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The IHC Art Awards provide artists with an intellectual disability the opportunity to have their talent recognised, their voices heard and to sell their work.
Location:
Webb’s Wellington 23 Marion Street
Wellington
Opening hours: Monday - Friday 9:00am - 5:30pm
Saturday 11:00am to 3:00pm
Kia ora koutou, nau mai haere mai; greetings and welcome to our June Select catalogue. Following hot on the heels of this year’s boutique Wellington live auction Get Back – a lively celebration of vibrant art and design from the 1960s – our June Select collection is a wonderfully varied and broad offering. We’re thrilled to showcase a selection that will stimulate and intrigue the diverse aesthetic tastes amongst admirers and collectors of New Zealand fine art.
Once again, we are privileged to present a striking pair of iconic figurative paintings on incised rimu by Pauline Yearbury. After being overlooked for decades, Yearbury’s unmistakable depictions of Māori deities and spiritual lore are now achieving fantastic record prices in 2024.
Suddenly, it seems, Yearbury’s joyous depictions of Māori pūrākau have struck a resonant chord with a wide cross-section of collectors, with a variety of high profile bidders fiercely competing at auction. Each sale has further established Yearbury’s reputation as an important and unique 20th century artist in Aotearoa.
Echoes of Yearbury’s legacy can been seen in the equally idiosyncratic imagery of Robyn Kahukiwa, two fine examples of which feature in this catalogue. A generation younger than Yearbury, Kahukiwa’s work is grounded in the present, empowered by the artist’s support for the struggle of her people to regain what was taken from them, physically and culturally, by early colonising forces.
Another contemporary wahine Māori painter expressing her connection to te ao Māori is Star Gossage, whose
stunning 2011 painting Awhi graces the cover of this catalogue. A generation younger again than Kahukiwa, Gossage draws inspiration from the ancestral lands that she and her family have always lived on. Although the source of Gossage’s narratives are deeply personal, the mystic and metaphorical environments she envelopes her imagery in powerfully resonate with the wider community of New Zealand artists, curators, and collectors. Now midcareer, Gossage has established herself as an exceptional painter of her generation.
When considering outstanding New Zealand artists of the current generation, we cannot fail to mention Fiona Pardington. An undisputed grand icon of transcendent photographic artwork inspired by our cultural taonga, Pardington is in a class of her own. Like Gossage, Pardington’s practice is deeply grounded in her identity as a woman artist of Māori descent, often exploring Aotearoa's complicated colonising history in her work. Her choice of taxidermied native birds in museums as the protagonists of her metaphorical tableaux provides her with a wealth of material to draw upon. We have a stunning collection of works by Pardington in this collection, all of which clearly demonstrate her virtuosity as a contemporary photographic artist.
In the space allotted in this introduction, I’ve touched on what I consider to be some real gems in this collection but there are far more to discover.
As has become our practice over the last couple of years, a significant portion of the works will be presented for viewing at our Wellington gallery in Marion Street before the full offering is shown at our Mount Eden gallery, prior to the live Auckland auction. If you’re unable to attend either of the viewings in person, we are happy to show works through video calls or supply an in-depth condition report. We hope you enjoy Webb’s latest offering of fine New Zealand art and look forward to a buoyant and lively sale on Monday 24 June, 6.30pm.
We invite you to join us at our Te Aro gallery for a discussion with iconic Wellington curator and gallerist Alison Bartley, who will share her personal highlights from the Select catalogue. Please RSVP to karen@webbs.co.nz.
Join us to hear Hester Rowan, Assistant Curator at Te Uru Waitākere Contemporary Gallery, share her top picks from our June Select catalogue. Please RSVP to art@webbs.co.nz.
