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Come and visit our store before, or after, your next Webb’s viewing. We are conveniently located, virtually next door, and open 7 days.
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TICKETS
Watches: Smaller and Refined
The watch industry is experiencing a shift in men’s timepiece preferences. Once dominated by larger watches of 40mm or more, there is now a trend towards smaller, more refined designs, influencing both fashion and culture.
For years, major brands like Rolex, OMEGA, and Patek Philippe popularised models such as the 40mm Submariner and 42mm Speedmaster. However, tastes are evolving, with men increasingly opting for functional yet stylish watches in the 34mm to 38mm range.
Audemars Piguet and JaegerLeCoultre are leading this movement, offering alternatives to oversized timepieces. This trend has also revived interest in varied case shapes. While round watches remain popular, rectangular, tonneau, and cushion-shaped cases are gaining traction. The Cartier Tank for instance is a perfect example of how a smaller, unconventional shape can stand out, while the Patek Philippe Calatrava continues to be a respected model for its elegant design. Celebrities are reinforcing this shift in size preferences. Paul Mescal’s Cartier Tank Mini and Timothée Chalamet’s Cartier Crash highlight how smaller, more feminine sizes are rising in popularity, signalling a shift from traditional gender style norms and fashion sensibilities. Such endorsements
strengthen their appeal in luxury fashion. The New York diamond district, where vintage watch trends influence brand’s fashion trends on the primary market, has noted rising demand for smaller timepieces, further cementing their desirability. Similarly, the women’s watch market is embracing refined, minimalist designs, with brands like Rolex, Cartier, and Jaeger-LeCoultre leading the way. This resurgence signals a broader shift towards simplicity and elegance. As brands introduce smaller versions of iconic models, luxury watches are being redefined by quality and subtlety over sheer size. This is an exciting shift and one that our specialists in the Fine Jewels, Watches & Luxury Accessories department are very prepared to embrace. Whether you're looking to buy or sell a luxury watch, Webb’s Auction House is your destination for expanding (or starting) your collection. With an extensive selection of watches from iconic brands Webb’s offers both collectors and enthusiasts the opportunity to acquire or part with these sought-after pieces in a professional and secure environment. If you’re interested in exploring our upcoming auctions or would like expert advice on the value of your timepiece, please don’t hesitate to get in touch.
Christine Power Head of Fine Jewels & Luxury Accessories
AJP (GIA)
+64 27 929 5607
christinep@webbs.co.nz
Sam Shaw Manager of Fine Jewels, Watches & Luxury Accessories
Now is a great time to sell. Contact our specialist team for an obligationfree appraisal. Convenient couriercollection or drop-off locations in Mt Eden, Te Aro and Riccarton available
Marcus
DipWSET Head of Fine Wines & Whiskies
Soon
Webb’s Collectors’ Cars, Motorcycles & Automobilia department kicks off a new year with its first auction of 2025, featuring a number of stylish icons from the ‘60s right through to the modern day. The catalogue will be online from Wednesday 12 March and we look forward to welcoming you at the launch event.
We’re also accepting entries for our upcoming offerings later in the year, so if you have a vehicle that you believe warrants a spot in one of our auctions, get in touch with our team of specialists today.
The Return of a Huia Feather to Iwi
Webb’s is deeply honoured to have hosted a pōwhiri in our gallery to mark a significant moment in the journey of a treasured taonga: a huia feather gifted by Kīngi Tāwhiao in 1882.
This pōwhiri marked the transfer of kaitiaki of this precious feather being returned to the care of its iwi—Tainui. The feather is not only a tangible reminder of the now-extinct huia, but a testament to the enduring connections between iwi, whakapapa, and whenua.
Endemic to Aotearoa New Zealand, the Huia were a small songbird of the wattlebird family, known for their jumping abilities and beautiful plumage. They were also unique due to their sexually dimorphic features, with the female’s beak being long and curved and the male’s beak short and stubby. These differences meant that the sexes used different techniques to feed, thus reducing competition.
This huia feather was gifted by Kīngi Tāwhiao to the postmasters and telegraphists introduced to him at a gathering at Alexandra on May 14, 1882. Of Ngāti Mahuta hapū in the Tainui confederation of tribes, Tāwhiao became the second Māori King upon the death of his father Pōtatau Te Wherowhero in 1860. He was considered a visionary leader, with a 34-year reign that took place over the most traumatic and turbulent era of Māori–Pākehā relations.
The descendents of the postmasters brought the feather to Webb’s and we are proud to have contributed to its continued journey.
