Art to Date, February 2022 by Webb's Auction House

27.02.22 Art to Date

0638 Auction Catalogue February 2022 Contemporary, Modern and Historical Art

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"Much thought lies behind these works, as is apparent from the contemplation and the artists' notes. This is art with staying power, and some of it has a 45,000 year head start" –Warwick Brown, MNZM Purpose Gallery

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Director

Public Relations

Advertising

Creative Direction

Paul Evans Managing Director paul@webbs.co.nz +64 21 866 000

Christine Kearney General Manager christine@webbs.co.nz +64 27 929 5604

Holly Hart Jenkins Advertising Manager holly@webbs.co.nz +64 27 557 5925

Imogen Temm Senior Designer design@webbs.co.nz +64 529 5600

Publishing Contacts

Art Department Auckland

Wellington

Charles Ninow Director of Art charles@webbs.co.nz +64 21 053 6504

Adrienne (AD) Schierning Head of Art ad@webbs.co.nz +64 27 929 5609

Tasha Jenkins Specialist, Art tasha@webbs.co.nz +64 22 595 5610

Carey Young Specialist, Art carey@webbs.co.nz +64 21 368 348

Julian McKinnon Content & Research editor@webbs.co.nz +64 21 113 5001

Charles Tongue Valuations Specialist valuations@webbs.co.nz +64 22 406 5514

Connie Dwyer Administrator, Art connie@webbs.co.nz +64 9 529 5600

David Maskill Specialist, Art david@webbs.co.nz +64 27 256 0900

Webb's

February

Table of Contents

Journal 20 Foreword 28 Programme 31 Plates 33

Webb's

Terms & Conditions

Index of Artists

Absentee Bid Form

2022

The Group: Entries Invited

Webb’s presents a bespoke auction of artworks by key artists from The Group. Operating from 1927 through to 1977, The Group was an independent affiliation of artists who cooperated and collaborated in Christchurch. We are seeking consignments of quality art works from artists affiliated with this collective, such as Olivia Spencer-Bower, Toss Woollaston, R N Field, Rata Lovell-Smith, Louise Henderson, Rita Angus, Leo Bensemann, Tony Fomison, Colin McCahon, Doris Lusk, Douglas MacDiarmid, Evelyn Page and W H Allen. This auction presents an excellent opportunity to showcase works by these important artists within a curated context. Works from this period will be paired with a selection of works by contemporary painters who demonstrate the lineage of this movement through their present practice. To find out more about this opportunity please contact one of our team. wellington 23 Marion Street Te Aro, Wellington 6011 +64 4 555 6001

Carey Young Specialist, Art carey@webbs.co.nz +64 21 368 348

David Maskill Specialist, Art david@webbs.co.nz +64 27 256 0900

Toss Woollaston, Pah Hill, oil on board, 335 x 600mm est $30,000 – $40,000 Webb's

February

Collector in Conversation

Ali McIntosh Owner of Tessuti, Auckland

Ali McIntosh's parents started to collect art when she was about 8-years-old, taking her to exhibitions around Auckland, exposing her to the appreciation of colour, form and practice — an experience that Ali continued with her own children. What do you do?

What is a work you feel connected to?

I am the owner of Tessuti, one of Auckland's iconic homeware stores on Jervois Road. How did you start collecting? When my kids were young, each year, a collective of artists would make works and hang them locally. It was encouraged that you came with your children and that they chose an artwork. My son chose a charcoal drawing, titled In The Woods, signed by Dean Buchanan, and my daughter chose Close Look Cat, signed by Hawly. Each piece was around $50 or so, with the intent Webb's

that children were exposed to art and collecting from an early age. I still have both art works and cherish them. Other than that, the first pieces I acquired were through my friendship with photographer and painter Max Thomson. Other recent purchases include Nick Herd, Henrietta Harris, Ryder Jones, and Garth Tapper, which I inherited from my mother.

2022

The White Cloth, by Els Noordhof, purchased at a solo exhibition, 9th November 1971 at John Leech Gallery. I had to wrestle for this painting with my brothers, as it is from our family home. I remember it displayed on our mantelpiece. Why is art important to you? Because it makes me feel good! It is emotive, peaceful. I often find myself looking at Henrietta's work, I love the way it draws the eye and encourages one to look forward. 19

John Lethbridge, Farm Life: An Exercise in Survival: The Ride, 1978, with performer-assistant Jane Campion, Giclee print on Hahnemühle Photo Rag paper, 1/5, printed 2022, 560 x 560mm

Webb’s Wellington: Opening in February

John Lethbridge: Divination Performance Photographs 1978–82 23 February – 12 March Wellington-born artist John Lethbridge started out as a printmaker. He went on to study under Jim Allen at Elam in Auckland in the early 1970s, joining the postobject-art set. (His 1975 solo show Formal Enema Enigma was part of Auckland City Art Gallery’s Project Programme.) Lethbridge moved to Australia at the beginning of 1976 and bought a Hasselblad camera. The iconic staged photographs he made in the late 1970s and early 1980s have one foot in the literalism

wellington 23 Marion Street Te Aro, Wellington 6011 +64 4 555 6001 Webb's

Carey Young Specialist, Art carey@webbs.co.nz +64 21 368 348 February

of performance documentation and another in the glitz of fashion photography. Equal parts Joseph Beuys and Helmut Newton, they scrambled genuine psycho-spiritual enquiry with camp theatrics, and epitomised the postmodern turn. Many of the photos feature performer–assistant Jane Campion. Lethbridge’s 1978 series Farm Life: An Exercise in Survival was shot at her family farm at Peka Peka. John Lethbridge: Divination has been curated by Robert Leonard.

David Maskill Specialist, Art david@webbs.co.nz +64 27 256 0900 20

John Lethbridge, Lost at Sea: Divination, 1979, with performer-assistant Jane Campion, Giclee print on Hahnemühle Photo Rag paper, 1/5, printed 2022, 560 x 560mm

Lethbridge’s photographs of 1978 and 1979 are blatantly superficial. Deliberately, many have been published as fashion photographs as they depict the stylish mysteries and weird juxtapositions that are thoroughly associated with advertisements for fashionable clothes. Supposedly autobiographical, they barely present enough information to puzzle and excite and never enough to actually narrate … The development of Lethbridge’s work in 1978 followed closely on developments in pop music, particularly British punk and American disco. On the one hand, punk was supposed to have had a social conscience (aggressively working class, adolescent, and politically powerless) while disco, continually misunderstood since its emergence from the bars of black and gay America, represented glitz, gloss, and glamour; it was the epitome of superficiality and apt vehicle for vacuity. Stated simply, the accidental collision or crossover of punk and disco styles is now called new wave music and it is such a collision to which Lethbridge aspires, admiring both punk’s rebelliousness and disco’s formalism. —Paul Taylor, ‘Australian New Wave and the “Second Degree”’, Art and Text, no. 1, Autumn 1981.

Webb's

2022

2021 Our Biggest Year So Far new artist record

new artist record

001 Bill Hammond, Melting Moments II, 1999, acrylic on canvas est. $350,000 – $550,000 price $939,881 (incl. BP)

002 Don Binney, Mana Island, 1971, oil on canvas on board est. $500,000 – $800,000 price $727,650 (incl. BP)

003

new artist record

Bill Hammond Waiting for Buller Bar 1993, acrylic on canvas, 1400 × 1000mm est. $150,000 – 250,000 price $382,016 (incl. BP) 004

Colin McCahon Landscape Theme and Variations (H) c1963, oil on jute, 1770 × 830mm est. $300,000 – 500,000 price $315,315 (incl. BP) 005

Colin McCahon Jump E4 1973, acrylic on jute on canvas, 910 × 442mm est. $250,000 – 350,000 price $306,219 (incl. BP)

006 Séraphine Pick, Burning The Furniture, 2007, oil on linen est. $150,000 – 200,000 price $266,805 (incl. BP)

007

Michael Smither Three Rock Pools and Lava Flow 2004, oil and sand on board, 1260 × 820mm est. $250,000 – $350,000 price $264,379 (incl. BP)

009

Robin White Untitled (Porirua Hills) 1970, oil on canvas, 920 × 620mm est. $220,000 – $360,000 price $230,4223 (incl. BP) new artist record

008

Grahame Sydney 2.40 Mailbag (Maniototo Plain, Naseby) 1974, egg tempera on board, 440 × 600mm est. $80,000 – 160,000 price $254,678 (incl. BP) new artist record

010

Robin White Porirua Harbour I 1970, oil on canvas, 765mm × 610mm est. $200,000 – $300,000 price $194,040 (incl. BP)

2021 was a watermark year for art in New Zealand. At Webb’s, we achieved a slew of records and remarkable results. Our total art sales exceeded $20 million. There’s been a remarkable rise in the value that New Zealander’s place on our unique cultural heritage. At Webb’s, art is our passion. We are working to increase the public’s appreciation of our incredible tradition in the visual arts.