Specialist Enquires Condition Reports
wellington
Mark Hutchins-Pond Senior Specialist, Art mark@webbs.co.nz +64 22 095 5610
auckland
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 Registrar, Art registrar@webbs.co.nz +64 9 529 5609
Georgia Clapshaw Administrator, Art art@webbs.co.nz +64 9 529 5609
5 Peter Siddell, Night Scene 1997 gouache on paper signed and dated 120 × 165mm
9 Robert Ellis, City Through Curtains 1962
graphite, coloured pencil and gouache on card signed and dated 520 × 840mm
EST
600
EST
12 Pauline Yearbury, Tangaroa acrylic on incised rimu signed
600 × 300mm
$4,000 — $6,500
13 Pauline Yearbury, The Fish of Maui acrylic on incised rimu signed
× 300mm
$4,000 — $6,500
14 Cliff Whiting, Untitled (Waka Toa and Taniwha) incised wood with marquetery in native timbers
455 × 1185mm
15 Robyn
Whaia e koe 1999 acrylic, ink and graphite on paper signed and dated
365 × 300mm
EST $1,000 — $2,000
16 Robyn Kahukiwa, untitled (He Maori au, mai te rangi ki toku upoko titi ki te whenua) 1999 acrylic, ink and graphite on paper signed and dated
390 × 295mm EST $1,000 — $2,000
17 Cora-Allan,
2022 whenua pigments and kāpia ink on hiapo signed and dated
600 × 880mm (widest points)
EST $7,000 — $9,000
Kahukiwa, untitled
18 Pat Hanly,
1983 screenprint on paper, proof 1 signed, dated and title inscribed 535 × 655mm
EST $2,000 — $4,000
1979 pastel and acrylic on paper signed, dated and title inscribed 300 × 455mm
EST $2,500 — $5,000
EST $5,000 —
1980
EST $5,000 — $7,000
Awake Aotearoa 19 Allen Maddox, I Love You 20 Allen Maddox, untitled watercolour on paper 420 × 295mm $7,000 21 Allen Maddox, untitled crayon on paper signed and dated 480 × 410mmArtist Robin White (Ngāti Awa) has long contended that “I see myself as a recorder of the reality of the situation … my work arises out of the situation I’m in.”1 To take stock of life – or rather, the lives – around her, to ruminate on their time and place, the whenua, the stories buried beneath; these are the threads that have always formed the heartbeat of White’s practice. After completing her studies at Auckland’s Elam School of Fine Arts in 1967, White progressed into a year at teacher’s training college, and therein began teaching art at Mana College in Porirua. White was, by her own self-effacing admission, an unusual teacher, but it was a fulltime profession that allowed her to continue her art practice after the day’s teaching had ended.
Created in 1972, works such as Cross’s Barn, Peninsula are a visual fulcrum, timestamping the period in which White exchanged Porirua for the rolling hills of Portobello and, crucially, marking the year before she committed to being a full-time artist. With its undulating lines and green-blue palette, Cross's Barn, Peninsula shows White’s curious, seeking eye for her then newly adopted backyard on the Otago Peninsula. Her works throughout the 1970s were well received by critics and the art community, exploring her distinct take on regional New Zealand landscapes as well as the national, cultural, and oftentimes very personal, identities inextricably entwined.
By the time of The Black Standard Over Victory Beach, we bear witness to another bookmark in the artist’s life, with this intimate charcoal work completed right on the precipice of her leaving Aotearoa for the island nation of Kiribati in 1982, a move motivated by her Baháʼí faith. Subsequently, as her personal life morphed across geographic borders, so too did her artistic practice.
290 × 390mm
EST $4,500 — $6,500
signed, dated and title inscribed 530 × 315mm
EST $4,000 — $6,000
EST $6,000 — $10,000
22 Robin White, The Black Standard Over Victory Beach, 1981 1981 charcoal on paper signed and dated 23 Robin White, Falling Star over Betio, Tarawa 1985 screenprint on paper, 23/30 24 Robin White, Cross's Barn, Peninsula 1972 screenprint on paper, proof signed, dated and title inscribed 500 × 680mm
▲ 1 Robin White, “Art and Conservation Are Synonymous,” Art New Zealand 7, August–October 1977, https://artnewzealand.com/7-environrw/
▲ 2 Robin White, interviewed by Claudia Pond Eyley, “Robin White in Kiribati,” Art New Zealand 31, Winter 1984, https:// art-newzealand.com/31-white/
In part, this evolution was a pragmatic one, as the art materials of her prior decade – lengths of canvas, tubes of lush oil paint, silkscreens and inks – were difficult to procure on the remote atoll. White resourcefully pivoted to more readily available resources such as timber, which she felt “suited my feeling of this place.”2 Despite these material constraints, White’s ability to perceptively reflect upon the realities around her never faltered. In Falling Star Over Betio, Tarawa, what at first appears to be the gentle curvature of the shoreline is, upon closer inspection, a sobering topography made up of the bodies of fallen soldiers.
Though White returned to Aotearoa in 1999, the collaborative spirit shaped by her 17 years in the Pacific has remained steadfast. Ko e Hala Hangatonu – Detail V comprises a deftly hand-dyed piece of ngatu (tapa cloth) made in collaboration with Tongan artist Ruha Fifita. Its title, translating to ‘the straight path’, refers to the literal path leading to the king’s palace in Tonga, but perhaps also alludes to the metaphorical pathways we choose to pave in this life. And from today’s vantage point, casting our eyes back to the vistas of Robin White’s practice thus far, there can be no doubt as to the conviction and strength of the path she has blazed.