The resplendent blue-green tail feathers of the huia (kōtore huia) were always highly prized, however in pre-colonial times they
Above: The now-extinct huia bird, once revered for its striking plumage and deep cultural significance to Māori, was last officially sighted in the early 20th century. Facing page: representatives of Ngāti Whātua Ōrākei and Tainui joined Webb’s to honour the occasion.
were tapu for Māori, with only chiefs and other high-ranking individuals permitted to wear them. At the time of European colonisation, the huia were widespread across the North Island but sparse; most of the records came from Ruahine, Tararua, and the Rimutaka ranges.
Eventually, the feathers became more widely popularised among both Maōri and Pākehā and were often exchanged for other coveted goods such as pounamu and shark teeth, or given as tokens of friendship and respect (as this particular example was). They were stored in intricately carved boxes called waka huia, which were hung from rafters—a craft which went on to influence contemporary expressions of industrial and architectural design in Aotearoa New Zealand.
In 1901 the visiting Duke of York was pictured wearing a huia feather in his hat, leading to an explosion of popularity for the feather in Britain. This sadly sealed the fate of the bird (although general hunting and loss of habitat also contributed to its extinction) and its last official sighting was on 28 December 1907. Remaining examples of huia feather act as a memento mori for this magnificent bird, and also as a reminder of the fragility of our unique and precious natural environment.
Such a clear and well-documented iwi connection is not evident in all taonga tūturu that come to us, and it was a privilege to facilitate the significant handover of this particular example, reflecting Webb’s commitment to respecting and supporting the cultural and historical significance of taonga in Aotearoa.
We are proud to have played a part in ensuring that this huia feather continues its rightful journey in accordance with its whakapapa, and we extend our gratitude to the representatives of Ngāti Whātua Ōrākei and Tainui who joined us to honour this occasion.
Their participation reaffirmed the profound importance of safeguarding the mana of taonga Māori and preserving the stories they carry across generations.
Upcoming Art Auctions —Seeking Artworks
We are now seeking entries for our next Select auction.
Select is one of our most hotly anticipated auction series, with in-the-know collectors gravitating toward the sales due to their diverse offerings and propensity for unique works.
Representing both on-the-ascent and well-established New Zealand artists, the catalogue is carefully curated by our specialist team based on trends that they have been tracking across the market.
If Works of Art specialises in the historic legacy-makers and major stalwarts of both local and international art history, Select presents more upwardly mobile artists and artworks, indicative of tomorrow’s movers and shakers.
Recent consignments include Raewyn Turner, Seung Yul Oh, Giovanni Intra, Fatu Feu’u, Star Gossage, Robyn Kahukiwa, and Bronwynne Cornish.
If you have an artwork you believe would be suitable for Select, please get in touch with our specialists today for an obligationfree appraisal.
auckland
Emily Gardener
Director of Art
emily@webbs.co.nz
+64 22 595 5610
wellington
Mark Hutchins-Pond
Senior Specialist, Art mark@webbs.co.nz
+64 22 095 5610
christchurch
Sean Duxfield Specialist, Art sean@webbs.co.nz
+64 210 536 504
White
1977
screenprint on paper, artist's proof
580 × 335mm
est. $15,000—$25,000
price realised incl. bp $28,158
Robin White
Oystercatcher and Harbour Cone
Presenting the Art Department
These are the experts tasked with consigning, documenting, auctioning and moving New Zealand’s best, museum-quality art for Webb’s.
auckland
Emily Gardener Director of Art emily@webbs.co.nz +64 22 595 5610
wellington
Mark Hutchins-Pond Senior Specialist, Art mark@webbs.co.nz +64 22 095 5610
christchurch
Sean Duxfield Specialist, Art sean@webbs.co.nz +64 210 536 504
We are fortunate to work with a talented and dynamic group of specialists who have gained their expertise through reputable institutions such as the Auckland Art Gallery Toi o Tāmaki, Christchurch Art Gallery Te Puna o Waiwhetū, Pātaka Art+Museum (Porirua), Serpentine Galleries (London), Sotheby’s Institute of Art, Te Papa Tongarewa (Wellington), City Gallery Wellington, Monash (Melbourne), The Venice Biennale and many others.
This year, they are looking forward to presenting a schedule of auctions to satisfy every level of collector, budget, and continuing to consolidate our legacy as the secondary market leader in Aotearoa New Zealand.
If you have a significant artwork you are considering bringing to market, please contact us for an obligation-free appraisal. We would love to speak with you.
Pictured: Webb’s Nationwide Art Team (left-to-right): Georgia Clapshaw—Administrator, Hannah Owen—Cataloguer, Mark Hutchins-Pond—Senior Specialist, Wellington, Stephanie AuYeung—Manager, Emily Gardener—Director, Sean Duxfield—Specialist, Christchurch, Georgina Brett—Specialist, Jo Bragg—Logistics & Inventory Coordinator
Multimedia Artist Max Patté at Webb’s Wellington
The inimitable artist Max Patté will present a solo show at Webb’s Wellington Gallery in April this year. We spoke to the British-born artist about what influence over a decade spent in Aotearoa and his recent move to Spain has had on his art.
