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Foreword Mark Hutchins-Pond, Senior Specialist, Art
Kia ora koutou, nau mai, haere mai; greetings and welcome to our first Select catalogue for 2025. We’re proud to present a collection of high-quality works at a variety of price points to stimulate and intrigue the many diverse aesthetic tastes of collectors of New Zealand fine art. Webb’s auctions of fine art are always eclectic, but this February’s Select collection is more diverse than usual and includes a number of surprises by artists whose work rarely features in the secondary market.
We open this February offering with an emotionally resonant silver-gelatin photograph of an ancestral Kāi Tahu hei tiki by Fiona Pardington. When we consider exceptional New Zealand artists of the current generation, Fiona Pardington stands out as a powerful and uniquely creative voice. Her timeless, transcendent photographic artworks inspired by fragile treasures of our cultural heritage are in a class of their own. In Māori culture, the tiki represents a carved human image, symbolically referencing forebears and ancestral lineage. Pardington’s practice is deeply grounded in her identity as a woman artist of Māori descent, so it is not surprising that the hei tiki she has chosen as the subject for this work is a Kāi Tahu female; a tangible touchstone of the artist’s own whakapapa and cultural affiliations.
Last month we were delighted to learn that Fiona Pardington has been selected to represent Aotearoa at La Biennale di Venezia 2026 in New Zealand’s national pavilion. We congratulate Pardington on her selection and eagerly await what we’re sure will be an incredible presentation at the Venice Biennale, representing our nation.
Other outstanding contemporary artists of Māori descent whose works feature in the catalogue are Shane Cotton, Michael Parekōwhai, Robert Jahnke and Ralph Hotere. As one of a small group of pioneering Māori artists who developed the Māori modernist art movement of the 1960s, Hotere is the most senior and iconic among them.
▲ Mark Hutchins-Pond, Senior Specialist, Art
His explorations of the styles and techniques of international modern art cultivated the development of his own form of Māori modernism that had a profound influence on subsequent generations of contemporary Māori artists. We have seven examples of Hotere’s work in a variety of media in the collection; a quantity matched only by Shane Cotton, whose works are also in a variety of media.
For the first time, we’re offering three fine examples of works from two distinct series by Robert Jahnke. The earlier two are text-based compositions from his Cogito Ergo Sum series, the phrase better known in English as “I think therefore I am”. Through his rendering of text in white enamel on panels of shiny black stainless steel, Jahnke’s aesthetic pays homage, at least in part, to Hotere’s unique form of monochrome modernism. But in his more recent third work, with its seemingly endless reflections of vivid red and orange neon, Jahnke acknowledges his debt to the reflection techniques of artists Paolo Scirpa (Italian) and Iván Navarro (Chilean).
A particularly rare inclusion in this auction catalogue are six unique works on paper by Giovanni Intra. When Intra died in New York in December 2002, he was only 34 years old. In his short life, Intra created an astonishing body of work as an artist, writer and gallerist that testifies to the brilliance of his anarchic talent.
Intra studied at Auckland University’s Elam School of Fine Arts, completing his MFA in 1993. By all accounts, he was a precocious student. His unusual art practice was sparked by the surprising fusion of international punk counterculture and theological dogma. Some of his later work referenced
fetish fashion and symbolically loaded religious iconography – inspirational sources he shared with avant-garde British fashion icon Vivienne Westwood, whose sparkling fetishist jewellery is currently on display at Te Papa, in Wellington. Intra’s responses to these sources, however, tended to focus on the dark sides of sex and religion: destruction, annihilation and fetishism in extreme forms.
Drawing was always an important part of Intra’s practice. He drew incessantly, gathering and experimenting with conceptual and visual ideas. The six unique works on paper by Giovanni Intra on offer in this collection provide collectors with a rare opportunity to acquire Intra’s work and experience, first hand, their seductive, dangerous beauty.
In the space allotted to me in this introduction, I’ve touched on what I consider to be some real gems in this collection, but there is far more to discover.
As has become our practice over the last couple of years, a significant portion of the works in our current catalogue will be presented for previewing at our Wellington Gallery in Marion Street before the total offering is previewed at Webb’s Gallery, Normanby Road, Mt Eden. The auction itself takes place online between 10-24 February. If you’re unable to attend either of the previews in person, we are happy to show you works through face-time mobile phone calls or supply an in-depth condition report.
We hope you enjoy Webb’s latest offering of fine New Zealand art, and we look forward to a buoyant and lively sale.