and dated
540 × 200 × 200mm (widest points)
$5,000 — $8,000
$3,000 — $5,000
120 × 210 × 110mm (widest points)
$3,800 — $4,800
28 Terry Stringer, untitled 2014 bronze, 2/3 signed and dated
30 Gordon Walters, Genealogy III 2000 screenprint on paper, 58/100 indented with Walters Estate chop mark 1050 × 780mm EST $5,000 — $7,000
31 Gordon Walters, Untitled (1978) 1978 screenprint on paper indented with Walters Estate chop mark 1055 × 800mm
$8,000 — $12,000
32
33 John Pule, Restless Spirit 2000 lithograph on paper, 4/20 signed, dated and title inscribed 760 × 560mm
$1,200 — $2,200
…my primary objective was to work the stone so its aesthetic qualities would make it precious. A transmutation of the base to the precious, a metamorphosis.1
New Zealand sculptor John Edgar (1959–2021) would sometimes work with specific precious stones: pounamu, jasper, marble. More often, he would work with stone that told of the place it came from, travelling to select individual stones from quarries in Scotland, Australia and India, as well as prospecting in Te Waipounamu and the Coromandel — he had a particular fondness for Coromandel granite and the common greywacke stones found in our local rivers. To read Edgar’s writing is to understand that he knew the story of each rock he worked with.2 Describing another of his Transformer sculptures – a commission from Waitākere City Council that still stands outside the Japanese garden in Henderson – Edgar tells the tale of the South Canterbury grey basalt he used:
35 John Edgar, Transformer 2007
white Portuguese limestone and red Indian sandstone 1810 × 405 × 305mm
EST $18,000 — $26,000
▲ 1 Galvan Macnamara, “John Edgar – Calculus,” Sunday Star Times, February 2002, http://www. johnedgar.co.nz/calculus/calculus_review.html
▲ 2 This idea is explored in more depth in John Edgar, Robin Woodward, and Dinah Hawken, Ballast: Bringing the Stones Home (New Zealand: Aerial Press, 2009).
▲ 3 “Sculpture: ‘No Time Like Now’. Transformer and Red Cross,” John Edgar – Sculptor, May 2008, http://www.johnedgar.co.nz/sculpture/ sculpture_texts.html. Another Transformer sculpture sits in the Auckland Domain.
The basalt came from the eruption of the volcano, Mt Horrible. The lava flowed more than 30 kilometres to reach the coast at Timaru, resulting in the gently-rolling hills and the coastal reefs that form the sheltered harbour. The porosity in the basalt comes from pockets of air which became entrapped in the molten lava as it flowed from the erupting volcano about two million years ago.3
He goes on to suggest how this history can be read in his sculpture, in the rigorous straight lines that could be an expression of digital code or could be sedimentary layers revealing lava flows, the movement of tectonic plates, geological events occurring over thousands of years.
In these two sculptures – both from late in Edgar’s career, made just a few years before he was awarded the ONZM for services to art, in particular sculpture, in 2009 – Edgar has meticulously sliced through pale stone to insert bands and crosses of contrasting glass or stone to create precise, mathematical forms. Although minimal in appearance, Edgar’s sculptures conjure slices of land, sky and sea, serving as a reminder of the unity and seamlessness of our environment.
150 × 150mm
EST $2,000 — $4,000
EST $1,500 — $2,500
EST $6,000 —
36 Billy Apple, untitled graphite on screenprint on paper signed 37 Billy Apple, Red Apple 1997 graphite on screenprint on paper, 15/35 signed 390 × 560mm
39
250 × 190mm EST $7,000 — $10,000
370
570
315
Ralph Hotere, untitled c1970 ink on paper signed 40 Ralph Hotere, Drawing for Song Cycle Poetry 1975 ink and graphite on paper signed, dated and title inscribed × 250mm
290 × 210mm
EST $2,000 — $4,000
2014 oil on linen signed, dated and title inscribed
555 × 750mm
EST $7,000 — $10,000
2004 graphite on paper signed and dated 560 × 410mm
EST $10,000 — $15,000
47 Gavin Hurley, Boy with Alexander Turnball’s Beard 2013 paper collage 48 Gavin Hurley, Cocteau & Legar’s Parrott 49 Peter Stichbury, Paris Hilton and TinkerbellRaised by parents Peter and Tilly Gossage – an illustrator and artist respectively – Star Gossage (Ngāti Wai, Ngāti Ruanui) was destined for a life of creativity. Although exhibiting regularly throughout Aotearoa New Zealand and internationally, Gossage’s place as one of the most important Māori artists of her generation was marked in 2014 by her participation in Auckland Art Gallery Toi o Tāmaki’s groundbreaking show Five Māori Painters, curated by Ngahiraka Mason.
Star Gossage lives and paints on her ancestral Te Kiri land at Pākiri, north of Tāmaki Makaurau Auckland. This secluded coastal landscape inspires her work heavily; she often mixes found
materials such as lime and clay into her paint to create earthy tones and textures. Art historian Linda Tyler writes: “The works carry the materiality of where they were made out into the world, anchoring the paintings in the reality of lived experience.”1 This is contrasted by subject matter that often occupies an ethereal and dream-like place. Her figures emerge from the liminal spaces of consciousness and otherworldly planes of existence in a way that they appear as “ghosts; beautiful faces from dreams and angellike apparitions imbued with collected memory and ancestry.”2 These figures exist harmoniously within their environment, limbs, earth and skin fusing as one.
