,000–$1,000,000
Absentee bids must follow these increments and any bids that don’t follow the steps will be rounded up to the nearest acceptable bid.
5. After the Sale
5.1. Buyers Premium
In addition to the hammer price, the buyer agrees to pay to Webb’s the buyer’s premium. The buyer’s premium is 19.5% of the hammer price plus GST. (Goods and Services Tax) where applicable.
5.2.
Payment and Passing of Title
The buyer must pay the full amount due (comprising the hammer price, buyer’s premium and any applicable taxes and GST) not later than 2 days after the auction date.
The buyer will not acquire title to the lot until Webb’s receives full payment in cleared funds, and no goods under any circumstances will be released without confirmation of cleared funds received. This applies even if the buyer wishes to send items overseas.
Payment can be made by direct transfer, cash (not exceeding NZD$5,000, if wishing to pay more than NZD$5,000 then this must be deposited directly into
a Bank of New Zealand branch and bank receipt supplied) and EFTPOS (please check the daily limit). Payments can be made by debit card or credit card in person with a 2.2% merchant fee for Visa, Mastercard and Paywave, and 3.3% for American Express. Invoices that are in excess of $5,000 and where the card holder is not present, cannot be charged to a credit card without prior arrangement. Cheques are no longer accepted.
The buyer is responsible for any bank fees and charges applicable for the transfer of funds into Webb’s account.
5.3. Collection of Purchases & Insurance
Webb’s is entitled to retain items sold until all amounts due to us have been received in full in cleared funds. Subject to this, the Buyer shall collect purchased lots within 2 days from the date of the sale unless otherwise agreed in writing between Webb’s and the Buyer.
At the fall of the hammer, insurance is the responsibility of the purchaser.
5.4. Packing, Handling and Shipping
Webb’s will be able to suggest removals companies that the buyer can use but takes no responsibility whatsoever for the actions of any recommended third party. Webb’s can pack and handle goods purchased at the auction by agreement and a charge will be made for this service. All packing, shipping, insurance, postage & associated charges will be borne by the purchaser.
5.5. Permits, Licences and Certificates
Under The Protected Objects Act 1975, buyers may be required to obtain a licence for certain categories of items in a sale from the Ministry of Culture & Heritage, PO Box 5364, Wellington.
5.6. Remedies for Non-Payment
If the Buyer fails to make full payment immediately, Webb’s is entitled to exercise one or more of the following rights or remedies (in addition to asserting any other rights or remedies available under the law)
5.6.1. to charge interest at such a rate as we shall reasonably decide.
5.6.2. to hold the defaulting Buyer liable for the total amount due and to commence legal proceedings for its recovery along with interest, legal fees and costs to the fullest extent permitted under applicable law.
5.6.3. to cancel the sale.
5.6.4. to resell the property publicly or privately on such terms as we see fit.
5.6.5. to pay the Seller an amount up to the net proceeds payable in respect of the amount bid by the defaulting Buyer. In these circumstances the defaulting Buyer can have no claim upon Webb’s in the event that the item(s) are sold for an amount greater than the original invoiced amount.
5.6.6. to set off against any amounts which Webb’s may owe the Buyer in any other transactions, the outstanding amount remaining unpaid by the Buyer.
5.6.7. where several amounts are owed by the Buyer to us, in respect of different transactions, to apply any amount paid to discharge any amount owed in respect of any particular transaction, whether or not the Buyer so directs.
5.6.8. to reject at any future auction any bids made by or on behalf of the Buyer or to obtain a deposit from the Buyer prior to accepting any bids.
5.6.9. to exercise all the rights and remedies of a person holding security over any property in our possession owned by the Buyer whether by way of pledge, security interest or in any other way, to the fullest extent permitted by the law of the place where such property is located. The Buyer will be deemed to have been granted such security to us and we may retain such property as collateral security for said Buyer’s obligations to us.
5.6.10. to take such other action as Webb’s deem necessary or appropriate.
If we do sell the property under paragraph (4), then the defaulting Buyer shall be liable for payment of any deficiency between the total amount originally due to us and the price obtained upon reselling as well as for all costs, expenses, damages, legal fees and commissions and premiums of whatever kinds associated with both sales or otherwise arising from the default.
If we pay any amount to the Seller under paragraph (5) the Buyer acknowledges that Webb’s shall have all of the rights of the Seller, however arising, to pursue the Buyer for such amount.
5.7.
Failure to Collect Purchases
Where purchases are not collected within 2 days from the sale date, whether or not payment has been made, we shall be permitted to remove the property to a warehouse at the buyer’s expense, and only release the items after payment in full has been made of removal, storage handling, insurance and any other costs incurred, together with payment of all other amounts due to us.
6. Extent of Webb’s Liability
Webb’s agrees to refund the purchase price in the circumstances of the Limited Warranty set out in paragraph 7 below. Apart from that, neither the Seller nor we, nor any of our employees or agents are responsible for the correctness of any statement of whatever kind concerning any lot, whether written or oral, nor for any other errors or omissions in description or for any faults or defects in any lots. Except as stated in paragraph 7 below, neither the Seller, ourselves, our officers, agents or employees give any representation warranty or guarantee or assume any liability of any kind in respect of any lot with regard to merchantability, fitness for a particular purpose, description, size, quality, condition, attribution, authenticity, rarity, importance, medium, provenance, exhibition history, literature or historical relevance. Except as required by local law any warranty of any kind is excluded by this paragraph.