Programme
Wellington
Launch Event
Wednesday 12
Join us at our Te Aro gallery for a discussion with celebrated painter, designer and raconteur, Derek Cowie alongside Senior Art Specialist, Mark Hutchins-Pond, to discuss highlights from the catalogue. Please RSVP to karen@webbs.co.nz
Viewing Times
Thursday 13 – Friday 14
Saturday 15
Auckland
Launch Event
Tuesday 18
Viewing Times
Wednesday 19
Thursday 20
Friday 21
22 –
Online Auction
Monday 10 — Monday 24
The Auckland Art team warmly invite you to attend an evening of insider art knowledge with Senior Specialist, Mark Hutchins-Pond. Mark is flying up from Wellington to present an informative discussion on all you need to know when acquiring a print. Drawing on examples from the Select catalogue, you will learn key aspects about the diverse and affordable range of print mediums that are on offer. Please RSVP to art@webbs.co.nz
Plates 119 Lots
Specialist Enquires Condition Reports
wellington
Mark Hutchins-Pond Senior Specialist, Art mark@webbs.co.nz +64 22 095 5610
auckland Emily Gardener Director of Art emily@webbs.co.nz +64 22 595 5610
Stephanie AuYeung Manager, Art stephanie@webbs.co.nz +64 22 301 8259
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
Hannah Owen Cataloguer, Art hannah@webbs.co.nz +64 22 068 4932
Georgia Clapshaw Administrator, Art art@webbs.co.nz +64 9 529 5609
2
EST
EST
4
EST
1 Fiona Pardington, Female Kāi Tahu Heitiki, Akaroa, O'Kain's Bay Māori and Colonial Museum 2002 silver gelatin print, 3/5 signed 540 × 410mm
$5,000 — $8,000
Robyn Kahukiwa, untitled 2014 watercolour and graphite on paper signed and dated 410 × 495mm
$5,000 — $10,000
3 Guy Ngan, Forest Gods Dancing 1976 chromolithograph signed, dated and title inscribed 490 × 730mm
$2,000 — $4,000
John Walsh, Toku Whanau Ataahua 2001 oil on board signed, dated and title inscribed
EST $6,500 — $9,500
5 Don Peebles, PAINTING 1966 oil on canvas signed, dated and title inscribed 390 × 400mm EST $3,000 — $6,000
6 Tony de Lautour, untitled 2007 acrylic on paper signed and dated 405 × 510mm EST $4,000 — $6,000
7 Allen Maddox, untitled 1975 charcoal on paper signed and dated 290 × 360mm
$3,000 — $5,000
8 Richard Killeen, Repetition Triangle Spider 2021 inkjet print on Fabriano paper signed, dated and title inscribed 415 × 295mm
$1,500 — $2,500
EST $5,000 — $8,000
EST $2,000 — $3,000
EST $5,000 — $8,000
10 Jeffrey Harris, Crucifixion 1998 pastel on paper signed 380 × 570mm
11 Jeffrey Harris, untitled 1986 graphite and acrylic on paper signed and dated 550 × 725mm
12 Bill Hammond, untitled crackle glazed ceramic signed 300 × 300mm (widest points)
$17,000 — $22,000
9 Jeffrey Harris, untitled 1986 graphite and pastel on paper signed and dated 1030 × 1480mm
14 Bronwynne Cornish, Naiad Series (Female Spirit) c2022 ceramic
16 Pat Mulcahy, untitled 1970 kauri signed
15 Jonathan Campbell, Mantle cast bronze
1300 ×810 ×600mm
18 Shane Cotton, Man Lives 1999 oil and acrylic on canvas signed and dated 200 × 200mm
$4,000 — $7,000
19 Shane Cotton, Takutorutonga 1999 oil and acrylic on canvas signed and dated
× 200mm
$4,000 — $7,000
20 Shane Cotton, Alpha Omega 1998 lithograph on paper, 22/25 signed, dated and title inscribed
× 750mm
17 Wayne Youle, IO
21 Bill Hammond, untitled (Gutless) 2006 lithograph on paper, 90/100 signed and dated 575 × 430mm
EST $10,000 — $14,000
Don
and the
1988 acrylic and photographic collage on paper signed, dated and title inscribed 370 × 280mm
EST $3,000 — $6,000
22 Bill Hammond, Fish Finder 3 2003 lithograph on paper, 21/45 signed, dated and title inscribed 560 × 455mm
EST $7,000 — $9,000
24 Ralph
Port Chalmers 1990 lithograph on paper, 7/30 signed, dated and title inscribed 600 × 720mm
EST $4,000 — $6,000
23
Binney, The River
Rock
Hotere,
25 Ralph Hotere, At Matauri Bay 1988 lithograph on paper, 20/30 signed, dated and title inscribed 540 × 430mm
$4,000 — $6,000
26 Ralph Hotere, Matauri Bay 1988 lithograph on paper, 21/30 signed, dated and title inscribed 540 × 430mm
$4,000 — $6,000
28 Milan Mrkusich, untitled 1961 watercolour on paper signed and dated 375 × 560mm
$13,500 — $18,500
27 Ralph Hotere, Winter Solstice II lithograph on paper, 16/22 1996 signed, dated and title inscribed
× 580mm
$6,500 — $10,000
29
Stephen Bambury, Great Wall (V)
30 Stephen Bambury, And the Fundamental Reality
and acrylic on aluminium
31 Gretchen Albrecht, Emergence 2012 oil on patinated copper signed, dated and title inscribed 175 × 350mm (widest points) EST $9,000 — $16,000
Marie Shannon Dreams and Nightmares
“Marie Shannon may not be a household name but she should be... She’s an artist with a clear and consistent practice. Her photographs reveal her incredible construction skills and her wry imagination.”
— Christina Barton MNZM, art historian
Marie Shannon studied at Elam School of Fine Arts in the late 1970s and early 80s, where social-documentary traditions were the dominant trend, as prescribed by John Szarkowski, first curator of photography at New York’s Museum of Modern Art, who believed photography should be in pursuit of a ‘visual truth’. Defying the mainstream, Shannon found solace in the postmodernist staged-autobiographical
Marie Shannon, Julian's Dream
silver gelatin print
approach of New Yorker Marcia Resnick and French photographer Jacques Henri Lartigue. Shannon observes: “[Lartigue] had a self-effacing humour to his work, which showed me that you could talk about really small things. He helped me to rebel against the prevailing notion of big issues being the only worthy ones.”