Literally translating to ‘embrace’, Awhi is a beautiful example of the way in which Gossage portrays her feminine figures embedded within their landscapes, in a surreal environment that could be attributed to her influence by the French symbolist artist Odilon Redon. The central figure evokes the form of Papatūānuku (Earth Mother), embraced and protected by her celestial tamariki. The woman’s open hands direct the viewer’s gaze upwards and into the landscape that appears to emerge from the point of embrace. The muted tones and energetic brushwork are distinctively characteristic of this period of Gossage’s work, a palette that creates a gentle and quiet atmosphere humming with wairua.
▲ 1 Linda Tyler, “Star Gossage – Oi Boy,” International Art Centre, 2024, https:// auctions.internationalartcentre.co.nz/lots/ view/4-DD47KY/star-gossage-oi-boy
▲ 2 Mark Amery, quoted in “Star Gossage: Au Au Au,” Tim Melville Gallery, 2012, https:// www.timmelville.com/exhibition/au-au-au/
NOTE Certificate of Authenticity from the Rita Angus Estate affixed verso.
53 Olivia Spencer Bower, untitled watercolour on paper signed
55 Rita Angus, untitled (Fruit Pickers Series) c1940 graphite on paper
250 × 290mm
EST $5,000 — $14,000
NOTE
Certificate of Authenticity from the Page Blackie Gallery affixed verso.
“Billy Apple’s passions are motor racing and good art.”1 So wrote Mary Morrison in her text for The Bruce and Denny Show, Apple’s 2008 exhibition at Two Rooms gallery where these prints were exhibited, alongside a $1.5 million M8A-2 racing car parked in the middle of the gallery.
One could add branding to that list, although, for Apple, this passion was perhaps folded into the category of good art when in 1962 he changed his name from Barrie Bates to Billy Apple, the start of a project in personal and artistic branding that would span the rest of his life. Apple’s fascination with branding also combined with his passion for cars – he was drawn to the exhilarating “moving billboards” of Formula One cars, their sleek, brightly coloured sides emblazoned
with sponsor logos.2 For The Bruce and Denny Show, Apple combined McLaren’s signature orange racing colours with his own iconic brand of graphics, including use of the golden ratio format and refined Futura font.
Eleven years later, Apple used that same clean, geometric font in works such as Vision – although this time not employed in concert with his beloved golden ratio but another, blurrier proportion. According to the Snellen notation – the traditional method for expressing visual acuity – a person with 20/300 vision can see at 20 feet what a person with normal vision can see at 300 feet and is considered to have severe visual impairment. This canvas is one of many bodily works Apple made over the course of his career, documenting the minutiae of his body
NOTE Accompanied by artist's Certificate
as part of the intermingling of art and life that was central to embodying the living, breathing brand of Billy Apple. Indeed, among the first biological works Apple ever made (during the time in which he was transforming into Billy Apple) are optometrical revelations such as Eye Examination (1962–7) and An Enlargement of the Left Eye (1963), for which Apple superimposed information on the malfunctioning vision in his left eye onto self-portraits of the newly formed, bleach-haired Apple.3 A simple black and white canvas, Vision is immediately recognisable as a late Apple work while also recalling these earlier works, as well as the simple form of a high-contrast eye chart.
▲ 1 Mary Morrison, “Billy Apple™: The Bruce and Denny Show, 10 April – 10 May 2008,” Two Rooms, https://tworooms. co.nz/exhibitions/the-bruce-and-denny-show-2/
▲ 2 The Dowse Art Museum, “The Bruce and Denny Show,” The Big Idea, 25 November 2010, https:// thebigidea.nz/stories/the-bruce-and-denny-show
▲ 3 Natasha Conland, “Well Being,” Art News 192, December 2021, https://artnews.co.nz/billy-apple-tribute-spring-summer-2021/
EST $6,000 — $8,000
EST
EST
NOTE From the Fletcher Challenge Ltd Collection.
59 Mark Adams, Memorial . Ngai Tahu . Kaiapoihia 1988 cibachrome print dated and title inscribed 475 × 585mm 62 Richard Killeen, Filament 1973 oil and acrylic on canvas signed 1270 × 960mm $7,000 — $14,000 60 John Reynolds, Pearly Gates aluminium 2230 × 1200mm (each panel)
EST
EST
66 Terry Stringer, untitled 2006 bronze on brass base signed and dated 1580 × 340 × 290mm (widest points)
67 Colin McCahon, Canterbury Plains Landscape 1948 graphite on paper signed, dated and title inscribed 195 × 250mm
EST $17,000 — $20,000
NOTE Colin McCahon database (mccahon.co.nz) number cm001491.
Given that Colin McCahon (1919–1987) spent the latter 34 years of his life working in Tāmaki Makaurau, it is easy to forget that he spent the first 34 years in Te Waipounamu, painting the dramatic landscapes of Otago, Canterbury, Nelson and the West Coast. He moved from Nelson to Christchurch in 1948, where he created this soft conté sketch while boarding with his friends, artist Doris Lusk and her husband. During this time, he slept and painted in the converted washhouse at the back of their Merivale home while searching for a suitable house for his family to rent.
