0684 Auction Catalogue February 2024
Modern, Contemporary & Historical Art
98 Yvonne Todd, Heliotrope
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Contents
Foreword 10 Programme 12 Plates 13 Terms & Conditions
60
Index of Artists
62
8
25.03.24 Works of Art
Seeking Major Artworks auckland Tasha Jenkins Head of Art tasha@webbs.co.nz +64 22 595 5610 wellington Mark Hutchins-Pond Senior Specialist, Art mark@webbs.co.nz +64 22 095 5610 christchurch Sean Duxfield Specialist, Art sean@webbs.co.nz +64 210 536 504
Bill Hammond Whistler's Mother 2 2000 acrylic on canvas 1020 × 760mm est $260,000 — $320,000
auckland 33a Normanby Road Mount Eden Auckland, 1024 wellington 23 Marion Street Te Aro Wellington, 6011
Webb’s is currently inviting entries for our upcoming, March iteration of Works of Art. This is our premier art auction showcasing museum-quality New Zealand and international art, and has become a platform for record-breaking prices in the secondary art market. We are honoured to bring to market major works by iconic national artists. Early consignments are testament to the calibre within the catalogue, including artist Bill Hammond, Toss Woollaston, Fiona Pardington, Gordon Walters, and Ralph Hōtere among others. With the largest team of art specialists of any New Zealand auction house and representation in Wellington, Christchurch and Auckland we are nationally the superior choice to steward your artwork or collection into a new home. If you have any major artworks or collections you would like to bring to auction, please reach out to our specialist team for an obligation-free appraisal.
Foreword
Tasha Jenkins, Head of Art
Kia ora koutou, nau mai here mai; greetings and welcome to February Select, our first art catalogue of 2024. Our delightful February cover girl, Heliotrope by Yvonne Todd, ensures a fresh and vibrant start to our auction calendar. Further compelling photographic works offered in this catalogue include stunning large-scale images by Michael Parekōwhai and Fiona Pardington, a smaller black and white print by Peter Peryer and a dreamy landscape by Kate van der Drift. Two excellent works by Karl Maughan featuring his everpopular garden scenes are on offer, one bold screenprint and the other a rich oil painting. Continuing the botanical theme is Nasturtiums 2, a rare floral collage by the wonderful Gretchen Albrecht from her After Nature series.
Another highlight is a striking two panel painting on wool bale Tūi Tūi by Dame Robin White, which comes to us from the Estate of the late John Perry and was also highlighted in the artists recent retrospective. Additionally by White we have a beautiful 1970s screenprint, Michael at Home, featuring the artist’s often-documented son.
▲ Tasha Jenkins, Head of Art
A suite of four paintings by iconic New Zealand artist Nigel Brown, with dates ranging from the 1970s until 2007, showcase his unique fusion of European influences with his local perspective. Fantastic works by Don Binney, Gordon Walters, Patricia France, Richard Killeen, Robyn Kahukiwa and Toss Woollaston round out the sale, all fine selections by our Art Department for Select. 10
Alongside this iteration of Select is a very exciting sister auction: Pencil Case Painters. A bespoke, curated auction that we have been building for some time, this catalogue offers a selection of work from well-known artists Shane Cotton, Bill Hammond, Séraphine Pick, Peter Robinson, Saskia Leek and Tony de Lautour — often referred to as the “Pencil Case Painters.” This moniker referred to the doodle-like work created by the artists in the 1980s and 90s while they were all attending Ilam School of Fine Arts. The catalogue features a delightful introduction by Lucinda Bennett that delves into the Pencil Case ethos alongside some charming photographs of the artists at Ilam, shared with us by Tony de Lautour. Personal favourite works from this presentation include a wonderful revisionist painting by Tony de Latuour titled Looking for Books, a delicious sky blue and ruby red abstract work by Saskia Leek, and the exquisitely shimmering Ancestral L by Bill Hammond. Also on offer is a confronting yet beautiful selection of figurative paintings by Pick, three witty large-scale works by Peter Robinson, and striking paintings by Shane Cotton showing his evolution from the 1990s to the later 2000s.
To launch the two catalogues in Wellington, on Wednesday 14 February we will hear from Webb’s Senior Art Specialist, Mark Hutchins-Pond, and our new Gallery Manager, Virginia Woods-Jack, about some of their personal highlights.
Works from both sales will then be auctioned on Monday 26 February at our Mount Eden gallery, with Pencil Case Painters beginning at 6.30pm followed by the Select auction at 7.30pm. If you are unable to attend the viewings or auctions in person, we would be very happy to The catalogue will then launch in provide condition reports or Auckland on Tuesday 20 February, assist with remote bidding. where I will be joined by our newly appointed Christchurch-based As always, I am thrilled to share Art Specialist, Sean Duxfield – the following pages with you fitting for the Canterbury-centric and hope that you enjoy these Pencil Case Painters sale – to two catalogues as much as we discuss some of our key picks enjoyed putting them together. from the two catalogues. 11
Programme Wellington Launch Event Wednesday 14
February
6pm — 8pm
Join us for a discussion between Webb’s Senior Art Specialist Mark Hutchins-Pond and our new Wellington Exhibitions Manager Virginia Woods-Jack, who will discuss highlights from both Select and Pencil Case Painters. Please RSVP to karen@webbs.co.nz
Viewing Thursday 15 — Friday 16
February
10am — 5pm
Saturday 17
February
11am — 3pm
Auckland Launch Event Tuesday 20