Kia ora Max! When was your last show in New Zealand? My last big solo show was in 2015 at the NZ Portrait Gallery in Wellington. I've had smaller exhibitions with my partner gallery in Queenstown, but this will be my most significant show in some time.
You spent over 15 years in Wellington, and the statue Solace in the Wind has become iconic. Has the city had a lasting impact on you? Certainly. Moving to New Zealand was key to my artistic development, giving me freedom over my time and the support to move from film to my own practice. Wellington and Wētā Workshop provided access to technology and brilliant technicians, catalysing my Light Works and Infinity Works series. Life on the south coast inspired the concepts behind them. Ultimately, I found success here as a result of the people and connections I made. My work found a welcoming, excited and supportive collectorship here that I still believe is unique to New Zealand.
Your work employs various mediums—bronze, resin, lights, crystals, steel. Does the medium inspire you? While concepts come from nature and my place in it, the pleasure is in the studio. I enjoy all aspects of fabrication: sketching, technical drawings, digital models, engineering, carpentry, sculpting, and working with materials. Collaboration brings new directions and problemsolving, something I loved in New Zealand's 'can do' culture. A few calls and you'd find the answer to any problem.
Now living in Mallorca—quite a change from Wellington. Has it affected your work? Yes, a big change! Mallorca has incredible support facilities, thanks to its superyacht industry, and a thriving art scene. Moving felt like a risk, but new possibilities are opening. My approach changed out of necessity—because my studio equipment was in transit for months. During that time, I explored the island, discovered industrial services, and adjusted to new materials. The warmer tones and softer light have influenced my work, evident in my show at Webb’s.
You dreamed of building a studio with a sea view and orange trees. Has that come true? I saw a plot online while in New Zealand. It turned out to be near our hometown, Alaró, in Mallorca. We fell in love with it. After three years of due diligence, we submitted plans for a studio and house. It's within a UNESCO World Heritage area, so things are slow, to say the least. We expect to wait another two years before we are allowed to start building. But it'll be worth it. No orange trees yet, but 140 olive trees, some dating back over 900 years. The views of the mountains are reminiscent of the Queenstown area which is partly why it was love at first sight and we felt at home there immediately.
Opposite: Max Patté with Colours of Home #002 oil on canvas, 1730 x 1305mm, price $18,800
Above: Colours of Home #009, Oil on canvas 1730 x 1305mm, price $18,800
What can audiences expect from your new series? Colours of Home draws inspiration from Mallorca’s Spring, especially almond blossoms. A single idea that found its way first onto canvas later evolved into sculpture and then into light. One work inspired and informed the next. It represents a journey that began with a family walk along the lanes that head out to the nearby winery in our hometown, evolving from photography to digital scans, then into abstract forms. This process reflects my continuous play and experimentation. Hopefully, the joy I find in creating art and living in colour comes through in the work.
16 April — 10 May
wellington
23 Marion Street Te Aro Wellington, 6011
webbs.co.nz/wellington
Max Patté — Colours of Home
Colin LEGACY PROJECT McCahon
The Colin McCahon Legacy Project is a unique undertaking to protect and promote the work of one of Aotearoa’s most precious taonga –Colin McCahon.
Colin McCahon, born 1 August 1919 in Timaru, Aotearoa, is one of New Zealand’s most celebrated artists. Alongside painters like Rita Angus and Toss Woollaston, McCahon helped introduce modernism to New Zealand. His work is epic, and it contributes to the way we see Aotearoa.
The Colin McCahon Legacy Project has been initiated by the Colin McCahon Trust with experts from the Museum of New Zealand Te Papa Tongarewa, Auckland Art Gallery Toi o Tāmaki, and the McCahon Family. It is endorsed by former prime ministers, internationally acclaimed contemporary artists, and communities across New Zealand.
This interactive digital platform will showcase McCahon’s remarkable life and works, significantly enhancing the beloved existing catalogue at www.mccahon.co.nz. It will continue to serve researchers, collectors, and enthusiasts by providing access to verified works by McCahon.
The new platform will offer increased accessibility and functionality, creating innovative ways to engage with McCahon’s exceptional life and work. Accompanied by an educational resource for senior secondary students, this project will provide access for millions of viewers both in Aotearoa and abroad.