In keeping with this, it’s important to us that we lend support to the overall art ecosystem. Some recent examples of this include our sponsorship of the exhibition Terminal at City Gallery Wellington, hosting Eden Arts Trust’s Art Schools Award and our crucial support of Artspace Aotearoa’s fundraising auction, When the Dust Settles. We have also been working with commercial landlords to provide support for artists. We’ve given artists the opportunity to utilise unused space as muchneeded studios. This fledgeling programme has seen extremely positive feedback from the community.

Webb's

February

Robin White, Auckland, 1968. Photograph b y Marti Friedlander

On the Rise: Women Artists

Art by women has been historically undervalued relative to art by men. A shift in this status quo has been long overdue, and Webb’s is thrilled to see it starting to happen. That said, there is still a great deal of room for growth in the prices of works by leading women artists. Webb’s will continue to advocate for value recognition of Aotearoa’s finest in 2022 and beyond, and we expect to see continued growth in prices for art by women. Market sentiment is changing. Artwork by women is seeing greater interest and investment as more collectors embrace contemporary New Zealand art, and recognise its value. It has been a privilege for Webb’s to represent magnificent artworks by brilliant women at auction, and it is heartening to see New Zealanders increasingly recognising the significance and value of our dazzlingly rich artistic culture and women artists and makers. We look forward to witnessing the continuation of this progression.

Value Development for Women Artists $1,000,000

$800,000

$600,000

$400,000

$200,000

0 2019

2020

Sample: The cumulative value of Webb’s top 5 prices for women artists annually. Webb's

2022

2021 was a remarkable year for art at Webb’s. Notable among the many achievements of the year was a marked increase in the prices recorded for work by women artists. We achieved all-time price records for Séraphine Pick, Robin White and Liz Maw. We also achieved the second highest ever prices for works by Louise Henderson and Fiona Pardington. These records were not outliers. A substantial increase in market appreciation of high-quality New Zealand art by women artists is notable, right across the board.

2021

Adrienne (AD) Schierning Head of Art ad@webbs.co.nz +64 27 929 5609

Tasha Jenkins Specialist, Art tasha@webbs.co.nz +64 22 595 5610 23

Making History Since 1976

Webb's has been the heart of the New Zealand art market since 1976. Naturally, we have a storied history of representing important collections. Over the past four and a half decades, many key businesses and private collectors have entrusted us with their cultural assets. We have delivered outstanding results at every turn. This is a selection of significant collections that we have represented.

Works from the Kim Wright Collection, 1979

Collection of Kobi & Patricia Bosshard, 1986

The Family Collection of the Late Colin McCahon, 1990

The New Zealand Collections of Doctor Neville Hogg, 1993

The Goodman Fielder Estate, 1995

The Lee Johnson Collection, 1998

The Ida Eise Collection, 1999

The Partington Collection of Photography, 2001

Webb's

February

The DB Breweries Ltd Art Collection, 2003

The Dr Hans and Andrea Haumer Collection, 2004

Contemporary Art, 1960 – 2009, A Private Collection

The Jim Fraser Collection, 2006

The Richard & Rhoda Potton Collection, 2008

The Estate of Giovanni Intra, 2008

The Helene Quilter Collection, 2014

The Collection of Nadene Milne, 2016

The Warwick & Kitty Brown Collection, 2017

Works from the Collection of Pat & Gil Hanly, 2017

The Collection of Peter Jarvis & Helene Phillips, 2017

The Estate of Miss Crabb, 2019

Works from the Collection of Una Platts, 2019

Works from the Collection of Harvey Benge, 2020

Works from the Collection of Tim & Helen Beaglehole, 2020

Melting Moments: A Private Collection, 2021

Webb's

2022

Works of Art: Entries Invited

Webb’s premier auction Works of Art will take place on Monday 28th March, and we invite you to consign artworks for this distinguished sale. Early entries to this catalogue include sensational works by Bill Hammond, Michael Smither, Philip Clairmont, Kushana Bush, Grahame Sydney, Gordon Walters, Ralph Hotere, and Max Gimblett. The art market has run red hot over the past 18 months, and there has been unprecedented levels of demand for premium New Zealand artworks. With Webb’s industry-leading approach to marketing, your artworks will receive widespread promotion. Our March catalogue will be previewed in our new, state-of-the-art Wellington premises; with the capital’s strong history of celebrating the visual arts, this event will attract significant collector interest. If you are considering bringing your cultural assets to market, Webb’s team of experts are on-hand to assist. Consignments are open until Monday 28th February, and in-person appraisals are available nationwide.

Webb's

deadline for entries Monday 28 February 2022

wellington preview Wednesday 16 March 2022

auckland preview Tuesday 22 March 2022

live auction Monday 28 March 2022

wellington 04 555 6001 23 Marion Street Te Aro Wellington, 6011

auckland 09 529 5600 33a Normanby Rd Mount Eden Auckland, 1024 Charles Ninow Director of Art charles@webbs.co.nz +64 21 053 6504

Michael Smither, Rockpools, 1973, oil on board, 890 x 675mm est $120,000 – $180,000

Adrienne (AD) Schierning Head of Art ad@webbs.co.nz +64 27 929 5609 February

Carey Young Specialist, Art carey@webbs.co.nz +64 21 368 348

David Maskill Specialist, Art david@webbs.co.nz +64 27 256 0900 26

Don Binney: Observer

In April, Webb’s will present an extraordinary collection of drawings by Don Binney. They are from the master artist’s family estate, and offer compelling insight into the processes of artistic creation that brought about his brilliant and nationally celebrated paintings. It is an honour for Webb’s to bring these incredible works to market. We are certain that collectors and art lovers will find much to admire in this collection.

Wellington 23 Marion Street Preview Wednesday 23 March On View Thursday 24 March Friday 25 March Saturday 26 March

6pm 10am – 5pm 10am – 5pm 10am – 4pm

Christchurch 65 Cambridge Terrace Preview Wednesday 30 March On View Thursday 31 March Friday 1 April Saturday 2 April

6pm 10am – 5pm 10am – 5pm 10am – 4pm

Don Binney, untitled, colour pencil and graphite on paper, 212 x 299mm est $10,000 – $15,000

Auckland 33a Normanby Road auckland Adrienne (AD) Schierning Head of Art ad@webbs.co.nz +64 27 929 5609