Drawing inspiration from small rituals of daily life, the artist’s surrounds, and intimate relationships with her partner and fellow artist, the late Julian Dashper, and son Leo, Shannon’s images are an honest, vulnerable and whimsical exploration of the self and subconscious through memory and dreamscapes.
Julian’s Dream and Julian’s Nightmare are two in a series of literary photographs narrating dreams from the uncanny to the hilarious, which began in the 1990s, and would become a precursor for Shannon’s most recent video works. Julian’s Dream captures the intricate detail of light and texture inherent in her photographs, made using a large-format 4 × 5 camera.
In Julian’s Nightmare, text written directly on the negative floats across the surface of dark undulating waters. The pair are characteristic of Shannon’s dry wit, as they record subtle and unnerving moments.
In Julian’s Dream a visitor spills a drink on a painting at a gallery opening; in Julian’s Nightmare the artist drops mustard on the freshly washed white lines of Julian’s shirt collar (made all the more poignant with the understanding that Dashper was working on a series of striped modernist conceptual paintings at the time). The artist notes, the incorporation of written word within the frame serves as a vehicle in which she can “create pictures she isn’t able to take with her camera – the pictures the reader creates in their imagination.”
▲ 1 Ben Mack, “A Restoration of Rooms Found Only in the Home: Acclaimed Artists Challenging How We Look at Things Come to Victoria University of Wellington,” Idealog, 26 April 2018, https://idealog.co.nz/ design/2018/04/restoration-rooms-foundonly-home-acclaimed-artists-challenginghow-we-look-things-come-victoriauniversity-wellington
▲ 2 Lara Strongman, “Marie Shannon,” in Contemporary New Zealand Photographers, ed. Lara Strongman (Mountain View Publishing, 2005), 24.
33 Marie Shannon, Julian's Nightmare silver gelatin print 245 × 310mm EST $1,500 — $3,000
34 Julian Dashper, "Are you talkin' to me...?"
vinyl print
× 315mm
$1,000 — $2,000
35 Julian Dashper, "Are you talkin' to me...?" vinyl print 200 × 315mm
$1,000 — $2,000
36 The Estate of L. Budd, untitled acrylic on oil on found paper, metal and pespex 930 × 660mm
$3,000 — $5,000
37 et al., De Nieuwe Stem 2005
acrylic, oil stick, graphite and tape on found news print on card; found metal tray, wire, and electrical cord signed and dated 920 × 610mm
39 Giovanni Intra, untitled (The Golden Bowl of Repression) graphite on paper
× 195mm
$2,000 — $3,000
40 Giovanni Intra, untitled (Soon to be Picturesque Ruins) graphite on paper
× 195mm
$2,000 — $3,000
38 Giovanni Intra, untitled graphite on paper 270 × 195mm
$2,000 — $3,000
41 Joanna Margaret Paul, untitled 1983 watercolour on paper signed and dated
× 750mm
$2,800 — 5000
42 Ralph
the Landlady 1978 monoprint, 3/15 signed, dated and title inscribed 320 × 220mm EST $4,000 — $6,000
43 Ralph
1998 lithograph, 19/22 signed, dated and title inscribed 550 × 630mm
$5,000 — $8,000
44 Gordon Walters, Genealogy III 2000 screenprint on paper, 58/100 indented with Walters Estate chop mark 1050 × 780mm EST $5,000 — 7000
Hotere, Madame Fouquet
Hotere, Black
45 Shane Cotton, Blackout
on canvas
and dated
46 Shane Cotton, untitled 1998
on canvas
and dated
× 350mm
47 Philip Clairmont, untitled graphite, crayon and acrylic on paper 580 × 320mm
$4,500 — $8,500
48 Philip Clairmont, untitled graphite, crayon and acrylic on paper 580 × 320mm
$4,500 — $8,500
Raewyn Turner Frenzy
The history of Split Enz is often told through the lens of its musical evolution and the impact of brothers Tim and Neil Finn. However, the band’s distinctive visual identity played a crucial role in their rise to prominence, with a key figure behind this aesthetic: Raewyn Turner. As the band’s set and lighting director from 1975 to 1983, Turner helped define the way audiences experienced Split Enz performances. Her contributions extended beyond the stage, notably with her painting for the cover of Frenzy (1979), an album that marked a turning point in the band’s sound and image.
Featuring the iconic songs “I See Red” and “Give it a Whirl”, the album signalled a shift from the band's early progressive and art-rock tendencies to a more direct, high-energy pop sound, stripping back the band’s theatrical image in favour of a more natural, unembellished presentation.
This visual transformation was intentionally reflected in the album’s artwork. Unlike the extravagant costumes and elaborate makeup of their earlier years, the Frenzy cover showed the band in a relaxed pose in front of a typical New Zealand farm shed. Tim Finn explained that the decision to abandon their previous flamboyance was intentional: “We deliberately wanted something of us without the costumes. There’s no need to promote our image anymore – it’s our music that needs to be promoted.” 1
While the Frenzy cover marked a departure from the band’s theatrical past, Turner’s work in live performances continued to push boundaries. As Split Enz’s lighting and set designer, she played a vital role in crafting their stage presence, using innovative lighting techniques to create immersive concert experiences. Her background in fine arts, including her studies at Elam School of Fine Arts, informed her unique approach to colour and light.