February
6pm — 8pm
Join our Head of Art Tasha Jenkins and newly appointed Christchurch Art Specialist Sean Duxfield to hear their picks from both Pencil Case Painters and Select. Please RSVP to registrar@webbs.co.nz
Viewing Wednesday 21 — Friday 23
February
10am — 5pm
Saturday 24 — Sunday 25
February
10am — 4pm
Monday 26
February
10am — 5pm
Pencil Case Painters
Auction
Monday 26
February
Select
Auction
Monday 26
February
Viewing on Request
6.30pm
7.30pm
12
Plates
90 Lots
Specialist Enquires
Condition Reports
wellington
Hannah Owen Registrar, Art registrar@webbs.co.nz +64 9 529 5609
Mark Hutchins-Pond Senior Specialist, Art mark@webbs.co.nz +64 22 095 5610 auckland
Georgina Brett Specialist, Art georgina@webbs.co.nz +64 27 929 5609 christchurch
Sean Duxfield Specialist, Art sean@webbs.co.nz +64 210 536 504
13
57 Philip Clairmont, Female Figure Bending 1969 woodcut on paper, 2/5 signed, dated and title inscribed 805 × 330mm EST $1,800 — $3,000
58 Pat Hanly, Bouquet to All Women 1993 lithograph on paper, artist's proof 3 signed, dated and title inscribed 685 × 543mm EST $2,500 — $4,500
59 Richard Killeen, Reap What You Sow 1979 screenprint on paper, 32/50 signed, dated and title inscribed 745 × 558mm EST $3,000 — $5,000
60 Gordon Walters, Geneaology III 1971. printed 2020 screenprint on paper, edition of 100 indented with Walters estate chop mark 1055 × 805mm EST $5,000 — $8,000
14
61 Max Gimblett, Tiger Tiger Burning Bright 2015 screenprint on aluminium, 3/5 signed, dated and title inscribed 380 × 380mm (widest points) EST $6,000 — $8,000
64
EST
62 Max Gimblett, Phoenix 2015 screenprint on aluminium, 3/5 signed, dated and title inscribed 380 × 380mm (widest points) EST $6,000 — $8,000
Richard Killeen, Repetition Dragonfly Book 2020 inkjet print on plywood signed and dated 350 × 350mm $3,500 — $5,500
63 Max Gimblett, I am That 2015 screenprint on aluminium, 3/5 signed, dated and title inscribed 380 × 380mm (widest points) EST $6,000 — $8,000
65
EST
15
Richard Killeen, Repetition Dragonfly Triangle 2020 inkjet print on plywood signed and dated 350 × 350mm $3,500 — $5,500
67 Michael Illingworth, Tawera 1968 screenprint on paper 547 × 663mm EST $3,500 — $4,500
66 Robin White, Michael at Home 1978 screenprint on paper, 1/50 680 × 390mm EST $4,000 — $8,000
68 Don Binney, Motutapu Takahe Release III 2012 screenprint on paper, printer's proof title inscribed 760 × 560mm EST $4,000 — $8,000
16
69 Ans Westra, Ruatoria (Kids Eating Milk Powder) 1963. printed later digital print, edition of 25 390 × 390mm EST $2,200 — $3,200
70 Ans Westra, Ruatoria (Kids Smoking) 1963. printed later digital print, edition of 25 390 × 390mm EST $3,000 — $4,000
71 Ans Westra, Ruatoria (Kete Swing) 1963. printed later digital print, edition of 25 390 × 390mm EST $2,200 — $3,200
72 Ans Westra, Ruatoria (Jimmy Looking at Bread) 1963. printed later digital print, edition of 25 390 × 390mm EST $2,200 — $3,200
17
73 Ans Westra, Ruatoria (Kids Running) 1963. printed 2022 digital print, edition of 25 390 × 390mm EST $2,200 — $3,200
John Drawbridge
The late John Drawbridge (1930– 2005) was a diverse and highly accomplished artist with a career spanning over 50 years. Working across various modes and mediums in watercolour, print, murals and stained glass, Drawbridge believed an artist should have the freedom to create as they wanted. His work has a longstanding appeal amongst collectors, with examples in public and private collections across the motu. While he was born in Aotearoa, New Zealand and based in Te Whanganui a Tara, Wellington for most of his life, Drawbridge spent a significant period studying in London and Paris. He attended the Central School of Arts and Crafts, where he initially studied textile design. However, he quickly switched to the print department after being impressed by the diversity and excellence of the prints that were being produced in Britain in the late 1950s and early 1960s.
74 John Drawbridge, Sleeping Woman printed 2022 mezzotint on paper, 47/100 240 × 270mm EST $1,800 — $2,800
Mezzotints Printmaker Merlyn Evans introduced Drawbridge to the art of mezzotint printmaking and Drawbridge was deeply inspired by his teaching. Drawbridge went on to develop his printing skills while studying under Stanley William Hayter and Johnny Friedlaender at Atelier 17 in Paris. This period in Europe exposed Drawbridge to various printmaking techniques, which he did not have access to back home. The encounter with dynamic, pioneering and consummate practitioners significantly advanced his technique and confidence in his printmaking. This suite of five mezzotints showcases his mastery of the medium from the late 1950s to the mid-1990s. Sleeping Woman (1959) stands out as the first mezzotint he made under the guidance of Merlyn Evans, before joining Atelier 17. Although there is a clear stylistic influence of Pablo Picasso, the restrained monochromatic palette, tight composition and isolated figure came to characterise Drawbridge’s prints.
75 John Drawbridge, Girl with a Mirror printed 2004 mezzotint on paper, 29/50 245 × 300mm EST $3,200 — $4,200
18
76 John Drawbridge, Woman and Window 1996 mezzotint on paper, 6/50 signed, dated and title inscribed 200 × 140mm EST $1,600 — $2,600
77 John Drawbridge, untitled 1959 mezzotint on paper signed and dated 225 × 180mm EST $2,500 — $3,500
In these prints, the forms of the figures emerge from a deep velvety blackness and, despite the medium’s ability to capture rich tones and details, these works evoke considered minimalism with the mastery of mezzotint. The prints present a calm and introspective approach, an intimate view alongside evident themes of space and the effects of light. These five artworks encapsulate the widely celebrated printmaking of one of Aotearoa’s greats.