Tasha Jenkins Specialist, Art tasha@webbs.co.nz +64 22 595 5610

wellington Carey Young Specialist, Art carey@webbs.co.nz +64 21 368 348

David Maskill Specialist, Art david@webbs.co.nz +64 27 256 0900

Webb's

2022

Preview Thursday 07 April

6pm

On View Friday 8 April Saturday 9 April Sunday 10 April Monday 11 April

10am – 5pm 10am – 4pm 10am – 4pm 10am – 5pm

Auction Tuesday 12 April

6.30pm 27

Foreword

Kia ora koutou, nau mai haere mai ki te Huitanguru Art to Date, welcome to our February Art to Date catalogue. Our team is incredibly proud to present the first live art sale for 2022. We are excited to welcome our clients back into the gallery after a fantastic summer that offered the best of New Zealand weather. Last year the art market continued to flourish on an unprecedented and impressive trajectory. 2022 has some fantastic developments in the pipeline, our Wellington office will launch later this month. As the space nears completion, we can see what a stunning viewing space the Marion Street premises will offer Wellington clients. The calendar year is set to be a vibrant one, with our Works of Art sale coming up in March followed shortly after by Observer – a beautiful offering of sketches by Don Binney. These studies offer incredible insights into the master painter’s process as well as being delightful works on their own merit. The Observer will travel to Wellington and Christchurch before the auction in Auckland in April. The Group auction is another calendar highlight. The sale offers a fantastic, curated selection of works by artists who worked within the Christchurch based collective. Operating from 1927-1977 The Group is a vital historical reference when looking at the foundation of the art market in New Zealand. February Art to Date offers two catalogues, our main catalogue has just over 200 lots that offer a huge range of work form both New Zealand and international artists. Spanning mediums, decades and price points the auction truly offers “something for everyone”. Within the catalogue there is an impressive suite of works by Carl Sydow that offer examples of the artist's sculpture, painting and paper works. These works show his intensely beautiful and often delicate spatial investigations. Included also is a group of ceramic works by Tauranga based artist Laurie Steer; these well-known spikey vessels offer a spin on traditional pottery, throwing it into a more uncomfortable artistic genre. Webb's

February

After the success of our last Select catalogues, we are happy to offer this section again. Here the team has chosen their staff picks, scanning the consigned works for pieces that offer interesting pairings, each of which is accompanied by a short essay. From the very contemporary work by Japanese-born, Tāmaki Makaurau based artist Claudia Kogachi to a stunning pair a beautiful pair of paintings by Vera Cummings painted in the 1920’s there is a great overview of artistic practice. The team looks forward to presenting the works within the catalogue to you. If you cannot attend the viewing in person, we are always happy to show you works through FaceTime or to give you an in-depth condition report for any work of interest. We always look forward to hearing from our clients so do keep in touch with the team if we can assist in any way. Ngā mihi nui, AD

Adrienne (AD) Schierning Head of Art ad@webbs.co.nz +64 27 929 5609 28

2021 Highlights

Guy Ngan untitled 1975, aluminium est $20,000 - $30,000 price realised $40,021

Tony de Lautour 111 2002, oil on canvas est $7,000 - $14,000 price realised $22,436

Tony Fomison Vulcan the Ugly 1982, oil on hessian on board est $35,000 - $45,000 price realised $67,914

Bill Hammond untitled 2014, acrylic on canvas est $26,000 - $36,000 price realised $41,443

Webb's

2022

Karl Maughan Kristy & Alli 2009, oil on canvas est $6,000 - $10,000 price realised $24,255

Fiona Pardington Totoara/New Zealand Robin 2004, gelatin silver print, 4/5 est $15,000 - $25,000 price realised $28,440 29

Valuation Specialists With the dramatic shifts and spikes in value we have seen in the art market recently, it is important to keep insurance cover of your collection up to date. There is no time like right now to revisit the value of your cultural assets. At Webb’s we have the team to assist with all aspects of your collection management. Webb’s is very pleased to welcome Charles Tongue as our new Valuations Specialist. Charles has a broad knowledge of New Zealand and international Art. He comes to us from Vernon Systems where he has been assisting collectors and museums globally with collection management systems. This follows 15 years managing commercial art galleries in Auckland. We would love to hear from you and assist you with a valuation, or any aspect of collection management that you require. Webb's

February

Charles Tongue Valuations Specialist valuations@webbs.co.nz +64 22 406 5514 30

Programme

Evening Preview Tuesday 22 February

6pm - 8pm

Viewing

Auction & Viewing Location Webb’s Gallery 33a Normanby Rd Mount Eden Auckland 1024 Webb's

Wednesday 23 February

10am - 5pm

Thursday 24 February

10am - 5pm

Friday 25 February

10am - 5pm

Saturday 26 February

10am - 4pm

Auction Sunday 27 February

Art to Date

2pm

Sunday 27 February

Select

6pm

2022

Plates

Specialist Enquiries Charles Ninow Director of Art charles@webbs.co.nz +64 21 053 6504

Adrienne (AD) Schierning Head of Art ad@webbs.co.nz +64 27 929 5609

Wellington Office Carey Young Specialist, Art carey@webbs.co.nz +64 21 368 348

David Maskill Specialist, Art david@webbs.co.nz +64 27 256 0900

Condition Reports Tasha Jenkins Specialist, Art tasha@webbs.co.nz +64 22 595 5610 Webb's

2022

Connie Dwyer Administrator, Art connie@webbs.co.nz +64 9 529 5600 33

Pat Hanly Party Children 1991 screenprint on paper, artist's proof signed, dated and title inscribed 139 × 226mm

Pat Hanly Bride and Groom 1991 screenprint on paper, artist's proof signed, dated and title inscribed 130 × 215mm

Pat Hanly Bouquet and Child 1991 screenprint on paper, artist's proof signed, dated and title inscribed 139 × 225mm

est

Webb's

$1,500 — $2,500

February

$1,500 — $2,500

Pat Hanly untitled 1995 screenprint on paper, 79/101 signed and dated 590 × 775mm $4,500 — $6,000 34

Ralph Hotere Keep NZ Out of Iraq 2003 lithograph on paper, 28/40 signed, dated and title inscribed 768 × 575 mm

Ralph Hotere Jerusalem, Jerusalem 2002 lithograph on paper, 13/23 signed, dated and title inscribed 620 × 500mm

Para Matchitt Huakina 1986 screenprint on paper, 7/20 signed, dated and title inscribed 530 × 810mm

est

Webb's

$7,000 — $9,000

2022

$6,000 — $8,000

$4,000 — $5,000

Allen Maddox Black Head 1986 lithograph on paper, 6/12 signed, dated and title inscribed 605 × 440mm $1,500 — $2,500 35

Riduan Tomkins untitled acrylic on paper 480 × 480mm

est

Webb's

$800 — $1,200

Riduan Tomkins untitled acrylic on paper 480 × 480mm

February

$800 — $1,200

Gordon Walters Tama screenprinted poster on paper 720 × 517mm est

$1,000 — $2,000

Richard Killeen Pause 2007 screenprint on paper signed, dated and title inscribed 570 × 380mm est

Webb's

2022

$1,500 — $2,500

Milan Mrkusich Passive Element 1968 screenprint on paper 760 × 560mm est

$2,500 — $3,500

Bill Hammond untitled 2006 lithograph on paper, 91/100 signed and dated 570 × 420mm est

$8,500 — $13,500

Tony de Lautour Head 2005 oil on board, artist's frame signed and dated 495 × 473mm

est

$4,500 — $6,500

Thomas Elliot The Carriers II 2004 oil on hessian signed, dated and title inscribed 900 × 2010mm

Jason Grieg The Shadow of the Wind 2007 oil on board signed, dated and title inscribed 235 × 180mm

Webb's

$3,000 — $6,000

Layla Rudneva Mackay I Don't See You Today 2006 C-type print 1517 × 1190mm est

est

$4,000 — $6,000

Michael Parekōwhai Mare Tranquillitatus: Sea of Tranquility 2007 C-type print, edition of 100 203 × 152mm

$3,500 — $5,000 est

February

$3,000 — $5,000 38

Shane Cotton A Walk in Paradise 2004 lithograph on paper, 16/40 signed, dated and title inscribed 565 × 760mm

est

$1,500 — $2,500

Colin McCahon James K. Baxter Festival 1973 lithograph on paper 390 × 560mm est

Webb's

Shane Cotton Pararaiha 2004 lithograph on paper, 16/40 signed, dated and title inscribed 560 × 760mm $1,500 — $2,500

Pat Hanly Model and Artist I 1987 lithograph on paper, 2/15 signed, dated and title inscribed 205 × 277mm

est

John Pule Pulenoa 1995 lithograph on paper, artist's proof signed and dated 770 × 560mm (each panel)