Even as the band’s aesthetic became more grounded, their stage shows remained visually dynamic. Reviews of Split Enz
49 Raewyn Turner, A Thousand Acres c.1977-78 oil on canvas
895 × 1820mm
$12,000 — $22,000
Split Enz Frenzy album, rear and front covers
performances frequently highlighted Turner’s influence, describing her lighting as “explosions of colour” and “like painting with light.” 2 Her work was not merely decorative – it was an integral part of the band’s identity, shaping the way audiences perceived and engaged with their music.
Turner’s contributions in both paint and performance serve as a reminder of the often-overlooked role of visual artists in shaping musical history. Through her work, the Split Enz legacy is not only heard but also seen and felt.
www.raewynturner.com/colourmusic-split-enz
▲ 1 Bruce Milne, “Split Enz Blood n Guts Romantics,” Roadrunner, March 1979, 12–13.
50 Yvonne Todd, Next Time It Will Be Different 2021 offset print on paper, edition of 200 841 × 594mm
$2,000 — $3,000
51 John Drawbridge, Beach Girl etching on paper, proof variation signed and titled inscribed 530 × 300mm
$2,500 — $4,500
53 Pat Hanly, Paradise Bird Escapes Bather 1977 screenprint on paper, 20/50 signed, dated and title inscribed 510 × 495mm
$3,000 — $6,000
52 Pauline Yearbury, Hine Raumati (Summer Girl) c1970 acrylic on rimu signed
graphite on museum rag board
1000 × 800mm
EST $4,000 — $6,000
450 × 300mm
EST $4,000 — $6,000
450 × 290mm
EST $5,000 — $7,000
54 Richard Lewer, Mother Gonzaga Considine ( #16 Get Well series) 2006
55 Nigel Brown, Head of a Poet 1980 acrylic on paper signed, dated and title inscribed
56 Toss Woollaston, untitled 1980 watercolour on paper signed
57 Robin White, This is Me at Kaitangata 1979 screenprint on paper, 37/40 signed, dated and title inscribed 535 × 370mm
$5,000 — $8,000
Robin
Though the artist is known for self-portaiture, This is me at Kaitangata is notable for being Robin White’s (Ngāti Awa, Pākehā) first self-portrait in six years. This long-awaited return to form, along with the poised conviction of her pose, indicates a woman undergoing “a sort of coming of age.” ¹
Then aged 33, White had just purchased a modest cottage at Kaitangata, a mining settlement in South Otago. Its chimney hums with smoke behind her, a signifier of heartiness and industry, and a mirror to her own growing artistic success: that year, she had embarked on a 9-metre-long mural at Dunedin Hospital – her largest painting project of the period – and was working full time as an artist, no longer needing to rely on the teacher’s salary that had been a necessary stabiliser through much of her 20s. However, 1979 would not be without its hardships, either, with White’s mother, Florence, passing away in December.
The figure before us no longer bears the quietened gaze or youthful naïveté of earlier self-portrait works. White presents a self-assured and stoic woman; she has lived some of life now and is here to face the twists and turns yet to come, including a life-changing move to the atoll nation of Kiribati just a few years later. Her arms are folded, gently but firmly, and the flat passages of colour, so characteristic of screenprinting, lend an honesty and an immediacy to the picture plane.
Though clearly a self-portrait, and emblematic of an incredibly personal and formative period of the artist’s life, there remains a timelessness and universality to the work. The woman here is both self and symbol: confident, dignified, and ready to continue carving out a life of her own.
58 Robin White, Oyster Catcher and Harbour Cone 1977 screenprint on paper, artist's proof signed, dated and title inscribed 580 × 335mm
$15,000 — $25,000
▲ 1 Robin White, 2000, quoted in “The Work Must Go on,” in Robin White: Something Is Happening Here, ed. Sarah Farrar, Jill Trevelyan and Nina Tonga (Auckland Art Gallery Toi o Tāmaki and Te Papa Press, 2022), 69.