78 John Drawbridge, Sleeping Woman 1959. printed 2022 mezzotint on paper 545 × 640mm EST $1,800 — $2,800
19
79 Karl Maughan, Waiata screenprint on paper, 15/50 signed and title inscribed 1510 × 130mm EST $9,000 — $14,000
20
80 Gretchen Albrecht, Nasturtiums 2 (from the After Nature series) 1969 paper and fabric on paper signed and dated 585 × 450mm EST $9,000 — $14,000
81 Michael Smither, untitled 1988 acrylic on board signed and dated 458 × 355mm EST $12,000 — $22,000
21
82 Pauline Yearbury, Tawhiri-Matea acrylic on rimu 600 × 300mm EST $2,000 — $3,000
83 Pauline Yearbury, Hine-Takurua acrylic on rimu 600 × 300mm EST $2,000 — $3,000
84 Pauline Yearbury, Hine-Takurua acrylic on rimu 790 × 460mm EST $3,000 — $6,000
85 Pauline Yearbury, Hinemoa & Tutanekai acrylic on rimu 790 × 460mm EST $3,000 — $6,000
22
86 Dick Lyne, Tane Mahuta 2010 acrylic on board signed, dated and title inscribed 583 × 385mm EST $1,200 — $2,000
87 Patricia France, 'The Dahlias Sleep in the Empty Silence' T S Eliot 1993 oil on board signed, dated and title inscribed 610 × 510mm EST $6,000 — $10,000
88 Nigel Brown, Kereru Diagonal, After Paul Klee 2007 acrylic on canvas signed, dated and title inscribed 405 × 510mm EST $6,000 — $9,000
23
89 Nigel Brown, Trampers 1981 oil on canvas signed, dated and title inscribed 1110 × 800mm EST $8,000 — $12,000
Nigel Brown
Nigel Brown, born in Invercargill in 1949, has left a strong mark on New Zealand’s art scene through his thought-provoking and socially engaged work, showcasing a deep connection to the country’s cultural, social and environmental fabric.
Desire for Change Nuclear Arms) in 1984. His paintings from this period reflect these beliefs and explore issues of nuclear weaponry, feminism and the peace movement.1
Social commentary became a hallmark of Brown’s art as he fearlessly tackled subjects Between 1968 and 1971 Brown spanning politics, land, identity, attended Elam School of Fine economic inequalities, and the Arts, gaining valuable wisdom intersection of Māori and Pākehā from esteemed teachers such cultures. He also seamlessly as Robert Ellis, Pat Hanly, Colin incorporates elements from McCahon, Garth Tapper and European art movements and Greer Twiss. In 1981 he embarked specific artists into his works, on a transformative journey to integrating them with his personal America, the UK and Europe. beliefs and experiences. Notably, Upon his return, he was strongly his rendition of Vincent van influenced by the Springbok tour Gogh as a typical ‘Kiwi bloke’ protests and fellow artist Philip in a black singlet has been Clairmont, whom he lived with revisited in multiple works. In this for a time. Brown also played a catalogue, Kereru Diagonal, After pivotal role as a founding member Paul Klee (2007) pays homage of VAANA (Visual Artists Against to the European artist with its
90 Nigel Brown, Motorway Screamer 1980 oil on canvas signed, dated and title inscribed 780 × 1270mm EST $12,000 — $18,000
24
strong triangular shapes and simplified forms, integrating a clear cubist influence with distinctly New Zealand subject matter. While in a much earlier work, Motorway Screamer (1980), Brown humorously nods to Edvard Munch’s iconic painting, situating the titular figure amidst New Zealand’s changing urban landscape, marked by crisscrossing motorways and a Shell petrol station.
91 Nigel Brown, Days in Suburbia 1978 acrylic on board signed, dated and title inscribed 1190 × 1810mm EST $18,000 — $24,000
▲ “About / Biography,” Nigel Brown, 1
https://www.nigelbrown.co.nz/about/biography/
Days in Suburbia (1978) seems to offer a more personal commentary on Brown’s own experiences in New Zealand communities. The uniform lines of houses, all rendered in white, and the silhouetted figures and dogs waiting outside evoke a sense of suburban monotony. The lone figure flying a kite in this sea of conformity symbolises the desire for change, emphasised by the accompanying text: “In Suburbia all the Time / Need a Kite Above the Self.” The kite becomes a powerful metaphor, suggesting that escaping the mundane requires a full physical departure. Beyond his creative output, Brown’s contributions to New Zealand art include involvement in arts education, mentoring emerging artists, and active participation in cultural discourse. Brown’s legacy of consistently exploring and challenging the world around him has a firm place in New Zealand art history. 25
92 Ralph Hōtere, Drawing for the Cover of Dick Seddon’s Great Dive ink, acrylic and graphite on paper 385 × 280mm EST $14,000 — $22,000
26
Ralph Hōtere
Drawing for the Cover of Dick Seddon’s Great Dive
In the early 1960s, Ralph Hōtere (1931–2013) (Te Aupōuri and Te Rarawa) embarked on a journey that would shape the trajectory of his artistic career. After studying and exhibiting extensively across Europe and the United Kingdom, he returned to Aotearoa in 1965, marking the beginning of a prolific period during which he would establish his iconic formal minimalist approach to painting. This signature style has seamlessly found its way into Aotearoa’s visual lexicon, ensuring the enduring relevance of Hōtere's work. The 1970s brought about a notable evolution in Hōtere’s artistic expression. During this period, he introduced the words of poets as a repeated motif within his work. The textual addition created a new layer of depth and meaning. This exploration of text as a compositional device became a distinctive feature of his evolving visual language. Hōtere is remembered for being a vocal advocate for social justice. His outspoken stances on issues such as racism, classism, human rights and environmental concerns reverberate throughout his prolific oeuvre. This commitment to addressing societal challenges is exemplified in the small work offered in this catalogue – an ink, acrylic, and graphite work on paper titled Drawing for the Cover of Dick Seddon’s Great Dive. Richard John (Dick) Seddon was one of the longestserving politicians in Aotearoa’s history; he held the position of the fifteenth premier from 1893 until 1906. Ian Wedde’s 1976 novel Dick Seddon’s Great Dive traces the story of a love affair amid the 1970s Aotearoa counterculture, while the land’s authentic history and the dispossession of its original owners also weigh heavily on the narrative. The historical significance of Seddon’s legacy and this story fit perfectly with Hōtere’s practice. The work’s title gives explanation to the matter-of-fact inscription “space for a blurb”, made in graphite, and it becomes a nuanced exploration of colonialism, the Crown and politics in Aotearoa. Hōtere’s art encourages a thoughtful reflection on the historical and contemporary challenges faced by this nation, by fostering a dialogue that transcends boundaries. 27