$1,500 — $3,000

2022

$1,200 — $1,800

$8,000 — $12,000 39

Séraphine Pick Rage 2017 watercolour on paper signed and dated 375 × 285mm est Webb's

$3,500 — $5,500 February

26 27

Gretchen Albrecht NYC No. 2 1983 acrylic on paper signed, dated and title inscribed 480 × 720mm

Gretchen Albrecht Changes/Span 1984 screenprint on paper, 15/20 signed, dated and title inscribed 580 × 755mm

Gretchen Albrecht Oceanic 2012 screenprint on paper, printer's proof signed, dated and title inscribed 560 × 760mm

est

Webb's

$8,000 — $12,000

2022

$2,000 — $4,000

Gretchen Albrecht Study for painting (after Zeshin) 1983 watercolour on paper signed, dated and title inscribed 515 × 725mm $10,000 — $15,000 41

Laurie Steer: Uneasy Legacies

Laurie Steer Prison Sex 2019 woodfired wild clay, iron and ash glaze 150 × 90 × 60mm (widest points) est

$300 — $600

Laurie Steer Masher 2019 woodfired wild clay, iron and ash glaze signed and dated 100 × 140 × 120mm (widest points) est

$300 — $600

Laurie Steer Kingfisher 2019 woodfired wild clay, iron and ash glaze 160 × 110 × 60mm (widest points) est

$300 — $600

Laurie Steer Blind Man 2019 woodfired wild clay, iron and ash glaze 100 × 100 × 100mm (widest points) est Webb's

$300 — $600

33 February

When Laurie Steer proclaimed himself the best potter in the world, it was more than an act of grandstanding. Steer was referring to the business and performance of being an artist – its mythology of creative genius and financial precarity, a duality that still confronts the artist on a daily basis. Rather than relying on others to affirm his work, he made a decision to simply be the best. It turned into self-fulfilling prophecy. At first glance, Steer’s ceramics are brash, bordering on repulsive. His vessels are often adorned with orifices and razorsharp teeth, rendering their function inoperable. Perforated and incised clay, sometimes crushed, sometimes extruded into hallucinatory spikes, mar the illusion of serenity that their glossy surface entails. They bear the wounds of their uneasy creation like stigmata. Some pots are stacked atop one another producing hybrid shapes, others, deformed and deranged. Each appears to contain its own imagined history and narrative, yet collectively they also comment on the real history of ceramics. With their violent appearance, Steer’s work resists the intellectual and aesthetic traditions often associated with the medium. Steer may seem cavalier, but his devotion to pottery is sincere. Born in Mount Maunganui, Steer studied at AUT before being offered a coveted opportunity to work with the renowned ceramicist Barry Brickel at the latter’s Driving Creek Railway. At the time, Steer was working on his Masters thesis, experimenting with shards and falsified archaeology. Brickel was unimpressed. But the experience proved formative. Steer used this time to hone his self-taught technique and lay the foundations for a selfsufficient practice. Steer is now the director of Driving Creek Railway Charitable Trust, which was bequeathed to the nation when Brickel passed away in 2016. He is also the inheritor of a ceramics legacy spanning over a century. This legacy began when the English artist Bernard Leach, inspired by Japanese raku ceramics, began studying under the master potter Urano Shigeichi in 1911. Leach’s treatise, A Potter’s Book, emphasised the importance of local materials and production, functionality and a distinct lack of ornamentation. This would have a deep effect on New Zealand’s pottery community, especially Len Castle, who would take up this call for traditional craftsmanship. Castle’s work deeply influenced Brickel, who in turn mentored Steer. This creative genesis is conceptualised in the very material of Steer’s stoneware. The artist often incorporates discarded fragments of fired clay from the pan mill at Driving Creek into locally sourced clays, literally and metaphorically infusing his ceramics with spirit of his predecessors. However, Steer’s interpretation of this legacy is more subversive, embracing iconoclasm and humour to both critique and innovate. This is exemplified in a series of eleven small raku-fired works exhibited at the Heide Museum of Modern Art in 2019. Works such as Masher and Ogre Slaying Child, with openings ringed by sinister teeth, take on a mythic, almost primeval character. Others, such as Old Apocalyptic Painting and Everyday is a Lie are more philosophical, bordering on nihilism. It’s this irreverence that sustains the artist. Unsold works end up smashed and reincorporated into new works. For Steer, this process allows him to expand the conversation beyond craft, fuelling an endless cycle of creation and destruction. 42

Laurie Steer Suck of Air 2019 woodfired wild clay, iron and ash glaze signed and dated 160 × 160 × 80mm (widest points) est

$300 — $600

Laurie Steer Everyday is a Lie 2019 woodfired wild clay, iron and ash glaze 190 × 180 × 130mm (widest points) est

$300 — $600

Laurie Steer Old Apocalyptic Painting 2019 woodfired wild clay, iron and ash glaze 120 × 100 × 140mm (widest points) est

$300 — $600

Laurie Steer Cold Maiden 2019 woodfired wild clay, iron and ash glaze 150 × 50 × 50mm (widest points) est

$300 — $600

38 38

Laurie Steer Ogre Slaying Child 2019 woodfired wild clay, iron and ash glaze 170 × 130 × 130mm (widest points) est

$300 — $600 36

Laurie Steer Dream Pool 2019 woodfired wild clay, iron and ash glaze signed and dated 100 × 140 × 120mm (widest points) est

$300 — $600

Laurie Steer Then it Returned 2019 woodfired wild clay, iron and ash glaze 90 × 170 × 140mm (widest points) est

$300 — $600 40

Webb's

2022

Charles Frederick Goldie A Good Joke 1905 (on plate) chromolithograph on paper signed and dated on plate 410 × 485mm

Charles Frederick Goldie A Warm Day - Patara Te Tuhi 1901 (on plate) chromolithograph on paper signed and dated on plate 400 × 320mm

Peter Siddell Cliff Face I 1974 acrylic on board signed and dated 265 × 215mm

est

Webb's

$1,500 — $2,500

February

$1,500 — $3,000

$3,000 — $6,000

Peter Siddell Cliff Face II 1974 acrylic on board signed and dated 265 × 215mm $3,000 — $6,000 44

Henri Toulouse-Lautrec Yvette Guilbert – A Ménilmotant de Bruant 1898 lithograph on paper signed 380 × 280mm

est

Webb's

$2,000 — $5,000

Salvador Dali Richard II (from Much Ado About Shakespeare) 1970 drypoint on paper signed and title inscribed 170 × 120mm

2022

$2,000 — $3,000 45

est

$1,000 — $2,000

Don Binney Mill Creek, Rakiura 2011 screenprint on paper, 41/75 signed and dated 700 × 1000mm

Max Gimblett Remembrance 2015 screenprint on brass 250 × 250mm (widest points)

est

Webb's

$2,500 — $3,500

Don Binney Hauraki Motu I 1989 screenprint on paper 20/48 signed, dated and title inscribed 130 × 226mm

Max Gimblett Remembrance 2015 screenprint on brass 250 × 250mm (widest points)

est

$2,000 — $3,000

Max Gimblett Remembrance 2015 screenprint on brass 250 × 250mm (widest points) $2,500 — $3,500

$7,000 — $10,000

Max Gimblett Remembrance 2015 screenprint on brass 250 × 250mm (widest points)

February

Don Binney Piha Egret (I) 1990 screenprint on paper, 32/112 signed, dated and title inscribed 235 × 138mm

est

Don Binney Kotuku, Puketotara 2005 lithograph, edition of 75 signed, dated and title inscribed 500 × 700mm

$2,500 — $3,500 $1,000 — $2,000

$4,000 — $6,000 46

Mary-Louise Browne Crux Criticorun 1990 silver leaf on timber signed, dated and title inscribed 1010 × 700mm (widest points)

Regan Gentry A Bone to Pick IV bone, wood and steel 980 × 540 × 120mm (widest points) est