59 Shane Cotton, Hopa 1998 lithograph on paper, 22/25
dated and title inscribed
× 750mm
$3,200 — $5,400
60 Shane Cotton, Fiat Lux 1998 lithograph on paper, 22/25
dated and title inscribed
× 750mm
$3,200 — $5,400
61 Gordon Walters, Untitled (1978) 1978 screenprint on paper indented with Walters Estate chop mark 1055 × 800mm
$6,000 — 9000
points)
EST $3,500 — $7,000
63 Grace Pailthorpe, Abstract Composition 1966 watercolour on paper 265 × 370mm
EST $3,000 — $5,000
65 Seung Yul Oh, Perpendicular Sonority 2024 acrylic on canvas signed, dated and title inscribed 1200 × 1050mm
EST $9,000 — $11,500
EST
62 Robert McLeod, Arbuckle #1 acrylic on shaped board signed and title inscribed 1170 × 1290mm (widest
64 Peata Larkin, Whakataunga VI (Papakirango split) acrylic on mesh on canvas signed, dated and title inscribed 1200 × 1200mm
$8,000 — $12,000
68
1983 screenprint on paper, 26/50 signed, dated and title inscribed 500 × 570mm
$8,000 — $12,000
66 Gordon Walters, untitled screenprint on paper
510 × 385mm
$5,000 — $8,000
67 Gordon Walters, Kahu 1977 screenprint on paper, 8/75 signed, dated and title inscribed 540 × 450mm
$6,000 — $10,000
Gordon Walters, Rauponga
205 × 205mm EST $2,800 — $5,000
475 × 310mm EST $1,200 — $1,500
71 After Andy Warhol, Campbell's Soup Can (Tomato) printed after 1986 lithograph on paper, 2021/3000 signed in plate
70 Philip Clairmont, The Ghost Who Walks c1978 acrylic and ink with collage on found comic signed and title inscribed
× 360mm
$13,000 — $18,000
69 Dick Frizzell, untitled 2016 acrylic on canvas signed
EST
72 Séraphine Pick, untitled oil on board
175 × 120mm
$3,000 — $6,000
73 Séraphine Pick, untitled oil on board 120 × 180mm
EST $3,000 — $6,000
75 Séraphine Pick, 23rd May 1995 acrylic and graphite on canvas signed and dated 1665 × 1220mm EST $22,000 — $32,000
74 Selina Foote, untitled acrylic on canvas
400 × 300mm
$2,000 — $3,500
76 Barry Brickell and Fatu Feu'u, untitled terracotta
210 × 580 × 580mm (widest points)
EST $4,000 — $5,000
77 Paul Dibble, Green Tango Model I 1997 bronze, 1/3 signed and dated
445 × 360 ×70mm (widest points)
EST $18,000 — $26,000
78 Robert Ellis, untitled bronze signed
133 × 145mm
EST $2,000 — $3,500
79 Fatu Feu'u, Fofoga 1992 oil on canvas
signed, dated and title inscribed
1790 × 1430mm
$10,000 — $15,000
80 Don Driver, Brown and Blue Relief 1968-89 acrylic and enamel on wood signed, dated and title inscribed 1430 × 835mm
EST $10,000 — $14,000
82 Ralph Hotere, untitled 1971 ink on paper signed and dated 505 × 350mm
EST $4,200 — $6,000
81 Don Driver, Brown Relief 1966 acrylic on wood signed, dated and title inscribed 880 × 880mm
EST $8,000 — $12,000
Giovanni Intra
83 Giovanni Intra, untitled (Pilgrimage to Pleasure) charcoal on paper
290 × 230mm
$5,000 — $8,000
Giovanni Intra was an artist who immersed himself in all aspects of contemporary art practice, not only as a maker, but as a writer, critic and gallerist. Despite
passing away at only 34 years of age he was a hugely influential figure in the New Zealand art scene, and his work and modes of practice have had a long and lasting impact. Intra was born in Tūrangi in 1968, and later shifted to Auckland to attend secondary school at Dilworth. He then studied sculpture at Elam School of Fine Arts, graduating with a Master of Fine Arts in 1993.
Intra’s work combined elements of all the things that interested him, from surrealist photography to medical imagery, pathology, text, religious iconography and references to the body, all bound in a typically DIY punk aesthetic. Intra was always one to do things his way, so it was no surprise that he established a gallery with a number of his art school peers.
The idea of artist-run spaces emerged from the USA and Canada in the 1960s and 70s, as artists looked for a way to have more agency and control over how their work was shown and the context in which it was seen. In 1992, Teststrip gallery became one of the first artist-run spaces in the country, operating out of an upstairs space in Auckland’s Vulcan Lane before eventually relocating to Karangahape Road.
Upon completion of his master’s degree, Intra relocated to Los Angeles in 1996 on a Fulbright scholarship to study critical theory at the ArtCenter College of Design in Pasadena. In 1999 he again partnered with other artists, to open a gallery in Los Angeles’ Chinatown district, called China Art Objects, which still operates today.
Intra was an accomplished writer, with his work published regularly in magazines such as Artforum, Flash Art, Tema Celeste and Bookforum. Despite his relatively short career, his contribution was widely recognised. He has works in most of the major public-gallery collections in New Zealand as well as the National Gallery of Victoria in Australia.
85 Giovanni Intra, untitled (Fish Shop) ink on paper
× 440mm
$6,000 — $9,000
84 Giovanni Intra, untitled (For Laure) ink on paper
× 440mm
— $9,000
Emily Karaka Ake, Ake, Ake
"Politics is life is art is life is politics. It’s all interwoven, like a whāriki, like a mat. No one is in fact living on an island on their own. We are all involved in politics." 1 — Emily Karaka
Some might argue that politics is a dirty word: the kind of conversational agenda to be enthusiastically avoided at social gatherings, lest one incite an elbow jab to the ribcage, or an eyebrow raised in silent warning.
Emily Karaka would beg to differ. As one of Aotearoa’s preeminent wāhine Māori artists, Karaka (Ngāi Tai ki Tāmaki, Ngāti Hine, Ngātiwai, Te Kawerau a Maki, Ngāti Te Ahiwaru, Tamaoho, Waiohua) has long “armed [herself] with a paint brush”,2 in an artistic practice now spanning five decades. Her works – as dense with pigment as they are with political rhetoric – have remained unwavering in their ability to wrench open the complex narratives of our nation’s history, and interrogate their ripple effects into the present day.
Core to these painterly considerations is a deference to tūpuna. Whether named outright (as in Treaty Settlement 101) or manifested in the omniscient gaze of symbolic stand-in figures (In the Spirit of the Treaty I), Karaka does not veer away from the histories lived by, and told through, her ancestors. Instead, their stories are recalled for the new generations in technicolour form and monumental scale; shy, Karaka is not.