93 Ralph Hōtere, untitled 2002 lithograph on paper, 18/22 signed and dated 500 × 620mm EST $6,000 — $9,000
94 Ralph Hōtere, Window in Spain 1992 lithograph on paper signed, dated and title inscribed 715 × 520mm EST $4,000 — $8,000
95 Gordon Walters, Kura 1982 screenprint on paper, artist's proof I signed, dated and title inscribed 595 × 480mm EST $15,000 — $25,000
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96 Robyn Kahukiwa, untitled 1971 watercolour on paper signed and dated 530 × 690mm EST $8,000 — $15,000
97 Colin McCahon, 15 Drawings lithographs on paper 820 × 1070mm (overall) EST $6,000 — $9,000
29
98 Yvonne Todd, Heliotrope 2023 C-type print, edition of 10 405 × 555mm EST $5,000 — $8,000
99
EST
Peter Peryer, Catherine and the Teacup 1974 gelatin silver print 155 × 205mm $3,000 — $5,000
100 Kate van der Drift, Tairua River 2016 archival print on paper, artist's proof, edition of 5 signed, dated and title inscribed 835 × 840mm EST $3,000 — $5,000
30
101
EST
Terry Stringer, Green Man 2022 bronze, 9/10 signed and dated 285 × 100 × 100mm (widest points) $4,800 — $6,800
102 Francis Upritchard, untitled bronze 230 × 260 × 210mm (widest points) EST $15,000 — $25,000
31
Guy Ngan
No. 121
Artist Guy Ngan has made a No. 121 – adds another organic distinctive and unique contribution layer. Despite their substantial to New Zealand art. Born in weight – even the smaller Wellington to Chinese parents, works are often heavy – there Ngan’s artistic exploration began is a visual lightness to Ngan’s in New Zealand, where he studied works, achieved through a design before venturing to clever play with negative space. London for further education at These elements ensure Ngan’s Goldsmiths College and the Royal sculptures always look at College of Art. Upon his return home in their surroundings, no to this country, Ngan immersed matter where they are placed. himself in the architectural field, Created in 1983, No. 121 manages leaving an indelible mark with to capture the essence of public sculptures, both his own that period in New Zealand’s and those of fellow artists. His visual history while still feeling artistic trajectory expanded to contemporary. It seems to encompass paintings, prints and smaller domestic sized sculptures. transcend its time, hinting at exploration into concepts of Ngan’s influence on New Zealand’s impending technology or cellular visual landscape was particularly structures. Ngan’s ability to evident in the 1970s and 1980s, seamlessly blend industrial when his public artworks became aesthetics with organic warmth iconic elements in people’s daily not only shows his skills as a lives. Utilising materials such as sculptor but also highlights bronze, aluminium or cast metal, his distinctive relationship Ngan’s works skilfully examine with materiality, form and form and materiality, presenting the world around him. structures that are simultaneously geometric and organic. At first glance his sculptures often seem industrial, bringing to mind machinery or cold minimalism; however, a closer inspection reveals a naturalness to the forms. The edges, rather than being sharply defined, exude a weathered-glass-like dullness. Ngan’s frequent use of bronze, which oxidises over time – as beautifully shown in this work, 32
103 Guy Ngan, No. 121 1983 bronze signed, dated and title inscribed 155 × 200 × 200mm (widest points) EST $17,000 — $27,000
33
104 Max Gimblett, Deep Water Cove 2001 acrylic and ink on hessian signed, dated and title inscribed 635 × 635mm (widest points) EST $12,000 — $16,000
105 Max Gimblett, Traced Upon Her Brow 2014 acrylic, aquasize and gold leaf on board signed, dated and inscribed 640 × 640mm (widest points) EST $25,000 — $30,000
34
106 Karl Maughan, Saddle Road 2009 oil on canvas signed, dated and title inscribed 1370 × 1370mm EST $35,000 — $45,000
35
107 Colin McCahon, Moby Dick is Sighted Off Muriwai Beach 1972 lithograph on paper, 67/200 485 × 600mm EST $10,000 — $15,000
36
108 Fiona Pardington, Portrait of Kimiākau Kiwi 2023 inkjet print on Hahnemühle Photo Rag, edition of 10 1760 × 1400mm EST $30,000 — $40,000
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Fiona Pardington & Michael Parekōwhai
Working in still-life photography, both Fiona Pardington (Ngāi Tahu, Kāti Māmoe, Ngāti Kahungunu, Clan Cameron of Erracht) and Michael Parekōwhai (Ngāti Whakarongo, Ngāriki Rotoa) have a similar pechant for tenebrous narratives that speak to Aotearoa’s European colonial history with Māori. Parekōwhai, a distinguished New Zealand artist, is celebrated for his diverse practice spanning sculpture, installation and photography. Integrating Māori and European influences, his work addresses both cultural identity and societal issues. Similarly, Pardington, also a renowned artist of Māori and Scottish descent, explores identity, culture and memory through her evocative photographs, often incorporating traditional Māori symbolism. Both artists have achieved international acclaim, showcasing a unique blend of personal and cultural perspectives in contemporary art. 38
Beauty & Decay
109 Fiona Pardington, Tui on a Byre of Flowering Sage and Wild Roses 2012 pigment inks on Hahnemühle Photo Rag, 3/10 810 × 1090mm EST $18,000 — $26,000
39
110 Michael Parekōwhai, Ypres (from The Consolation of Philosophy: Piko nei te matenga series) 2001 C-type print, edition of 8 1500 × 1185mm EST $22,000 — $32,000
40
Featured in this catalogue is a work from Parekōwhai’s iconic The Consolation of Philosphy photographic series: Ypres (2001). The monumental photograph features a coloured array of silk and plastic roses composed in an Ernest Shufflebotham Crown Lynn vase. At first reading, the work is simply a still-life image of flowers in a vase. However, the meaning of the work is multifaceted, as Parekōwhai’s work always is. Shufflebotham’s moon-white vases fell out of fashion for use in the home, but found their place in cemeteries across the country, filled with eternal flowers of plastic. The title of the work, Ypres, is after one of the many World War I battlefields where the Māori Battalion fought and died. As such, this work becomes a memorial for the fallen in a contrast between the Māori and colonial commemoration – the British-born Shufflebotham and fake florals as a representation and memorial of the sacrifices of young Māori in the early twentieth century for a fight that was not theirs. The series also enfolds the artist’s personal history: he trained to be a florist before going to art school.1 Parekōwhai masterfully weaves in narratives of his personal and ancestral history into what, on the surface, appears to be a simple still life.