Graham Snowden Untitled Screen 1989 acrylic on board 1600 × 1614mm (overall); 1600 × 404mm (each panel)

$1,500 — $2,500 est

est 58

Don Peebles Untitled Green 1989 acrylic on canvas signed, dated and title inscribed 1090 × 630mm (widest points)

Edgar Mansfield untitled bronze and marble, 4/6 signed 338 × 152 × 131mm (widest points) est

est

Webb's

$2,000 — $3,000

$3,000 — $5,000

$2,000 — $4,000

$9,000 — $13,000

2022

Liz Maw & Yvonne Todd Self Portrait/Portrait with Face Peel 2011 C-type print signed, dated and title inscribed 430 × 355mm (widest points) est Webb's

$4,000 — $8,000 February

Tony De Lautour Island 2003 watercolour on paper signed, dated and title inscribed 330 × 465mm est

Pat Hanly No Nuclear Weapons in the Pacific (Fire Series) 1983 graphite on paper signed, dated and title inscribed 580 × 590mm

$2,000 — $4,000 est

Webb's

2022

Richard Killeen Monument to the Trilobites 1996 ink on paper signed, dated and title inscribed 280 × 355mm

est

$3,000 — $5,000

Grahame Sydney Fog at Ranfurly 2005 lithograph on paper, edition of 75 signed, dated and title inscribed 500 × 700mm $1,800 — $3,000

$4,000 — $8,000 49

69 69

Michael Smither Alfred Road Bridge 2014 screenprint on paper, edition of 50 signed and dated 480 × 640 mm

Sara Hughes Data Attraction 2006 screenprint on paper, printer's proof signed, dated and title inscribed 570 × 745mm

est

$1,800 — $2,800

Dick Frizzell PopDuck 2002 screenprint on paper, 73/75 signed, dated and title inscribed 533 × 750mm

After Andy Warhol Diamond Dust Marilyn 2012 screenprint on paper, 8/2500 900 × 890mm est

est

Webb's

$1,000 — $2,000

$2,000 — $3,000

Michael Smither Rocks, Tractor & Mountain 2012 screenprint on paper, edition of 80 signed and dated 550 × 755mm

Takashi Murakami Summer Vacation with me, my Brother and Doraemon screenprint on paper, 60/100 signed, dated and title inscribed 535 × 530mm

$1,700 — $2,700 est

February

$1,800 — $2,600

$4,000 — $7,000

Yue Minjun Hello Manet 2001 lithograph on paper, artist's proof signed, dated and title inscribed 535 × 750mm

Yue Minjun Hello Vermeer 2001 lithograph on paper, 5/10 signed, dated and title inscribed 750 × 535mm

est

$6,000 — $9,000

Polixeni Papapetrou Olympia as Lewis Carroll's Xie Kitchin as a Chinaman (off duty) 2003 C-type print, 3/6 signed 1240 × 1240mm est

Chen Lao Ti untitled acrylic on canvas signed 890 × 790mm est

$4,000 — $6,000

Piao Guang Xie untitled 2013 acrylic on canvas signed and dated 1045 × 1045mm

Yue Minjun Hello Bacon 2000 lithograph on paper, 35/60 signed, dated and title inscribed 750 × 535mm

Max Gimblett Dionysus & The Wheel 2018 ink on paper signed, dated and title inscribed 580 × 765mm

est

Webb's

$1,000 — $2,000

2022

$6,000 — $9,000

$1,000 — $2,000

$7,000 — $10,000

Jeff Koons Puppy 1999 screenprint on paper, 46/75 signed and dated 1050 × 630mm $8,000 — $12,000

Carl Sydow: Towards a New Vernacular In October 1975, Carl Sydow presented an extraordinary exhibition of Letraset drawings at Christchurch’s Brooke/Gifford Gallery. Hailed for their confident articulation of space and volume, these drawings revealed a glimpse behind the sculptor’s process and his rigorous attention to form, symmetry and line. Resembling technical drawings, Sydow’s works on paper combined graphic precision with a latent sculptural potential encapsulating six years of prior experimentation. But within two short months, Sydow had passed away. With many of his earlier sculptures destroyed or repurposed after exhibition, his Letraset drawings remain as testimony to his masterful exploration of form and works of art in their own right. Sydow was born in Takapau, a small rural community in the Hawke’s Bay, in 1940. In the 1950s, his family moved to New Plymouth. There he formed a life-long friendship with John Panting, who would later become a preeminent figure within London’s art scene before his own untimely death in 1974. Both Sydow and Panting studied sculpture at the University of Canterbury School of Art, where they met fellow artist Stephen Furlonger. Furlonger and Panting continued to study at the Royal College of Art in London and provided Sydow and his wife Rosemary with an entry-point into the cultural epicentre when the artist arrived there on an Arts Council Bursary in 1964. At the time, London was undergoing a radical transformation after years of post-war austerity. A new generation of sculptors, lead by Henry Moore, Kenneth Armitage and Anthony Caro, rejected the staid traditions of their forebears. They encouraged one another to experiment with found and assembled materials such as plastic, fibreglass and painted sheet metal placed directly on the floor. Sydow was unprepared for the radical works that met him there, which left his practice in disarray. He made use of the studios at the RCA, absorbed himself in exhibitions and took to heart the artistic ferment and discontent of his contemporaries. He abandoned his earlier figurative works in cast bronze and cement in search of a method that was more abstract, non-associative, and self-contained. When he returned to Christchurch in 1966, he began an introspective period of teaching and drawing, culminating a year later in his first ‘constructed’ sculpture. Sydow began working with industrial pipes and PVC tubes arranged on the ground or suspended using clear Perspex to generate an illusory effect of weightlessness. Through his meticulous drawings, Sydow created a restrained and economical vocabulary of effects, which he then transformed into large sculptural installations. The graphic quality of incised lines and flat colour combined with Letraset’s uniformity not only recall the Pop and Op Art movements of the 1960s but provide a direct visual correlation to his three-dimensional works. The moiré patterns and optical illusions achieved in his drawings become overlapping planes of perforated zinc, and large volumes and voids reconfigure as garden lattice and steel pipes in his constructions and suspended sculptures. Sydow’s abstract works on paper are not merely preliminary sketches for more ambitious sculptural works, but a constant point of return for the artist. In his drawings, we can see the artist immersed in the full potential of his imagination. Illusory and thought-provoking, Sydow’s studies provide rare insight into a period of artistic exchange between New Zealand and international artists, and as well as the knowledge and legacy that the artist brought back with him. 79

Carl Sydow Untitled Circular Drawing c1969 ink and acrylic on paper 275 × 295mm est Webb's

$2,000 — $3,000 February

Webb's

2022

Carl Sydow untitled c1975 ink and acrylic on paper 520 × 635mm

Carl Sydow untitled c1975 ink on paper 640 × 905mm

est

Webb's

$4,000 — $5,000

February

$4,000 — $5,000

Carl Sydow untitled c1975 letrafilm on paper 790 × 595mm $4,000 — $5,000

Carl Sydow untitled c1960s acrylic on board 1200 × 900mm

Carl Sydow untitled c1975 acrylic on board 870 × 1180mm

est

Webb's

$5,000 — $6,000

2022

$5,000 — $6,000

Carl Sydow untitled c1975 acrylic on board 895 × 1185mm $5,000 — $6,000

Carl Sydow Figure Cube I 1967-8 enamel on metal 125 × 275 × 270mm (widest points)

Carl Sydow Figure Cube II 1967-8 enamel on metal 490 × 192 × 110mm (widest points)

Carl Sydow Figure Cube III 1967-8 enamel on metal 650 × 200 × 170mm (widest points)

est

Webb's

$2,000 — $3,000

February

$2,000 — $3,000

Carl Sydow Figure Cube IV 1967-8 enamel on metal 650 × 200 × 170mm (widest points) $2,000 — $3,000