Karaka, In the Spirit of the Treaty
EST $3,000 —
The artist has long known that progress and reparations cannot be achieved without a clear understanding of the Aotearoa experienced by her tūpuna, and it is a sentiment made all the more poignant when one considers that our own history – including the colonisation of Aotearoa and the complexities surrounding te Tiriti o Waitangi – was not made mandatory in this country’s teaching curriculum until 2023.
Buried amidst the dense layers of line and colour, Karaka’s painting cries “Ake, Ake, Ake” – forever and ever and ever – a powerful refrain first made famous by nineteenthcentury chief Rewi Maniapoto, and now commonly used to encapsulate the spirit of pursuit of tino rangatiratanga and Māori self-determination today. Like all of Karaka’s works, the painting is a call to arms for the times ahead. Whether we pick up the wero, and accept that challenge, is our choice to make.
▲ 1 Emily Karaka, interviewed by Francis McWhannell, “On a Bright Green Island: An Interview with Emily Karaka,” The Art Paper, 29 April 2021, https://www.the-artpaper.com/journal/on-a-brightgreen-island-an-interview-withemily-karaka?srsltid=AfmBOopYD 5ZUBKQQWqjuwCCoJsRQWBjls0 pnYeRbOEIX9hipNrMztk-l
▲ 2 Robert Jahnke and Witi Ihimaera, “The Whenua: The Land,” in Mataora: The Living Face: Contemporary Māori Art, ed. Witi Ihimaera, Sandy Adsett and Cliff Whiting (David Bateman Ltd, 1996), 88.
88 Glenn Jowitt, Jail patch, Linwood, Christchurch (from the Black Power, Christchurch, series)
gelatin silver print 320 × 480mm
$1,000 — $1,700
89 Michael Parekōwhai, Procyon (Deputy Sheriff)
c-type print
× 535mm
$4,000 — $6,000
90 Nigel Brown, A Plan of Tolaga 1769
on canvas
× 590mm
91
EST
EST
Edwin Hayes, Boulogne Pier watercolour on paper signed 390 × 600mm
$3,000 — $5,500
92 Peter McIntyre, Wellington Harbour watercolour and ink on paper signed 530 × 710mm
$12,000 — $20,000
93 John Barr Clark Hoyte, Otehei, Bay of Islands watercolour on paper signed 310 × 465mm EST $14,000 — $21,000
94 John Barr Clark Hoyte, Te Taraka, White Terraces, Rotomahana 1850 watercolour on paper signed and dated 375 × 640mm
EST $14,500 — $24,500
Born in New Plymouth in 1939, Smither grew up in the Catholic faith and acknowledges that his early exposure to art in the Church had a formative influence on him as a painter.
“As far as I’m concerned a picture is worth a thousand words and those statues and holy pictures I grew up with are burnt into my memory … The Catholic symbols impressed me. The whole liturgy is surrounded by powerful images… I enjoyed paintings which told stories.
During the 1970s I painted two murals for St Joseph’s Church in the centre of New Plymouth. They stand as a pair at the back of the church and are about 20 feet long and 12 feet high. Doubting Thomas was the first of the two [painted during 1969–70].”
Although it is Smither’s painting here is untitled, the subject matter of the is clearly the pivotal moment in the Gospel of Matthew, 14, verses 22–23, when Jesus grasps Peter’s hand, saving him from drowning.
The lesson of this biblical story appears to be that anything can be achieved through faith, but if your faith falters, so does your ability to achieve your goal. The importance of a strong faith and belief in the power of Christ is, of course, the same moral of the story of Doubting Thomas; the subject Smither chose for his first mural for St Joseph’s Church, New Plymouth.
signed
490 × 1350mm (widest points)
EST $25,000 — $32,000
The work at hand is undated, but its stylistic simplicity, exaggerated perspective and strong modelling owes much to the religious works of the English artist Stanley Spencer, whom Smither recalls as being a strong influence while he was painting Doubting Thomas in 1970.
However, the simplicity of composition and economy of form in this work differs markedly from the abundance of locally specific detail in Smither’s second mural for St Joseph’s, The Baptism of Christ, painted six years later. Smither recounts that by this time his ideas had “moved on to a notion that Christ could have existed in Taranaki as much as anywhere else. So, I set it is a local scene. The rocks are Taranaki rocks.”
These stylistic differences suggest that the work was painted in the early 1970s, perhaps just a few years after Doubting Thomas
Acknowledging the significance of Smither’s idiosyncratic take on realism is key to appreciating this work: the carefully planned and tightly constructed composition is rendered with vivid colour and extreme linear clarity. Smither’s combining of these pictorial qualities with his exaggerated treatment of the figures creates a stark yet poignant sense of theatricality.
Michael Smither, untitled oil on board
▲ 1 Smither, quoted in “The Religious Art of Michael Smither,” 16–17.
2 Ibid., 16-17.
96 Bill Hammond, Pretty 3 2006 etching on paper, 16/24 signed, dated and title inscribed 375 × 285mm
EST $6,000 — $8,000
97 Bill Hammond,
1986 oil on board signed and dated 345 × 410mm
EST $15,000 — $25,000
98 Bill Hammond, Pretty 1 2006 etching on paper, 16/24 signed, dated and title inscribed 375 × 285mm
EST $6,000 — $8,000
untitled
101 Max Gimblett, As the White Sun Sets 2016 gesso, acrylic & vinyl polymers, fluroescence, oilbased gilding size and palladium leaf on canvas signed, dated and title inscribed 1270 × 1270mm (widest points)
EST $45,000 — $60,000
99 Dick Frizzell, untitled 1994 oil on board 1820 × 1200mm EST $6,000 — $9,000
100 Dick Frizzell, untitled 1994 oil on board 1820 × 1200mm EST $6,000 — $9,000
102 Ngaio Marsh, West Coast Scene oil on canvas board
× 735mm
Long before Dame Edith Ngaio Marsh became a world-renowned crime writer and celebrated Shakespearean producer, she was a painter.