In contrast, Pardington’s still lifes are more immediately provoking. Tui on a Byre of Flowering Sage and Wild Roses (2012) presents a conflict of beauty and decay, with a considered arrangement of flora encasing a taxidermied tūī, wings raised as if the creature has only just fallen from the sky. Deep in colour, the work invites the viewer in for a closer look at the details. In a similiar way to Parekōwhai, Pardington commemorates this majestic bird by juxtaposing native fauna and introduced flora, referencing the complicated colonial narrative of Aotearoa. The work has a similarity, too, to the sixteenthand seventeenth-century still-life genre of vanitas. This genre uses symbolism to show the transience of life, the futility of pleasure and the certainity of death – and, perhaps in Pardington’s case, the beauty of our own mortality.
▲ Robert Leonard, “Michael Parekowhai,” Robert 1
Leonard: Contemporary-Art Writer and Curator, https://robertleonard.org/michael-parekowhai/
41
111 Paul Dibble, untitled (Tui Perched in Kōwhai) 2002 bronze with 24ct gold, 1/3 signed 785 × 360 × 260mm (widest points) EST $25,000 — $35,000
Paul Dibble
untitled (Tui Perched in Kōwhai)
Paul Dibble (1943–2023), one of our most celebrated sculptors, has left an indelible mark on the art world of Aotearoa. He and his family made Manawatū their home in the late 1970s, establishing a remarkable foundry and sculpture studio. With a career spanning over half a century, Dibble was an artist who truly understood the essence of Aotearoa’s natural environment. His wife described him as “effectively a farm boy who had gone to the big smoke and trained to be an artist.”1 During the 1960s, he studied at Elam School of Fine Arts. This was the beginning of his collaboration with his teacher Colin McCahon, which lasted for 14 years. Together they created bronzes for commissions in churches with the architect James Hackshaw. This collaboration helped to propel Dibble’s career, and by the 1980s his works were held in high regard; they can be found in numerous public and private collections in Aotearoa and abroad. In 2006 their collaborative design, Southern Stand, the New Zealand War Memorial, was unveiled at Hyde Park Corner in London, establishing Dibble's international reputation. Dibble sought to create bronze sculptures that would stand the test of time and be testament to the ever-evolving nature of Aotearoa’s environment. He was seen as an artist who employed a “populist and playful style with modernist techniques.”2 When these two methodologies are combined, the result is a style that is both familiar and innovative, featuring elements of whimsy and fun alongside cutting-edge techniques.
▲ https://www.stuff.co.nz/ 1
national/301022009/man-ofmany-contradictions-sculptorpaul-dibble-remembered-ascomplex-confident-artist
▲ https://www.rnz.co.nz/ 2
news/national/504152/ remembering-paul-dibblebig-hearted-kiwi-sculptor
Although known for his large-scale sculptures, untitled (Tui Perched in Kōwhai) (2002) is a smaller piece that showcases his mastery of bronze regardless of size. The tūī and the kōwhai are afforded equal status in this piece; two much-loved and essential elements of Aotearoa that coexist in perfect harmony. The sculpture expresses this archetypal relationship with Dibble’s use of bronze and 24ct gold, a testament to his expertise and his ability to capture even the most delicate nuances of nature. 43
Robin White
Tūi Tūi
From the recognisable flattened imagery of the 1970s to her recent collaborative tapa-cloth works, Robin White’s (Ngāti Awa) artwork always reflects a profound connection to her community, lifestyle and cultural influences. Growing up in Tāmaki Makaurau, White studied at Elam School of Fine Arts before moving to Paremata in the late 1960s to become a teacher.1 It was there that White refined the flat, clear imagery, depicting isolated figures or structures against bare landscapes, that made her a key figure within Aotearoa’s regionalist art movement. Despite the visual shift in her later works, White’s practice remains rooted in her personal experiences and connections. A member of the Baha‘i faith, with a deep love for Pacific culture, White took a life-changing turn in the 1980s and 90s, when she moved to Kiribati in the South Pacific. Constrained by a lack of art supplies, she collaborated with local women using traditional textiles, sparking a new phase in her artistic journey.2 White’s embrace of these new materials and ways of working became integral to her creative process. Her return to Aotearoa in 1999 marked another shift, seeing the artist engage with local Māori and Pacific communities to create spectacular collaborative tapa-cloth installations.
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The work included in this catalogue, Tūi Tūi, comes to Webb’s from the collection of the late John Perry. Created in 2006, the title and the words scrawled across the two panels seem to refer to a traditional Māori folk song, with “Whakarongo ake au, ki te tangi te manu” inviting the audience to “listen to the sound of the birds.”3 This is perhaps a cautionary message, as, intriguingly, the birds depicted in the work are not the native tūī but introduced magpies – potentially symbolising the impact of Pākehā colonisation on Aotearoa.
▲ “Robin White,” Archives New 1
Zealand Te Rua Mahara o te Kāwanatanga, https://www. archives.govt.nz/discover-ourstories/school-publications/ artist-and-artworks-an-onlineexhibition/robin-white
▲ “Dame Robin,” The Arts 2
Foundation Te Tumu Toi, https://www.thearts.co.nz/ artists/dame-robin-white
▲ “Te Tangi a te Matui,” New 3
Zealand Folk Song, https:// folksong.org.nz/tui_tuia/
Tūi Tūi was recently featured in the retrospective Robin White: Te Whanaketanga | Something Is Happening Here, which showcased the breadth of White’s artistic output from her early years until recently. Within Tūi Tūi there is a frieze of crisply painted mountain ranges harking back to White’s 1970s paintings, while the patterning used seems to reference Kiribati and the wider Pacific, and the stark lettering is written in te reo Māori. These references to the artist’s wider practice exemplify White’s embrace of diverse influences, while always maintaining her own voice.