7. Limited Warranty
Subject to the terms and conditions of this paragraph, the Seller warrants for the period of thirty days from the date of the sale that any property described in this catalogue (noting such description may be amended by any saleroom notice or announcement) which is stated without qualification to be the work of a named author or authorship is authentic and not a forgery. The term “Author” or “authorship” refers to the creator of the property or to the period, culture, source, or origin as the case may be, with which the creation of such property is identified in the catalogue.
The warranty is subject to the following: it does not apply where a) the catalogue description or saleroom notice corresponded to the generally accepted opinion of scholars and experts at the date of the sale or fairly indicated that there was a conflict of opinions, or b) correct identification of a lot can be demonstrated only by means of a scientific process not generally accepted for use until after publication of the catalogue or a process which at the date of the publication of the catalogue was unreasonably expensive or impractical or likely to have caused damage to the property.
the benefits of the warranty are not assignable and shall apply only to the original buyer of the lot as shown on the invoice originally issued by Webb’s when the lot was sold at Auction.
the Original Buyer must have remained the owner of the lot without disposing of any interest in it to any third party.
The Buyer’s sole and exclusive remedy against the Seller in place of any other remedy which might be available, is the cancellation of the sale and the refund of the original purchase price paid for the lot less the buyer’s premium which is non-refundable. Neither the Seller nor Webb’s will be liable for any special, incidental nor consequential damages including, without limitation, loss of profits.
The Buyer must give written notice of claim to us within thirty days of the date of the Auction. The Seller shall have the right, to require the Buyer to obtain two written opinions by recognised experts in the field, mutually acceptable to the Buyer and Webb’s to decide whether or not to cancel the sale under warranty.
the Buyer must return the lot to Seller in the same condition that it was purchased.
8.
Severability
If any part of these Conditions of Sale is found by any court to be invalid, illegal or unenforceable, that part shall be discounted, and the rest of the Conditions shall continue to be valid to the fullest extent permitted by law.
9. Copyright
The copyright in all images, illustrations and written material produced by Webb’s relating to a lot including the contents of this catalogue, is and shall remain the property at all times of Webb’s and shall not be used by the Buyer, nor by
anyone else without our prior written consent. Webb’s and the Seller make no representation or warranty that the Buyer of a property will acquire any copyright or other reproduction rights in it.
10. Law and Jurisdiction
These terms and conditions and any matters concerned with the foregoing fall within the exclusive jurisdiction of the courts of New Zealand, unless otherwise stated.
11. Pre-Sale Estimates
Webb’s publishes with each catalogue our opinion as to the estimated price range for each lot. These estimates are approximate prices only and are not intended to be definitive. They are prepared well in advance of the sale and may be subject to revision. Interested parties should contact Webb’s prior to auction for updated pre-sale estimates and starting prices.
12. Sale Results
Webb’s will provide auction results, which will be available as soon as possible after the sale. Results will include buyer’s premium. These results will be posted at www.webbs.co.nz.
13. Goods and Service Tax
GST is applicable on the hammer price in the case where the seller is selling property that is owned by an entity registered for GST. GST is also applicable on the hammer price in the case where the seller is not a New Zealand resident. These lots are denoted by a dagger symbol † placed next to the estimate. GST is also applicable on the buyer’s premium.
Albrecht, Gretchen 12
Atheneou, Sophia 43
B
Binney, Don 13
Bouzard, Maylon 54
Brickell, Barry 20, 48, 49
Brown, Helen 55
Brown, Nigel 24
C
Campbell, Jonathan 53
Castle, Len 20, 22, 25
Cornish, Bronwynne 42
Curnow, Betty 16
E
Edgar, John 49
Ellis, Frances 55
Ellis, Robert 14, 15
Elsmlie, Gillian 50
G
Gardener, Briar 20
H
Hanly, Pat 12, 15, 19, 33, 35, 36, 55
Hayes, Bill 47, 50, 53
Hellyar, Christine 45
Henderson, Louise 17
Hitchens, Dion 47
Howard-Smith, Pamela 48
Hunter, Alexis 15, 54
Ireland, Sam 51 J Jack, Donald 22, 23 L
Lawlor-Bartlett, Margaret 25 Leo, Iosefa 48 Lett, Barry 42, 52 M McCracken, Dave 46 Moffitt, Trevor 21 N Neary, Phil 47 P Page, Dugald 52 Papas, John 54 Patterson, Keith 54 Pearce, Dawn 43 S
Takeichi, Kawai 22
Taylor, Alan 19
Thomson, Jeff 22, 51
Tibbo, Teuane 18
Toi Te Rangiuaia, Paora 50
Tuffery, Michel 13
Tuffery, Sheyne 52
Twiss, Greer 44, 45 W White, Minnie 55
Scholes, Jeff 48 Siddell, Sylvia 54 Smith, Christine 15 Smith, Lyndon 43, 53 Stewart, Robyn 22 Szirmay, Marté 45 T Tagg, Sally 46
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Wellington 6011
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