Marsh studied at the University of Canterbury’s School of Fine Arts during World War I, and in 1927 was one of the half-dozen women (Margaret Frankel and Evelyn Page were others) who founded The Group. This progressive collective offered an alternative to the Canterbury Society of Arts (CSA) and eventually attracted some of the country’s most distinguished artists.
Though Marsh would go on to become a literary legend, her deep connection to her South Island roots remained a significant part of her identity, continuously influencing her creative endeavours. Art references appear throughout Marsh’s novels, and those set in Aotearoa New Zealand – Vintage Murder (1937), Colour Scheme (1943), Died in the Wool (1945) and Photo-Finish (1980) – reflect her memories of the landscape, which she absorbed during frequent sketching trips with fellow artist Olivia Spencer Bower.
Given Marsh’s artistic background and the subject matter of her work, it is entirely plausible that the initial sketches for West Coast Scene were created en plein air during one of these trips to the West Coast, only a few hours’ drive from Christchurch. The painting itself seems to capture a crisp morning, as soft light spills over the mountains in a quintessential backcountry vista. Marsh’s deft brushwork renders the shade and light with precision, while the sparse foreground and framing trees highlight the untouched beauty of the landscape.
West Coast Scene is a rare and exquisite example of Marsh’s skill as a painter. She was never a prolific artist and exhibited only about 20 paintings in all between 1933 and 1940,1 making works like this even more valuable as a glimpse into her lesser-known artistic talents.
▲ 1 “Ngaio Marsh, Nor West Goes Over,” Webb's, https://auctions.webbs.co.nz/lot-details/index/ catalog/86/lot/13068/NGAIO-MARSH-NorWest-Goes-Over
EST $16,000 —
103 Rita Angus, The Artist's Studio graphite and watercolour on paper signed 550 × 360mm
$26,000
104 Melvin Day, untitled 2001 gouache on paper signed and dated
570 × 760mm
$2,500 — $4,000
EST $13,000 — $22,000
105 Jude Rae, No. 2 2001 oil on canvas signed, dated and title inscribed 560 × 610mm
106 Margaret Stoddart, The Camp, National Park Ruapehu watercolour on paper
× 270mm
$7,000 — $10,500
1989 oil on canvas signed and dated 2000 × 980mm (each panel)
EST $25,000 — $35,000
107
Gerda Leenards, Maungapika (Spirits Bay)
108 Stanley Palmer, The Far Off Isthmus - Huia 1970 oil on canvas board signed, dated and title inscribed 590 × 565mm EST $8,000 — $12,000
Robert Jahnke Identity Politics
Robert Jahnke is a celebrated artist, scholarly writer, curator and educator. Working principally as a sculptor, although trained as a designer and animator, his practice has recently included painting and neon installation. His work is typically based on political issues that face Māori, the dynamics of intercultural exchange and the politics of identity. Jahnke’s work is provocative and politically charged, exploring traditional Māori narratives in ways that are strikingly contemporary.
Jahnke was born in 1951 in the Gisborne region and grew up in Waipiro Bay. His heritage is Māori (Ngāti Porou), Sāmoan and Pākehā, and he affiliates with Ngāti Porou through three hapū: Ngāi Taharora, Te Whānau a Iritekura, and Te Whānau a Rakairoa.
In 2011, Jahnke began exploring a new direction in his work, segueing from addressing concerns specific to Māori, to participating in the international debate on cultural existentialism. These works, exhibited under the title Cogito Ergo Sum, are a series of uniform metre-square stainless-steel panels painted with a highgloss black enamel, over which the artist has inscribed bold text in stark white.
Each painting makes a statement beginning with ‘I AM’, which, as curator and academic writer Anna-Marie White observes, “refers to theory that Jahnke considers influential to Māori identity discourses. This includes the work of postcolonial scholars such as Edward Said (IAM / DIASPORA) [and] Homi K. Bhabha (I AM / AHYBRIDIDENTITY).” ¹
The ambitious scope of this series is immediately signalled by its title. “Cogito ergo sum, better known in English as ‘I think therefore I am,’ is the wellknown statement of philosopher René Descartes.”²
111 Robert Jahnke, Kōwhiti rua whero circa 2016
EST
one way glass, wood, lacquer & electrical fittings 780 × 780mm
$20,000 — $30,000
One might assume that all the texts Jahnke has used to suffix the ‘I AM’ relate specifically to notions of Māori identity, yet IAM / DIASPORA seems just as relevant to the artist’s Sāmoan, German and Irish bloodlines – all having diasporic populations – as his iwi affiliation. What is not immediately apparent is that the initial bombast of the ‘I AM’ statement is subtly softened by a more personally resonant subtitle. IAM / DIASPORA, for example, is subtitled This Is Not My Home.