112 Robin White, Tūi Tūi 2006 ink and acrylic on polypropylene wool bale 730 × 1630mm (each panel) EST $38,000 — $58,000
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113 Gordon Walters, Tirangi I c1979 ink on paper title inscribed 330 × 225mm EST $55,000 — $65,000
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Gordon Walters
Tirangi I
With a career spanning six decades, Gordon Walters (1919–1995) is renowned as one of the nation’s most influential modern artists. By exploring the potential of just a few simple geometric elements, Walters created paintings, prints and drawings with an exacting purpose: to create works of timeless refinement. Walters is best known for his application of the principles of Western abstraction to the Māori koru motif, and this small and intricately rendered ink and graphite composition Tirangi I (1979) is no exception to his signature style.
intimate puncture holes of the artist’s drawing compass can still be seen within the interior of the koru’s outermost coil. These details serve as remarkable evidence of the works facture and Walters' working process.
It is no surprise to the viewer that the artist had such a profound impact on the shape of Aotearoa’s art history, and influenced notable artists such as Chris Heaphy, Richard Killeen and Ian Scott. As for the wider field of abstract art in Aotearoa, Walters remains an unparalleled figure, with his geometric paintings defining narratives about our national The koru-pattern contours of identity and what it means to Tirangi I are executed in black, with be an artist in this country. equally weighted white spacing in between. Proving to be vivid and eye catching, this work stands out in Walters' oeuvre for the graphite detailing on the borders of the composition. This detailing is in the artist’s hand and appears to be a series of calculations toward the completion of the work while in progress. On closer study, the 47
Don Binney
Bernice Pauahi Cape
Don Binney’s paintings are revered for their nostalgic and iconic depictions of Aotearoa’s vistas that honour our natural habitat and its abundant bird life. A devoted conservationist, Binney travelled to Hawai‘i in the early 1990s and produced a body of work that captures the essence of the rugged Hawaiian landscape and the rich cultural heritage of the islands’ inhabitants. In the works Binney produced in this series these two elements are inextricably linked, and the painting Bernice Pauahi Cloak captures this succinctly. It serves as both a celebration of the unique wildlife of Hawai‘i and a reminder of the importance of protecting our precious ecosystems. The work pays homage to Bernice Pauahi Bishop, wife of Charles Reed Bishop, who in 1889 founded the Bishop Museum, home to the world’s largest collection of Hawaiian and Pacific artefacts and natural-history specimens. Charles Reed Bishop founded the Museum in memory of his wife Bernice Pauahi, a royal descendant of King Kamehameha, who united the Hawaiian islands into one kingdom in 1810 and ruled until his death in 1819. It is this royal lineage that the painting commemorates. The central image is a large, magnificent yellow and red cape soaring like a bird above the land, a cape that Bernice Pauahi Bishop wore as a child and that is now on display in the Bishop Museum. These capes, or ahu‘ula as they are more accurately known, were symbols of the highest rank of the chiefly ali‘i class of ancient Hawai‘i. They were to be worn only by chiefs or those with a direct lineage. These feathered cloaks and capes were used for ceremonial purposes and provided physical protection for their wearers, and were believed to also provide spiritual protection. The striking yellow and red ahu‘ula that this painting depicts was made from the feathers of the red i‘iwi (Vestiaria coccinea) 48
114 Don Binney, Bernice Pauahi Cape acrylic and oil on paper signed and dated 755 × 573mm EST $25,000 — $35,000
and the now-extinct black and yellow ‘ō‘ō (Moho braccatus). The sheer number of birds required to make a single ahu’ula ran into the thousands and the rarity of yellow feathers made this cape even more special. However, the ecological cost of producing these capes, which celebrated and acknowledged the elevated status of the wearer, was the loss of these birds from the landscape forever. While we are used to viewing Binney’s paintings with birds roaming freely in the landscape, this painting acknowledges the islands’ history and reminds us of the impact that humans have had on the very landscapes we are now tasked with preserving. 49
Don Driver
The Collage Principle
Don Driver (1930–2011) remains an artist whose works resist being pinned to any one style or modus operandi. Driver was self-taught, and based in Taranaki. There was no formal art training at the local school, with the art teacher away at the war, so at 15 he left school to take up a dentist technician’s apprenticeship, where he learnt how to mould, shape and cast materials. He later attended night classes in drawing, welding and pottery. In the late 1960s he started working as a technician at the local art museum – the Govett-Brewster Art Gallery. Driver was an avid junk collector – he is remembered by locals and friends for having a magpie’s eye for discarded objects that he transformed into works of art. In the 2013 documentary Don Driver: Magician, narrator Elizabeth Smither says:
115 Don Driver, Premium Tapestry 2002 canvas, vinyl, poly plastic sack and poly plastic sheet signed, dated and title inscribed 1300 × 920mm EST $6,000 — $9,000
The collage principle has been the artist’s overriding methodology throughout most of his prolific career. Found objects and materials from industrial consumer society are transformed into enigmatic images: three-dimensional wall hangings and free-standing sculptures – an artmaking known as assemblage.1 Driver’s assemblages incorporate collected detritus that he treated as art materials. Blurring the distinction between what constitutes painting and sculpture, these artworks straddle both; they are characteristically sculptural, as much as they are painterly. The three artworks by Driver offered by Webb’s – Flag Pocket (1981), Premium Tapestry (2002) and Hello Dolly (1968) – are fine examples of this genre blend.
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116 Don Driver, Flag Pocket 1981 wooden rod, flag, vinyl and canvas signed, dated and title inscribed 1740 × 1290mm EST $10,000 — $15,000
Hello Dolly and Flag Pocket are composed of carefully arranged fields of colour and texture, stitched (his mother was a milliner) and glued together. Flag Pocket and Hello Dolly both hang on the wall, but also occupy a shallow threedimensional space. The inventive methods and use of unconventional materials show an artist in dialogue with a multitude of styles. Driver’s innate delight in the collision of shapes, textures and colours aligns him with other twentieth-century movements, such as cubism, constructivism and minimalist abstraction, while methods of collaged found images, dislocation and fragmentation, and connotations of absurdity and parody draw parallels with Dada. However, it was a fourmonth trip to America in 1965 that would be a seminal influence on his development. Not just the art he saw (pop, minimalism, conceptualism and assemblage), but America’s material culture, the vast landscape, and the cattle and agriculture industries.