Carl Sydow Untitled Circular Drawing c1969 ink and acrylic on paper 280 × 300mm

Carl Sydow Untitled Circular Drawing c1969 ink and acrylic on paper 270 × 325mm

Carl Sydow Untitled Circular Drawing c1969 ink and acrylic on paper 275 × 315mm

est

Webb's

$2,000 — $3,000

2022

$2,000 — $3,000

Carl Sydow Untitled Circular Drawing c1969 ink and acrylic on paper 280 × 305mm $2,000 — $3,000

101

100

Karl Maughan Zig-Zag Road 2017 screenprint on paper, artist's proof signed and title inscribed 970 × 1320mm

Karl Maughan Colyton 2010 screenprint on paper, artist's proof signed, dated and title inscribed 1050 × 630mm

est

$4,500 — $7,000

$2,500 — $4,500

John Reynolds The Butler's Lives of Saints 2009 paint marker on canvas stamped 105 × 105mm (each panel)

Mervyn Williams Edge of Red 1992 acrylic on canvas signed, dated and title inscribed 1320 × 1120mm

100

Michael Smither Stay Awake 1972 oil on board signed, dated, and title inscribed 475 × 1195mm

101

est

Webb's

$5,000 — $8,000

February

$15,000 — $25,000

$6,000 — $8,000

Allen Maddox Alpha & Omega 1989 watercolour on paper signed, dated and title inscribed 407 × 370mm $4,000 — $8,000

102

103

105

104

102

Serge Poliakoff untitled lithograph on paper, 39/100 signed 278 × 210mm est

103

Michael Smither Pleasure Boats I 2015 acrylic and graphite on paper signed, dated and title inscribed 800 × 535mm

104

Miranda Parkes Stormer 2007 acrylic on canvas signed, dated and title inscribed 1807 × 1815mm (widest points)

est

$1,500 — $2,500 $4,000 — $6,000

105

John Reynolds The Third Fall 2008 paint marker, spraypaint and acrylic on canvas signed, dated and title inscribed 2200 × 1840mm

$10,000 — $15,000 est

Webb's

2022

$22,000 — $32,000 59

107

106

108

109

Marti Friedlander Philip Clairmont 1980 cibachrome print 285 × 290mm

107

est

106

$5,000 — $7,000

Marti Friedlander Tony Fomison c1978 gelatin silver print 185 × 190mm

110

108

Peter Peryer Figure Study 2000 gelatin silver print, 9/25 signed, dated and title inscribed 280 × 375mm

$7,000 — $12,000 est

109

Peter Peryer Pumpkin 2010 digital print signed, dated and title inscribed 300 × 225mm

110

est

Webb's

$3,000 — $6,000

Denys Watkins untitled 1980 pastel and acrylic on paper signed and dated 800 × 600mm

February

111

$1,500 — $2,500

111

Gavin Hurley William Colenso paper collage on paper 305 × 215mm est

$1,500 — $2,500

$4,000 — $8,000

112

113

114

116

115

112

Gavin Hipkins The Village (Horse) C-type print 1525 × 500mm est

$2,500 — $5,000

115

Fiona Pardington The Duration of a Kiss gelatin silver print 278 × 222mm est

$1,500 — $2,500

Xinli Deng Mysterious Curves on the Beach 2019 acrylic on canvas signed and dated 1220 × 1215mm

114

est

113

$3,000 — $4,000

116

Brian Brake Pablo Picasso, Son Claude and Jean Cocteau at a Bullfight, Vallauris, France 1955 gelatin silver print 330 × 233mm est

Webb's

117

2022

Mike Petre Field Study 350 2019 ink, graphite, oil and acrylic on canvas signed, dated and title inscribed 1200 × 1450mm $13,000 — $14,000

117

Brian Brake Picasso at a Bullfight 1955 gelatin silver print 330 × 233mm est

$4,000 — $8,000

$4,000 — $8,000 61

118

119

121

120

118

Robin White Whakarongo 2008 spraypaint and screenprint on wool bale 720 × 1170mm est

Webb's

Wayne Youle I am what you make me 2009 screenprint on paperbags signed and dated 325 × 590mm

120

David Cauchi After the Fall 2017 coloured pencil, watercolour and oil on linen 400 × 300mm

121

est

119

Nigel Brown Come now Van Gogh 1978 oil on board signed, dated and title inscribed 900 × 700mm

$14,000 — $18,000

February

$1,700 — $2,500

$2,000 — $4,000

$6,000 — $10,000

124

123

122

125

127

126

David Noonan untitled 2008 screenprint on paper, 49/60 signed and dated 620 × 440mm

123

Simon Kaan untitled 2005 woodcut print on paper, 1/5 signed and dated 555 × 355mm

124

est

122

$2,000 — $3,000

125

Peter Panyoczki untitled 2016 enamel on aluminium signed and dated 1200 × 1200mm (widest points) est

Webb's

$1,000 — $2,000

Peter Panyoczki Traces 2019 enamel on aluminium signed and dated 900 × 1800mm

Andrew Drummond 12 Activated Sensors from Red Wedge 1983 acrylic, string and gold leaf on paper signed, dated and title inscribed 740 × 460mm

127

est

126

$7,000 — $10,000

Jimmy Kouratoras Hei Tiki O Te Kiore 2020 acrylic paint, metal flake and resin on canvas signed 1220 × 910mm

$3,000 — $5,000

2022

$1,500 — $3,000

$6,500 — $7,500 63

129

128

130

131

132

John Walsh untitled oil on board 230 × 1200 mm

129

128

est

133

John Walsh Kaikorero Orator c1999 oil on board 230 × 465mm

$8,000 — $16,000 est

130

Colin Wheeler Limestone Country 1988 oil on board signed and dated 675 × 675mm

$2,000 — $4,000 est

131

Colin Wheeler Hills at Ardgowan 1990 oil on board signed and dated 555 × 585mm est Webb's

132

John Weeks Arab Shop in Fez pastel on paper signed 235 × 240mm

133

est

$1,500 — $2,500

$4,000 — $5,000

John Weeks A Street in Old Algiers pastel on paper signed 305 × 230mm $1,500 — $2,500

$2,000 — $4,000 February

135

134

136

134

137

D'Arcy W Doyle The Loggers oil on canvas signed 570 × 748mm

135

Thomas Darby Ryan untitled acrylic on board signed and dated 210 × 415mm

136

Archibald Nicoll A Canterbury Byroad, Middleton oil on board signed 570 × 705mm

137

est

Webb's

$10,000 — $15,000

2022

$5,000 — $10,000

$3,000 — $4,000

Charles Blomfield On Board Kanui Lake oil on board signed 195 × 297mm $5,000 — $8,000 65

139

138

140

138

141

Roy Good Octogon Star 2009 acrylic on perspex signed, dated and title inscribed 600 × 600mm (widest points)

139

Roy Good Rhombus Stripped 2009 acrylic on jute signed, dated and title inscribed 570 × 1140mm (widest points)

140

est

$2,200 — $2,500

Josephine Cachemaille Cluster II 2017 acrylic on board signed, dated and inscribed 640 × 560mm

142

est

141

Webb's

$1,000 — $2,000

$2,500 — $3,500

142

Max Gimblett The Not Self 2008-09 acrylic on canvas signed, dated and title inscribed 610 × 1210mm (overall) $25,000 — $35,000

Andrew Beck Interlock 2013 acrylic on canvas signed, dated and title inscribed 255 × 255mm

February

$2,000 — $4,000

143

144

146

145

147

Richard Killeen Battery Chickens 1988 acrylic and collage on polystyrene signed, dated and title inscribed 940 × 1160mm (widest points)

Jeffrey Harris Cross IV 2001-2002 oil on board signed, dated and title inscribed 565 × 753mm

145

est

143

$17,000 — $27,000

146

Simon McIntyre Interior (Motto) 1993 oil on canvas signed and dated 2000 × 1600 mm est

144

$3,000 — $6,000

147

Matt Hunt UTOPIAN SPIRITUAL SPACE MACHINE 2008 oil on canvas signed, dated and title inscribed 1300 × 2400mm