In response to Jahnke’s 2016 exhibition ATA: a third reflection, 3 Dr Huhana Smith describes his neon works as “translations of neon forms into diamonds, triangles, and crosses … illusionary, spatial reflections that appear endless and multidimensional. His approach uses rectilinear compositions associated with tukutuku, particularly the diamond… juxtaposing mass and void …. Jahnke revisits previous exhibition concepts in his attempt to evoke the Māori transitional phases of ultimate potential or whakapapa, the Māori notion of emergence of ‘I Te Kore’ out of nothingness, into the night realm ‘ke Te Pō, into the world of light, ‘ki Te Ao Mārama’.” 4
▲ 1 Anna-Marie White, “The Local Global Post Colonial: New Directions in the Work of Robert Jahnke,” Art New Zealand 140, Summer 2011–12, 40.
▲ 2 Ibid, 41.
▲ 3 Bob Jahnke, ATA: a third reflection, Pātaka Art + Museum, 21 February – 15 May 2016.
▲ 4 Dr Huhana Smith, catalogue essay, in ATA: a third reflection (Pātaka Art + Museum, 2016), 5–6.
112 Euan Macleod, Bathurst Fire Night oil on canvas signed and title inscribed
× 380mm
$4,200 — $5,600
113 Euan Macleod, Wading Figure Over Nightscape 1997 oil on canvas
× 380mm
$4,500 — $7,000
114 Euan Macleod, Day - Night 1998 oil on canvas
× 520mm
115 John Weeks, Haunted Glade oil on board signed 390 × 495mm
EST $12,000 — 15000
116 Petrus van der Velden, Study of an Old Man oil canvas on board signed and title inscribed 210 × 125mm
117 Richard McWhannell, Memento Mori 1987 oil on canvas signed, dated and title inscribed 830 × 600mm
$5,000 — $8,000
118 Garth Tapper, The Corner Bar 1991 oil on board signed 445 × 370mm
$18,000 — $24,000
119 Garth Tapper, untitled 1992 oil on board signed and dated
× 295mm
$11,000 — $16,000
Terms & Conditions
The terms and conditions of sale listed here contain the policies of Webb’s (Webb Fine Art). They are the terms on which Webb’s (Webb Fine Art) and the Seller contract with the Buyer. They may be amended by printed Saleroom
Notices or oral announcements made before and during the sale. By bidding at auction you agree to be bound by these terms.
1. Background to the Terms used in these Conditions
The conditions that are listed below contain terms that are used regularly and may need explanation. They are as follows:
“the Buyer” means the person with the highest bid accepted by the Auctioneer.
“the Lot” means any item depicted within the sale for auction and in particular the item or items described against any lot number in the catalogue.
“the Hammer price” means the amount of the highest bid accepted by the auctioneer in relation to a lot.
“the Buyer’s Premium” means the charge payable by the Buyer to the auction house as a percentage of the hammer price.
“the Reserve” means the lowest amount at which Webb’s has agreed with the Seller that the lot can be sold.
“Forgery” means an item constituting an imitation originally conceived and executed as a whole, with a fraudulent intention to deceive as to authorship, origin, age, period, culture or source, where the correct description as to such matters is not reflected by the description in the catalogue. Accordingly, no lot shall be capable of being a forgery by reason of any damage or restoration work of any kind (Including re-painting).
“the insured value” means the amount that Webb’s in its absolute discretion from time to time shall consider the value for which a lot should be covered for insurance (whether or not insurance is arranged by Webb’s).
All values expressed in Webb’s catalogues (in any format) are in New Zealand Dollars (NZD$). 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 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 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.
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 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
Absentee bids must follow these increments and any bids that don’t follow the steps will be rounded up to the nearest acceptable bid.
4.10. Successful Bid and Passing of Risk
Subject to the auctioneer’s discretion, the highest bidder accepted by the auctioneer will be the buyer and the striking of his hammer marks the acceptance of the highest bid and the conclusion of a contract for sale between the Seller and the Buyer. Risk and responsibility for the lot (including frames or glass where relevant) passes immediately to the Buyer. If you are the highest bidder at the end of the auction, but your bid is below the reserve price, it will be marked as 'subject to vendor approval.' Your bid will then be presented to the vendor for consideration, and if accepted, the lot will be sold to you.
Terms & Conditions
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 22-23
Angus, Rita 56 B
Bambury, Stephen 21
Binney, Don 19
Brickell, Barry 41 Brown, Nigel 33, 48 C
Campbell, Jonathan 17
Clairmont, Philip 29, 39
Cornish, Bronwynne 17 Cotton, Shane 18, 29, 36
Dashper, Julian 26
Day, Melvin 56 de Lautour, Tony 15
Dibble, Paul 41
Drawbridge, John 32 Driver, Don 43 E
Ellis, Robert 41 et al. 26
Feu'u, Fatu 41, 42
Foote, Selina 40 Frizzell, Dick 39, 53
Gimblett, Max 53
Hammond, Bill 16, 19, 52
Hanly, Pat 32
Harris, Jeffrey 16 Hayes, Edwin 49
Hotere, Ralph 19, 20, 28, 43 Hoyte, John Barr Clark 49
Intra, Giovanni 27, 44-45
Jahnke, Robert 60-61 Jowitt, Glenn 48
Kahukiwa, Robyn 14
Karaka, Emily 46-47 Killeen, Richard 15
Larkin, Peata
Leenards, Gerda 58-59 Lewer, Richard 33
Macleod, Euan 62 Maddox, Allen 15 Marsh, Ngaio 54-55 McIntyre, Peter 49 McLeod, Robert 37 McWhannell, Richard 63