▲ Paul Judge (director), Don Driver: Magician 1
(Faraway Productions and Three to One Films, 2013), 03:15, https://www.nzonscreen. com/title/don-driver-magician-2013
▲ Ibid. ▲ Ibid. 2
3
117 Don Driver, Hello Dolly 1968 vinyl, acrylic, plastic balls, plastic dolls and canvas on board signed, dated and title inscribed 755 × 755mm EST $10,000 — $15,000
You could say Driver’s creative methodology was part magician and part mad scientist, as there’s something of Mary Shelley’s Frankenstein in his practice, particularly in the works that feature dolls and animal skulls. Pagan, tribal and medieval themes recur throughout Driver’s work. While much of his work provoked controversy through confronting and uneasy imagery and, as Elizabeth Smither says, he was a “mischievous person”2, there is a strong sense of pathos and sincerity. He wasn’t interested in shocking people for shock’s sake, but nor did he shy from uncomfortable themes. Driver’s works generally “baffled his public”3, for they are complex in meaning and purposely evade simple interpretation, but peel back the layers of any of his works and you will find a recurring theme of the human unconscious.
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118 Christina Pataialii, Looking Up 2019 house paint and acrylic on canvas signed, dated and title inscribed 760 × 760mm EST $3,500 — $5,000
119 Joanna Margaret Paul, Frugal Pleasures 1999 gouache, pastel and graphite on paper 435 × 485mm EST $1,200 — $1,800
120 Toss Woollaston, untitled 1990 watercolour on paper signed and dated 290 × 440mm EST $6,000 — $9,000
121 Jude Rae, SL 140 2003 oil on linen signed, dated and title inscribed 750 × 900mm EST $20,000 — $30,000
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122 Andrew Blythe, untitled acrylic on paper 600 × 840mm EST $3,000 — $5,000
123 Tony de Lautour, untitled 2007 acrylic on paper signed and dated 405 × 510mm EST $5,000 — $7,000
124 Stephen Ellis, Tanker at Anchor ink on paper 730 × 900mm EST $8,000 — $12,000
125 Laith McGregor, Moon 2012 ink on tarpaulin 2400 × 1750mm EST $5,000 — $8,000
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126
EST
Gordon Walters, Tiki II 1996. printed 2022 screenprint on paper, edition of 100 indented with Walters estate chop mark 1055 × 805mm $6,000 — $10,000
128 Dick Frizzell, untitled 1994 oil on board 2040 × 860mm EST $5,000 — $8,000
127 Denys Watkins, Volcanic Plateau 1987 oil on canvas signed, dated and title inscribed 1905 × 1700mm EST $4,500 — $9,500
129 Michael Smither, untitled 1979 oil on canvas signed and dated 2470 × 1810mm EST $17,500 — $20,000
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130 Michael Smither, Boats at Mangonui 1993 oil on board signed and dated 135 × 470mm EST $8,000 — $10,000
131 Michael Smither, Wellington at Night acrylic on paper 490 × 200mm EST $2,000 — $4,000
132 Tracey Tawhiao, untitled (The Day the Mountain Helped Me Fly) c2005 acrylic and pastel on newspaper 1230 × 390mm (overall) EST $1,200 — $1,500
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133 Helen Calder, Lemon Fold 2021 acrylic on steel rod 225 × 920mm (widest points) EST $2,000 — $4,000 134 Emily Karaka, Fiscalfish Wai 321 acrylic on canvas 1150 × 1210 mm EST $2,000 — $4,000
135 Emily Karaka, Ake Ake, Resurrection (from Rockets in Pockets) c1990 acrylic on paper 2160 × 1130mm (per panel) EST $3,000 — $5,000
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136 Fatu Feu'u, Golden Summer 1923 acrylic and oil stick on canvas signed, dated and title inscribed 1000 × 1200mm EST $7,500 — $10,000
137 Fatu Feu'u, Lau Ola Family 2017 acrylic and oil stick on canvas signed, dated and title inscribed 1300 × 1200mm EST $8,000 — $12,000
138 Fatu Feu'u, Vai Filemū 2022 oil on canvas signed, dated and title inscribed 1570 × 1950mm EST $18,000 — $25,000
139 Graham Fletcher, Wallflowers 2003 enamel on aluminium signed, dated and title inscribed 600 × 600mm EST $800 — $1,200
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141 Liam Barr, untitled 2010 oil on canvas signed and dated 990 × 774mm EST $3,000 — $6,000
140 Raymond McIntyre, untitled 1906 oil on canvas signed and dated 295 × 235mm EST $12,000 — $16,000
142 Russell Clark, Javanese Woman, Noumea 1946 oil on canvas signed 500 × 400mm EST $30,000 — $40,000
143 Russell Clark, untitled oil on board 370 × 280mm EST $15,000 — $22,000
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144 Charles Blomfield, untitled 1904 oil on canvas signed and dated 390 × 590mm EST $5,000 — $8,000
145 Christopher Aubrey, untitled (Pink Terraces) c1880s watercolour on paper signed 175 × 340mm EST $6,000 — $12,000
146 Andre Lhote, untitled lithograph on paper, 12/180 signed and dated 340 × 489mm EST $5,000 — $8,000
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Terms & Conditions
The terms and conditions of sale listed here contain the policies of Webb’s (Webb Fine Art). They are the terms on which Webb’s (Webb Fine Art) and the Seller contract with the Buyer. They may be amended by printed Saleroom Notices or oral announcements made before and during the sale. By bidding at auction you agree to be bound by these terms.