$3,500 — $5,500 est

Webb's

$5,000 — $8,000

Simon McIntyre Quay 1989 oil on canvas signed, dated and title inscribed 1803 × 1400mm (each panel)

2022

$20,000 — $30,000 67

149

148

151

150

152

153

148

Jonathan White Flax Swamp 1975 oil on canvas signed and dated 707 × 1010mm est

149

Tim Wilson Wharariki Beach. Cape Farewell 1991 oil on canvas signed, dated and title inscribed 595 × 900mm

151

Frank Wright A Quiet Port watercolour on paper signed 290 × 430mm

Webb's

Frank Wright Waikato watercolour on paper signed 290 × 430mm est

$4,000 — $7,000

$2,500 — $3,500 est

est

150

$4,000 — $7,000

$10,000 — $15,000

152

Lawrence Leitch Cathedral Cove, Christmas Day 2015 acrylic on board signed and dated 740 × 1780mm

153

est

February

$8,000 — $12,000

Bob Kerr Shingle Fan with Lateral Morraine 2006 oil on board signed, dated and title inscribed 400 × 2400mm $3,500 — $4,500

154

155

156

157

158

159

154

Peter Cleverley Red at Night 1995 acrylic on board signed, dated and title inscribed 265 × 1085mm

155

est

$3,500 — $6,000

est

Brian Brake Chengtu Agriculture, China 1959 chromogenic print 290 × 425mm

158

157

Peter James Smith Wind Across Dusky Bay 2007 oil on canvas signed, dated and title inscribed 915 × 1680mm

Webb's

Petrus van der Velden House Boat oil on board signed 290 × 460mm est

159

Frank Wright untitled watercolour on paper signed 290 × 451mm

$7,000 — $12,000 est

$2,000 — $3,000

2022

$8,000 — $15,000

$14,000 — $16,000

Petrus Van Der Velden Winter in Holland watercolour on paper 260 × 450mm est

est

156

$2,500 — $5,000

160

161

162

163

160

Piera McArthur Artist's Studio with Portrait in Progress ink and watercolour on paper signed and title inscribed 293 × 205mm (each panel)

161

Piera McArthur Sunbather, Cow and Prickly Pear oil on canvas signed and title inscribed 910 × 1370mm est

est

164

est

Webb's

Evan Woodruffe 11th August 2019 2019 acrylic, fabric, mica on linen, gold leaf signed and dated 700 × 700mm est

David Armitage Blue Window 2007 oil on canvas 2000 × 1615mm $2,000 — $3,000

162

$5,000 — $8,000

$2,000 — $4,000

163

164

$3,000 — $6,000

David Armitage Red Window 2007 oil on canvas 1650 × 1390mm

February

$2,000 — $3,000

166

165

168

167

169

Ronnie Tjampitjinpa untitled acrylic on canvas signed 600 × 1310mm

166

Ronnie Tjampitjinpa untitled acrylic on canvas signed 960 × 610mm

167

est

165

$4,000 — $6,000

168

Quentin MacFarlane Clifton- New Series acrylic on canvas signed and title inscribed 565 × 465mm est

$1,900 — $4,000

169

Steve Harris Rangitoto 2009 acrylic on canvas signed 610 × 1160mm

$2,000 — $4,000 est

Webb's

$1,900 — $4,000

Ronnie Tjampitjinpa untitled acrylic on canvas signed 960 × 610mm

2022

$5,000 — $8,000 71

170

171

172

173

174

170

Philip Clairmont Portrait of Tony Fomison 1969 oil on canvas signed, dated and title inscribed 830 × 530mm est

171

Denys Watkins The rise and fall of Captain Edwin Musick 1989 oil on linen signed 2000 × 1100mm est

Nanette Lelaulu Woman in White 1996 oil on canvas signed, dated and title inscribed 1210 × 840mm

174

est

Webb's

$1,500 — $3,000

Jonathan Brough untitled 2016 oil on canvas signed and dated 1015 × 760mm est

$4,500 — $9,000

173

172

$1,500 — $3,000

$10,000 — $15,000

Philip Maxwell The Tree Planters 2006 oil on canvas signed, dated and title inscribed 1520 × 1010mm (each panel)

February

$3,000 — $6,000 72

176

175

177

175

178

179

Pete Wheeler Raw Talent 2002 oil on canvas signed and dated 1200 × 1200mm

176

Barry Ross Smith Passages 2002 oil on canvas signed and dated 510 × 610mm (each panel)

177

est

$4,000 — $6,000

178

Trevor Moffitt Adele No 2 1997 oil on board signed, dated and title inscribed 880 × 680mm

179

est

Webb's

$6,000 — $8,000

$4,000 — $8,000

Trevor Moffitt Heather No 2 1978 oil on board signed, dated and title inscribed 1180 × 600mm $10,000 — $15,000

Trevor Moffitt Chris No 1 1976 oil on board signed, dated and title inscribed 1200 × 1180mm

2022

$6,000 — $9,000 73

180

181

182

183

180

Xi Chen Gerard's Pause 2018 acrylic on canvas signed and dated 700 × 710mm

181

Raymond Harris Ching The Cat and the Kiwi Chick 2010 oil on board 890 × 1070mm est

est Webb's

$1,500 — $2,000 February

182

Joanna Braithwaite Patches 2006 oil on canvas signed, dated and title inscribed 1594 × 1192mm (widest points)

183

Simon Clark Just Do It Yourself 2013 oil and gold leaf on board signed and dated 455 × 445mm

est

$20,000 — $30,000 $12,000 — $15,000

$3,000 — $5,000 74

184

185

186

187

188

Chi Zheng Midsummer 2016 oil on canvas signed and dated 397 × 500mm

185

est

184

$7,000 — $10,000

186

Shaohua Nong untitled 2014 oil on canvas signed and dated 845 × 1658mm

Jamie Boynton Tree of Life 2017 acrylic and enamel on board signed and dated 1160 × 730mm

187

Paul X Walsh Tourism 3030 oil, acrylic and spraypaint on canvas signed 1780 × 1620mm est

est Webb's

$15,000 — $20,000

$5,000 — $6,000

188

Neil Frazer Invoke/Evoke 2002-2003 oil on canvas signed and dated 1520 × 1520mm

$3,000 — $4,000 est

2022

$12,500 — $14,000 75

190

189

191

Philip Trusttum untitled 2001 acrylic on hessian on board signed and dated 890 × 540mm

190

Philip Trusttum untitled 2001 oil on canvas on board signed and dated 350 × 380mm

191

est

189

Webb's

$1,500 — $2,500

February

$3,000 — $5,000

Phillip Trusttum Tennis 1980 oil on paper signed and dated 892 × 730mm $3,000 — $5,000 76

193 192

194

Malcolm Jagamarra Water Dreaming 1992 acrylic on linen signed, dated and title inscribed 900 × 1280mm

193

Zena Elliott Ōhua/Seedlings In 2017 spraypaint, acrylic and paua on board signed, dated and title inscribed 790mm diameter

194

est

192

Webb's

$4,000 — $6,000

2022

$4,000 — $6,000

Philip Trusttum Untitled (Tennis Series) 1994 acrylic on canvas signed and dated 1840 × 3520mm overall $7,000 — $12,000 77

195

Owen Merton untitled watercolour on paper 202 × 158mm est

Webb's

$4,000 — $7,000

February

196

A Lois White Self-Portrait 1925 graphite on paper signed, dated and title inscribed 231 × 145mm est Webb's

$1,500 — $2,500 2022

197

198

Richard McWhannell This Man Shriven 1989 acrylic on canvas on board signed, dated and title inscribed 340 × 680mm

198

est

197

Webb's

$5,000 — $7,000

Richard McWhannell Self-Portrait 1983-84 oil on canvas signed, dated and title inscribed 380mm (diameter)

February

$2,000 — $3,000 80

199

Richard McWhannell Boy in a Red Jersey 1979 oil on canvas on board signed, dated and title inscribed 145 × 110mm est Webb's

$1,000 — $2,000 2022

200

Charles Blomfield untitled c1880 oil on canvas signed and dated 610 × 430mm est Webb's

$7,000 — $1,000 February

THE ART OF REVEALING NATURE

Webb's

2022

PLEASE DRINK RESPONSIBLY

Webb's

February

Terms and 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”

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. 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.