While McCahon was extremely productive during his first year in Christchurch, art historian Peter Simpson has noted that only two of the landscape paintings made during these months referenced the Canterbury environment he now occupied — Taylor’s Mistake and The Green Plain. 1 Reflecting on The Green Plain in the catalogue accompanying his 1972 survey exhibition, McCahon wrote, “[This] painting begins the task of coming to grips with the Canterbury landscape.”2
▲ 1 Peter Simpson, “Colin McCahon: Five Years in Christchurch, 1948–53,” The Bulletin B.185, September 2016, https://christchurchartgallery. org.nz/bulletin/185/colin-mccahon-fiveyears-in-christchurch-194853#ftn-1
▲ 2 Colin McCahon, A Survey Exhibition (Auckland Art Gallery, 1972), p19.
An unusually austere form, The Green Plain is composed of a wavering horizon line with dark, grass-green earth below an eerie chartreuse sky. By contrast, the work offered here of the Canterbury plains shows the rhythmic contours of the Port Hills carved out in quick, impressionistic lines, illuminating McCahon’s process of responding to the landscape and his particular focus on recording light and shadow, conveying a sense of shade and saturation even in graphite.
and title inscribed 905 × 2620mm EST $10,000 — $15,000
455 × 1085mm EST $6,000 — $12,000
68 Dick Frizzell, The Dance of the Hooligans 2021 screenprint on paper signed, dated
69 Jenny Doležel, Weekend I pastel on paper signed and title inscribed
EST $6,500 — $8,000
1986 pastel and collage on paper signed, dated and title inscribed 580 × 760mm EST $5,000 — $8,500
71 Judy Millar, untitled c2016 acrylic and oil on paper 995 × 695mm
72 Gretchen Albrecht, Riverbank Study
74
You would be forgiven for thinking the bird pictured in Ed Brown was still alive, the way its soft-feathered head is cocked to the side, as though listening to the rustle of wind or chatter of other birds. But the glassy look of Ed Brown’s eye suggests otherwise; he ain’t seeing or hearing nothing no more. Each of the common sparrows and rabbits photographed by Michael Parekōwhai (Ngāti Whakarongo, Ngāriki Rotoawe) for The Beverly Hills Gun Club series (2000) is dead, each of their taxidermied bodies shot against the same lurid orange background. Ed Brown and his fellow subjects are members of Aotearoa’s numerous introduced species, and each is titled with a peculiar name — Elmer Keith, Lou Lombardi. Gun enthusiasts will probably know that these are the brand names of American handguns.
Best known for his large-scale sculptural works, Parekōwhai has worked across a wide range of media throughout his long career. Speaking to the content of his 2000 exhibition shown at both Jonathan Smart Gallery and Gow Langsford Gallery, curator Justin Paton described Parekōwhai as “a sculptor with a swagger, who also makes photographs.”1 Blowing an image of a sparrow up to monumental size is an example of that swagger, playing with our expectations of scale to make a point, to make us look longer at something so ubiquitous it usually sits beneath our notice. And if we consider the tiny sparrow, blown up large as an eagle, we might wonder how he got here, what he’s doing here, and whose place he might have taken.
75
a
1972 ink and graphite on paper signed, dated and title inscribed
560 × 350mm
EST $25,000 — $30,000
signed, dated and title inscribed
290 × 380mm
EST $30,000 — $50,000
76 Gordon Walters, On the Diagonal 1979 gouache on paper Ralph Hotere, Drawing for Pine Poem by Bill Manhire
77 Gordon Walters, Transparency IV
1990 acrylic on canvas signed, dated and title inscribed
Dr Fiona Pardington's (Ngāi Tahu, Ngāti Kahungunu, Clan Cameron of Erracht) captivating photographs evoke a sense of mystery and contemplation through her subtle use of lighting and texture.
In the work Iris, Woman’s Skull and Magnolia Stamens, produced during her McCahon House Artist’s Residency in 2013, Pardington gathered items from around the site of the house and studio, and combined them with her own objects to create a rich and layered tableau.
In the same way as our bedside tables become repositories for the things we collect and use most often, Pardington takes elements of her own life and surroundings to create these memento mori – exploring themes of memory, history, the fragility of life, and the interconnectedness of all living things.
Her arrangements often include shells, taxidermy specimens, vintage medical equipment, botanical specimens, glass and water. Each object is carefully chosen for its visual appeal and its ability to carry a message or evoke an emotional response. It is then for the viewer to unlock the mystery and to understand the importance of each element in the image, in the same way that still-life painters of the seventeenth century infused their works with layers of meaning and symbolism. Pardington’s photographs share similarities to these in her clever use of space
and the way colour is utilised to steer our eye around the picture.
It seems no coincidence that the works Pardington produced during this residency, with their interplay of dark and light, reflect how Colin McCahon used darkness to illustrate the absence of light and the world beyond this one.