1. Background to the Terms used in these Conditions The conditions that are listed below contain terms that are used regularly and may need explanation. They are as follows: “the Buyer” means the person with the highest bid accepted by the Auctioneer. “the Lot” means any item depicted within the sale for auction and in particular the item or items described against any lot number in the catalogue. “the Hammer price” means the amount of the highest bid accepted by the auctioneer in relation to a lot. “the Buyer’s Premium” means the charge payable by the Buyer to the auction house as a percentage of the hammer price. “the Reserve” means the lowest amount at which Webb’s has agreed with the Seller that the lot can be sold. “Forgery” means an item constituting an imitation originally conceived and executed as a whole, with a fraudulent intention to deceive as to authorship, origin, age, period, culture or source, where the correct description as to such matters is not reflected by the description in the catalogue. Accordingly, no lot shall be capable of being a forgery by reason of any damage or restoration work of any kind (Including re-painting). “the insured value” means the amount that Webb’s in its absolute discretion from time to time shall consider the value for which a lot should be covered for insurance (whether or not insurance is arranged by Webb’s). All values expressed in Webb’s catalogues (in any format) are in New Zealand Dollars (NZD$). All bids, “hammer price”, “reserves”, “Buyers Premium” and other expressions of value are understood by all parties to be in New Zealand Dollars (NZD$) unless otherwise specified. 2.
Webb’s Auctions as Agent
Except as otherwise stated, Webb’s acts
paid for in full before it will be released to the purchaser or his/her agreed expertising committee or specialist. Payments received for such items will be held “in trust” for up to 90 days or earlier, if the issue of authenticity has been resolved more quickly. Extensions must be requested before the auction. Foreign buyers should note that all transactions are in New Zealand Dollars so there may be a small exchange rate risk. The costs associated with acquiring a good opinion or certificate will be carried by the purchaser. If the item turns out to be forged or otherwise incorrectly described, all reasonable costs will be borne by the vendor. 3.3. Buyers Responsibility All property is sold “as is” without representation or warranty of any kind by Webb’s or the Seller. Buyers are responsible for satisfying themselves concerning the condition of the property and the matters referred to in the catalogue by requesting a condition report.
as agent for the Seller. The contract for the sale of the property is therefore made between the Seller and the Buyer. 3.
Before the Sale
3.1. Examination of Property Prospective Buyers are strongly advised to examine in person any property in which they are interested before the Auction takes place. Neither Webb’s nor the Seller provides any guarantee in relation to the nature of the property apart from the Limited warranty in the paragraph below. The property is otherwise sold “AS IS” 3.2. Catalogue and Other Descriptions All statements by Webb’s in the catalogue entry for the property or in the condition report, or made orally or in writing elsewhere, are statements of opinion and are not to be relied upon as statements of fact. Such statements do not constitute a representation, warranty or assumption of liability by Webb’s of any kind. References in the catalogue entry to the condition report to damage or restoration are for guidance only and should be evaluated by personal inspection by the bidder or a knowledgeable representative. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. Estimates of the selling price should not be relied on as a statement that this is the price at which the item will sell or its value for any other purpose. Neither Webb’s nor The Seller is responsible for any errors or omissions in the catalogue or any supplemental material. Images are measured height by width (sight size). Illustrations are provided only as a guide and should not be relied upon as a true representation of colour or condition. Images are not shown at a standard scale. Mention is rarely made of frames (which may be provided as supplementary images on the website) which do not form part of the lot as described in the printed catalogue. An item bought “on Extension” must be
No lot to be rejected if, subsequent to the sale, it has been immersed in liquid or treated by any other process unless the Auctioneer’s permission to subject the lot to such immersion or treatment has first been obtained in writing. 4.
At the Sale
4.1. Refusal of Admission Webb’s reserves the right at our complete discretion to refuse admission to the auction premises or participation in any auction and to reject any bid. 4.2. Registration Before Bidding 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
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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 $10,000 $20,000 $50,000
Terms & Conditions
$50,000 – $100,000 $100,000–$200,000 $200,000–$500,000 $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.
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.
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
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.
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:
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.
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
61
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.
Index of Artists
64 Pages
A
F
Aubrey, Christopher 59
Feu'u, Fatu Fletcher, Graham France, Patricia Frizzell, Dick
B Barr, Liam Binney, Don Blomfield, Charles Blythe, Andrew Brown, Nigel
58 49, 16 59 53 23, 24, 25
C Calder, Helen Clairmont, Philip Clark, Russell
56 14 58
D
M 57 57 23 54
G
53 42, 18, 19 50,51
E Ellis, Stephen
53
Maughan, Karl McCahon, Colin McGregor, Laith McIntyre, Raymond
20,35 29, 36, 37 53 58
N
Gimblett, Max
15, 34
H Hanly, Pat Hōtere, Ralph
14 26, 28
I 16
K Kahukiwa, Robyn Karaka, Emily Killeen, Richard
29 56 15
L Lhote, Andre Lyne, Dick
Tawhiao, Tracey Todd, Yvonne
55 30
U Upritchard, Francis
Ngan, Guy
33
P
Illingworth, Michael
de Lautour, Tony Dibble, Paul Drawbridge, John Driver, Don
T
V van der Drift, Kate
Pardington, Fiona Parekōwhai, Michael Pataialii, Christina Paul, Joanna Margaret Peryer, Peter
37, 39 41 52 52 30
W
52
Y
R Rae, Jude S
Walters, Gordon Watkins, Denys Westra, Ans White, Robin Woollaston, Toss
Yearbury, Pauline
Smither, Michael Stringer, Terry
54, 55 31
59 23
90 Lots 57
58
59
60
61
62
63
64
65
66
67
68
69
70
71
72
73
74
75
76
77
62
31
30
14, 28, 46, 54, 54 17 16, 44, 45 52
22
78
79
80
81
82
83
84
85
86
87
88
89
90
91
92
93
94
95
96
97
98
99
100
101
102
103
104
105
106
107
108
109
110
111
112
63
113
114
115
116
117
118
119
120
121
122
123
124
125
126
127
128
129
130
131
132
133
134
135
136
137
138
139
140
141
142
143
144
145
146
64
A candle for the outdoors. Tui & Kahili + Citronella. ashleyandco.co
33a Normanby Rd Mount Eden Auckland 1024 23 Marion St Te Aro Wellington 6011 webbs.co.nz