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

Webb's

2022

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.

Webb's

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.

February

4.9.

Auctioneers Discretion

The Auctioneer has the right at his/ her absolute and sole discretion to refuse any bid, to advance the bidding in such a manner as he/she may decide, to withdraw or divide any lot, to combine any two or more lots and, in the case or error or dispute and whether during or after the sale, to determine the successful bidder, to continue the bidding, to cancel the sale or to reoffer and resell the item in dispute. If any dispute arises after the sale, then Webb’s sale record is conclusive. 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. 4.11.

Indicative Bidding Steps, etc.

Webb’s reserves the right to refuse any bid, withdraw any lot from sale, to place a reserve on any lot and to advance the bidding according to the following indicative steps: Increment Dollar Range Amount $20 $0–$500 $50 $500–$1,000 $100 $1,000–$2,000 $200 $2,000–$5,000 $500 $5,000–$10,000 $1,000 $10,000–$20,000 $2,000 $20,000–$50,000 $5,000 $50,000 – $100,000 $10,000 $100,000–$200,000 $20,000 $200,000–$500,000 $50,000 $500,000–$1,000,000 Absentee bids must follow these increments and any bids that don’t follow the steps will be rounded up to the nearest acceptable bid. 5.

After the Sale

5.1. Buyers Premium In addition to the hammer price, the buyer agrees to pay to Webb’s the buyer’s premium. The buyer’s premium is 18.5% 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 also be made by credit card in person with a 2.2% merchant fee for Visa and Mastercard 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. Bank cheques are subject to five days clearance. 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 84

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.

Webb's

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.

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.

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

2022

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.

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.

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.

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.

Index of Artists H

A Albrecht, Gretchen Armitage, David

41 70

B Beck, Andrew Binney, Don Blomfield, Charles Boynton, Jamie Braithwaite, Joanna Brake, Brian Brough, Jonathan Brown, Nigel Browne, Mary-Louise

66 46 65, 82 75 74 61, 69 72 62 47

Hammond, Bill Hanly, Pat Harris, Jeffrey Harris, Steve Hipkins, Gavin Hotere, Ralph Hughes, Sara Hunt, Matt Hurley, Gavin

P 37 34, 39, 49 67 71 61 35 50 67 60

J Jagamarra, Malcolm

K C Cachemaille, Josephine Cauchi, David Chen, Xi Ching, Raymond Harris Clairmont, Philip Clark, Simon Cleverley, Peter Cotton, Shane

66 62 74 74 72 74 69 39

Kaan, Simon Kerr, Bob Killeen, Richard Koons, Jeff Kouratoras, Jimmy

63 68 37, 49, 67 51 63

L Leitch, Lawrence Lelaulu, Nanette

68 72

D M Dali, Salvador de Lautour, Tony Deng, Xinli Doyle, D'Arcy W Drummond, Andrew

45 38, 49 61 65 63

E Elliot, Thomas Elliott, Zena

38 77

F Frazer, Neil Friedlander, Marti Frizzell, Dick

75 60 50

MacFarlane, Quentin 71 Maddox, Allen 35, 58 Mansfield, Edgar 47 Matchitt, Para 35 Maughan, Karl 58 Maw, Liz & Yvonne Todd 48 Maxwell, Philip 72 McArthur, Piera 70 McCahon, Colin 39 McIntyre, Simon 67 McWhannell, Richard 80-81 Merton, Owen 78 Minjun, Yue 51 Moffitt, Trevor 73 Mrkusich, Milan 37 Murakami, Takashi 50

G N Gentry, Regan 47 Gimblett, Max 46, 51, 66 Goldie, Charles Frederick 44 Good, Roy 66 Grieg, Jason 38

Nicoll, Archibald Nong, Shaohua Noonan, David

Webb's

February

65 75 63

Panyoczki, Peter Papapetrou, Polixeni Pardington, Fiona Parekōwhai, Michael Parkes, Miranda Peebles, Don Peryer, Peter Petre, Mike Pick, Séraphine Poliakoff, Serge Pule, John

63 51 61 38 59 47 60 61 40 59 39

Woodruffe, Evan Wright, Frank X Xie, Piao Guang

Y Youle, Wayne

Z Zheng, Chi

70 68, 69

Reynolds, John 58, 59 Rudneva Mackay, Layla 38 Ryan, Thomas Darby 65 Select

S Siddell, Peter 44 Smith, Barry Ross 73 Smith, Peter James 69 Smither, Michael 50, 58, 59 Snowden, Graham 47 Steer, Laurie 42-43 Sydney, Grahame 49 Sydow, Carl 52-57 T Ti, Chen Lao 51 Tjampitjinpa, Ronnie 71 Tomkins, Riduan 36 Toulouse-Lautrec, Henri 45 Trusttum, Phillip 76-77 V van der Velden, Petrus

W Walsh, John Walsh, Paul X Walters, Gordon Warhol, After Andy Watkins, Denys Weeks, John Wheeler, Colin Wheeler, Pete White, A Lois White, Jonathan White, Robin Williams, Mervyn Wilson, Tim

64 75 37 50 60, 72 64 64 73 79 68 62 58 68

Aberhart, Laurence 18-19 Brown, Nigel 36-37 Cummings, Vera 20-21 de Lautour, Tony 10-11 Ellis, Robert 38-39 Fomison, Tony 16-17 Frizzell, Dick 28-29 Gaut, Joseph 22-23 Gimblett, Max 32-33 Hammond, Bill 34-35 Hanly, Pat 24-25 Hartigan, Paul 46-47 Hellendoorn, Arie 30-31 Henderson, Louise 16-17 Hotere, Ralph 8-9 Iti, Tame 40-41 Kahukiwa, Robyn 40-41 Kogachi, Claudia 12-13 Lyne, Richard 12-13 Maddox, Allen 14-15 Maw, Liz 4-5 McIntyre, Peter 44-45 McIntyre, Raymond 44-45 Mrkusich, Milan 38-39 Palmer, Stanley 36-37 Parsons, Anton 46-47 Pick, Séraphine 2-3 Robinson, Ann 48 Smither, Michael 26-27, 42-43 Taylor, Imogen 30-31 Walters, Gordon 6-7, 34-35 Woollaston, Toss 42-43

Absentee Bid Form

Auctions Private Sales Valuations webbs.co.nz auction@webbs.co.nz auckland 33a Normanby Road Mount Eden, Auckland, 1024 09 529 5600

Name (Please Print Clearly)

wellington 23 Marion Street Te Aro, Wellington, 6011 04 555 6001

Email (Please provide for invoice purposes)

Bidder #

Address

(Office Use Only)

(PO Box not sufficient)

City Postcode

Auction # & Title (Please Print Auction & Title Here)

Telephone Number(s)

(In Order of Preference)

Lot Number (in order)

Catalogue Description

Maximum Bid

Not including buyer’s premium or GST

I authorise Webb’s to register bids on a per lot basis up to the maximum price I have indicated for each lot. I will not hold Webb’s responsible for any errors that occur. I understand that if my bid is successful, the purchase price will be the sum of my final bid plus the buyer’s premium of 18.5% of the final bid price plus any GST payable on the buyers premium, as indicated in the catalogue. GST will be charged on the buyer’s premium.

I have read and accepted Webb’s terms and conditions as printed in the catalogue and online at www.webbs.co.nz. Bids will not be processed unless this form is signed. Signature

In order to register to bid with Webb’s please complete this form and scan or email to auction@webbs.co.nz

Date

Interactive Digital Version

THE ART OF REVEALING NATURE

PLEASE DRINK RESPONSIBLY

33a Normanby Rd Mount Eden Auckland 1024 New Zealand webbs.co.nz