This theme of mortality and loss is continued in the work Kaka Ake Ake, Canterbury Museum (2021), which was produced some eight years later. Much of Pardington’s work has evolved from methodically researching museum collections and exploring the histories of colonisation and collecting to record the objects hidden away from public sight.
This example of a rare white kaka would likely have been acquired during the late 1800s, when there was a fascination with collecting rare specimens by ornithologists such as Walter Buller, ultimately leading to their inevitable demise. The phrase ‘ake ake’ means forever and ever reminding us of the fragile balance between ourselves and nature, and how the decisions we make today will have a long-lasting effect on the world we leave behind.
Through her photography, Pardington challenges viewers to consider their own experiences and memories, prompting us to consider the fleeting nature of existence and the enduring power of objects to evoke nostalgia and longing.
1530 × 1160mm
EST $25,000 — $35,000
78 Fiona Pardington, Kaka Ake Ake, Canterbury Museum 2021 pigment inks on Hahnemühle Photo Rag, 5/10 signed
79 Fiona Pardington, Iris,
and
Stamens (from the Colin McCahon Residency 2013) 2013 pigment inks on Hahnemühle
Photo Rag, 2/10
815 × 1090mm
EST $15,000 — $22,000
80 Fiona Pardington, Still Life with Wild
and Freesias 2011 pigment inks on Hahnemühle
Photo Rag, 6/10
470 × 640mm
EST $5,000 — $9,000
Woman's Skull Magnolia Wheat
81 Don Driver, untitled 1991 paper, poly plastic sack and poly plastic sheet on canvas on board signed and dated 1155 × 750mm
EST $4,000 — $6,000
82 Don Driver, Blue + Brown Relief 1989 acrylic and enamel on wood signed, dated and title inscribed 620 × 1220mm
EST $8,000 — $12,000
EST $20,000 — $30,000
83 Don Binney, Bernice Pauahi Cape acrylic and oil on paper signed and dated 755 × 573mm
84 Gordon Walters, 22/11/1989 1989 gouache on paper signed and dated 155 × 205mm
$8,000 — $12,000
EST $15,000 — $20,000
87 Peter Robinson, untitled 1998 screenprint on canvas signed and dated 1500 × 1170mm
91 Heather Straka, The Stranger (Self Portrait)
2017 oil on board
signed, dated and title inscribed
New Zealand-born artist Heather Straka studied at the University of Auckland’s Elam School of Fine Arts in the early 1990s, majoring in sculpture. She then spent time in France as Julia Morison’s assistant, immersing herself in great European paintings, which refocused her practice. Straka returned to New Zealand and exhibited her first show of paintings in 1998.
The flawless nature of her early sculptural work foreshadowed the immaculate technique and precision that have come to characterise her paintings. Her practice unabashedly explores issues of representation and authenticity, with series such as her adjusted portraits of Māori chiefs, Burquababe and The Asian all confronting cultural stereotypes and identity. Straka is unafraid to engage with controversial cultural stereotypes, making such debates a meaningful part of her practice. Her works are always rendered with her signature smooth and fine painting technique, transforming contentious subjects into objects of beauty.
The work here was originally shown in Straka’s 2017 exhibition The Strangers’ Room, which expanded the concept of cultural and gender separation into the more niche idea of the ‘other’. Straka’s experience of the
Strangers’ Room – a separate room allocated for women with a slot in the door for communication purposes – at The Invercargill Club (a gentlemen’s club in the far south of New Zealand) prompted the ideas for these paintings.1 In these works, all the subjects face away from the viewer or are presented with their eyes closed, further distancing us from engaging with them fully.
In this particular painting, The Stranger – A Self Portrait, Straka appears to turn the lens on herself, showing a figure with their back to the viewer, wearing draped clothing, a thick, laced-up choker necklace, and sporting a buzzcut. It is impossible to discern the gender of this person from the back view we are presented with, prompting reflections on gender identity and personal presentation, and how much connection there really is between the two.
96 Fiona Pardington, untitled C-type print
In 2011 France became the first European country to impose a ban on women wearing full-face veils in public areas, a political move enforced as a defence of civic laïcité, or secularism. In 2016 municipalities began to ban burkinis from public pools, and in 2023 the Macron government added a ban on the abaya (a longsleeved dress of Middle Eastern origin) in state schools, adding more fuel to the raging national debate around faith and freedom of choice, and Islamophobia.
It is in this context that French photographer Cécile Plaisance created this provocative lenticular portrait, part of her 2014 Lens series. Employing lenticular lenses – a technology more commonly used in billboard advertising – Plaisance splices together two ‘opposing’ images to provoke questioning. From one viewpoint appears a dark-haired ethnically ambiguous Barbie doll, her plastic body fully clad in lingerie, hand posed on corseted hip, legs replete with thigh-high stockings and suspenders.
But if the viewer moves position just a little, the image changes to reveal Barbie’s shiny skin to be hidden entirely, head to toe in black cloth so that only her smoky eyes are left visible through the slit of her niqāb. Occupying a single frame, flickering between appearances of titillating undress and full coverage, the images provoke viewers to consider what human emancipation looks like.
For Plaisance, her Barbie photos explore feminist narratives: “In my view, all religions have the same value; there isn’t one that’s superior to the others … Women should be equal to men and should be free to do whatever they want with their image and their bodies.”1 Plaisance continues to explore representations of women in popular culture, shooting real models and Barbie dolls as part of a practice that seeks to celebrate women and their capacity to live many lives.
2002 oil on hessian on board signed, dated and title inscribed
505 × 805mm EST $2,000 — $4,000
1994 oil on canvasboard signed, dated and title inscribed 300 × 400mm
$5,000 — $8,000
2001 oil on canvas signed, dated and title inscribed
760 × 1170mm
$12,000 — $20,000
100 Eion Stevens, Cuban Heels (Turkey)
104
280 × 205mm
EST $8,000 — $12,000
230
EST $2,000 — $4,000
EST
103 Pablo Picasso, Sculpteur, Modèle couché et sculpture etching on paper 105 Bronwynne Cornish, My Creature 2010 ceramic 570 × 280 × 220mm (widest points) EST $7,000 — $9,000 106 Llewellyn Summers, Fallen Angel acrylic on plaster 290 × 310 × 190mm (widest points) $2,500 — $4,500 Pablo Picasso, L'age de soleil (Pour Ruby) 1950 etching on paper × 175mm
300
107 John Tole, Dam Site, Whakamaru oil on board
× 340mm
111 Marti Friedlander, untitled gelatin silver print 202 × 255mm
EST $3,000 — $5,000
112 Marti Friedlander, untitled gelatin silver print 205 × 242mm
EST $3,000 — $5,000
114 Richard Wentworth, untitled C-type print 390 × 590mm EST $6,000 — $10,000
120 Peter McIntyre, untitled oil on board
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.
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.
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.
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
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
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
$5,000 $50,000 – $100,000
$10,000 $100,000–$200,000
$20,000 $200,000–$500,000
$50,000 $500,000–$1,000,000
Absentee bids must follow these increments and any bids that don’t follow the steps will be rounded up to the nearest acceptable bid.
5. After the Sale
5.1. Buyers Premium
In addition to the hammer price, the buyer agrees to pay to Webb’s the buyer’s premium. The buyer’s premium is 19.5% of the hammer price plus GST. (Goods and Services Tax) where applicable.
5.2. Payment and Passing of Title
The buyer must pay the full amount due (comprising the hammer price, buyer’s premium and any applicable taxes and GST) not later than 2 days after the auction date.
The buyer will not acquire title to the lot until Webb’s receives full payment in cleared funds, and no goods under any circumstances will be released without confirmation of cleared funds received. This applies even if the buyer wishes to send items overseas.
Payment can be made by direct transfer, cash (not exceeding NZD$5,000, if wishing to pay more than NZD$5,000 then this must be deposited directly into a Bank of New Zealand branch and bank receipt supplied) and EFTPOS (please check the daily limit). Payments can be made by debit card or credit card in person with a 2.2% merchant fee for Visa, Mastercard and Paywave, and 3.3% for American Express. Invoices that are in excess of $5,000 and where the card holder is not present, cannot be charged to a credit card without prior arrangement. Cheques are no longer accepted.
The buyer is responsible for any bank fees and charges applicable for the transfer of funds into Webb’s account.
5.3. Collection of Purchases & Insurance
Webb’s is entitled to retain items sold until all amounts due to us have been received in full in cleared funds. Subject to this, the Buyer shall collect purchased lots within 2 days from the date of the sale unless otherwise agreed in writing between Webb’s and the Buyer. At the fall of the hammer, insurance is the responsibility of the purchaser.
5.4. Packing, Handling and Shipping
Webb’s will be able to suggest removals companies that the buyer can use but takes no responsibility whatsoever for the actions of any recommended third party. Webb’s can pack and handle goods purchased at the auction by agreement and a charge will be made for this service. All packing, shipping, insurance, postage & associated charges will be borne by the purchaser.
5.5. Permits, Licences and Certificates
Under The Protected Objects Act 1975, buyers may be required to obtain a licence for certain categories of items in a sale from the Ministry of Culture & Heritage, PO Box 5364, Wellington.
5.6. Remedies for Non-Payment
If the Buyer fails to make full payment immediately, Webb’s is entitled to exercise one or more of the following
rights or remedies (in addition to asserting any other rights or remedies available under the law)
5.6.1. to charge interest at such a rate as we shall reasonably decide.
5.6.2. to hold the defaulting Buyer liable for the total amount due and to commence legal proceedings for its recovery along with interest, legal fees and costs to the fullest extent permitted under applicable law.
5.6.3. to cancel the sale.
5.6.4. to resell the property publicly or privately on such terms as we see fit.
5.6.5. to pay the Seller an amount up to the net proceeds payable in respect of the amount bid by the defaulting Buyer. In these circumstances the defaulting Buyer can have no claim upon Webb’s in the event that the item(s) are sold for an amount greater than the original invoiced amount.
5.6.6. to set off against any amounts which Webb’s may owe the Buyer in any other transactions, the outstanding amount remaining unpaid by the Buyer.
5.6.7. where several amounts are owed by the Buyer to us, in respect of different transactions, to apply any amount paid to discharge any amount owed in respect of any particular transaction, whether or not the Buyer so directs.
5.6.8. to reject at any future auction any bids made by or on behalf of the Buyer or to obtain a deposit from the Buyer prior to accepting any bids.
5.6.9. to exercise all the rights and remedies of a person holding security over any property in our possession owned by the Buyer whether by way of pledge, security interest or in any other way, to the fullest extent permitted by the law of the place where such property is located. The Buyer will be deemed to have been granted such security to us and we may retain such property as collateral security for said Buyer’s obligations to us.
5.6.10. to take such other action as Webb’s deem necessary or appropriate.
If we do sell the property under paragraph (4), then the defaulting Buyer shall be liable for payment of any deficiency between the total amount originally due to us and the price obtained upon reselling as well as for all costs, expenses, damages, legal fees and commissions and premiums of whatever kinds associated with both sales or otherwise arising from the default.
If we pay any amount to the Seller under paragraph (5) the Buyer acknowledges that Webb’s shall have all of the rights of the Seller, however arising, to pursue the Buyer for such amount.
5.7. Failure to Collect Purchases
Where purchases are not collected within 2 days from the sale date, whether or not payment has been made, we shall be permitted to remove the property to a warehouse at the buyer’s expense, and only release the items after payment in full has been made of removal, storage handling, insurance and any other costs incurred, together with payment of all other amounts due to us.
6. Extent of Webb’s Liability
Webb’s agrees to refund the purchase price in the circumstances of the Limited Warranty set out in paragraph 7 below. Apart from that, neither the Seller nor we, nor any of our employees or agents are responsible for the correctness of any statement of whatever kind concerning any lot, whether written or oral, nor for any other errors or omissions in description or for any faults or defects in any lots. Except as stated in paragraph 7 below, neither the Seller, ourselves, our officers, agents or employees give any representation warranty or guarantee or assume any liability of any kind in respect of any lot with regard to merchantability, fitness for a particular purpose, description, size, quality, condition, attribution, authenticity, rarity, importance, medium, provenance, exhibition history, literature or historical relevance. Except as required by local law any warranty of any kind is excluded by this paragraph.
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.
A
Adams, Mark 42
Albrecht, Gretchen 28, 47
Angus, Rita 38
Apple, Billy 32, 40, 41
B
Binney, Don 55
C
Cora-Allan 22
Cornish, Bronwynne 65
D
Dawson, Ray J 68
Doležel, Jenny 46
Driver, Don 55
E
Edgar, John 30, 31
Ellis, Robert 20
F
Fifita, Ruha 26
Friedlander, Marti 67
Frizzell, Dick 46, 64 G
Gimblett, Max 60, 71
Gossage, Star 37
H
Hammond, Bill 19, 34
Hanly, Pat 23
Hartigan, Paul 70
Henderson, Louise 38
Hodgkins, William Mathew 66
Hotere, Ralph 32, 33, 34, 50
Hurley, Gavin 35
Ikin, Humphrey 43 K
Kahukiwa, Robyn 22
Killeen, Richard 29, 42, 57 M
Maddox, Allen 23
Mayo, Eileen 70
McCahon, Colin 44
McIntyre, Peter 69
McIntyre, Simon 71
McLeod, Andrew 19
Millar, Judy 47
Pankhurst, Alvin 68
Pardington, Fiona 53, 54, 61
Parekōwhai, Michael 48
Pataialii, Christina 42
Picasso, Pablo 65
Plaisance, Cécile 62
Pule, John 33 R
Rastorfer, Lorraine 70
Reynolds, John 42, 70 Robinson, Peter 57 S
Siddell, Peter 19
Smither, Michael 69
Spencer Bower, Olivia 38 Stevens, Eion 64
Stichbury, Peter 35
Straka, Heather 58
Stringer, Terry 28, 43
Summers, Llewellyn 65
Tait, Neal 64
Tapper, Garth 68
John 66
Trusttum, Philip 57 V
van der Velden, Petrus 69
Walters, Gordon 29, 50, 51, 56, 70
Wealleans, Rohan 71
Weeks, John 66
Wentworth, Richard 67
Westra, Ans 18
Wheeler, Colin 66
White, Robin 25, 26
Whiting, Cliff 21
Woollaston, Toss 38
Y
Yearbury, Pauline 21
Thomson, Elizabeth 47 Thornley, Geoff 46 Todd, Yvonne 67