New features will include:
• Visual descriptions for each of McCahon’s 1,800+ works
• Expanded catalogue entries including contextual information and literary references
• High resolution, zoomable images
• A media-rich biography of McCahon’s life and work
• Diverse perspectives on McCahon’s enduring impact and significance.
We invite you to support and celebrate McCahon’s legacy through this exciting new initiative.
www.mccahonproject.co.nz
Miri Young-Moir, Project Lead | The Colin McCahon Trust | catalogue@mccahon.co.nz
The Colin McCahon Trust is a Registered Charity CC28806 Thank you to Webb’s, a strategic partner of the Colin McCahon Legacy Project
Colin McCahon, Angel of the Annunciation, oil on cardboard, 1947. Purchased 1980 with Special Projects in the Arts funds. Te Papa (1980-0008-3). CM001039. Reproduction courtesy of the Colin McCahon Trust.
COLIN M c CAHON | CLOUDS 3 , 1975 (2024)
EDITION OF 100
Screen-print / 640 gsm Hahnemühle cold pressed paper / 1035 x 700 mm
The Trust is excited to present a limited edition print of Clouds 3, 1975 (2024) for purchase to support the fundraising effort for this project. Proceeds will go directly to the Trust.
To discuss purchasing a print, please get in touch with Webb’s art department.
Stephanie AuYeung, Manager, Art | stephanie@webbs.co.nz
DDI (+64) 09 529 5600 | M (+64) 022 301 8259
Webb’s in Christchurch —Sean Duxfield
Sean Duxfield is Webb’s Christchurchbased Art Specialist, dedicated to serving the South Island. With over 30 years in the arts sector, he brings extensive experience to the region.
Sean’s impressive track record—which includes roles at leading national and international institutions, including Christchurch Art Gallery Te Puna o Waiwhetū and the Venice Biennale— allows him to provide efficient and exacting in-person appraisals, insurance valuations, and expert guidance on buying and selling your artworks at auction.
Given the distinctive art history and rich tapestry of New Zealand artists who have honed their talents living and working across Te Wai Pounamu—Bill Sutton, Colin McCahon, Grahame Sydney and Ralph Hotere to name a few—Sean’s expertise is naturally attuned to the nuances of the South Island regional market and connecting your works with astute buyers.
Contact him directly if you have an artwork you are considering bringing to the market.
contact Sean Duxfield Specialist, Art sean@webbs.co.nz
26.05.25
Material Culture —Entries Invited
Webb’s is seeking quality examples of indigenous art, carvings, textiles, tools, weapons, and more across all continents, with rising market interest for pieces from Papua New Guinea, the Pacific Islands, Australia, Africa, Southeast Asia, and the Americas.
Our upcoming Material Culture auction promises to present another exceptional offering to a market eager to acquire at all levels. This auction will bring together an outstanding selection of artforms with rich cultural significance. These objects and tools, crafted from unique regional resources, seamlessly combine functionality and a refined aesthetic.
With Webb’s existing patronage of dedicated buyers looking to add to their collections and emerging collectors following our auctions closely, there has never been a better time to bring objects and material culture to market.
For more information about buying and selling at our upcoming Material Culture auctions, get touch with our specialist team.
Leah Morris Head of Decorative Arts
+64 22 574 5699
leah@webbs.co.nz
I can distinctly remember the first time I attended an auction at Webb’s. It was April 2005; I had just graduated from art school at Ilam School of Fine Arts and was about to head off to London. That night, I attended the Webb’s Fine New Zealand Paintings, Jewellery & Decorative Arts in Manukau Road with my godmother and was captivated by the drama and sense of occasion stirred in the audience as we watched world-class works come to market. We bid on—and won— an ink on paper work by Séraphine Pick, who had made an impression on me at art school, and I could hardly believe that we had come away with an artwork of hers.
When I arrived in London, I was bright-eyed and bushy-tailed with no real industry experience. By chance, I went door knocking with my CV at Christie’s, the night they were preparing for a preview of Elton John’s clothing collection. I was dying to peek inside. I didn't get a callback and went on to complete my Masters in Contemporary Art at Sotheby’s Institute. My first internship fortuitously ended up at the Whitechapel Gallery, as they prepared for Sotheby’s | The Whitechapel Auction: Defining the Contemporary in
support of their £13.5 million capital expansion project. The auction featured works by revered artists including: Richard Diebenkorn, Peter Doig, Lucian Freud, Nan Goldin, Damien Hirst, Paul Noble, Albert Oehlen, Franz West, Rachel Whiteread and others, who had shaped the course of the Whitechapel Gallery’s 100-year history.
Experiencing first-hand the transformative role that such support can have on realising a vision, I pursued a career championing philanthropy in the arts, and have been privileged to work in senior leadership roles at renowned international institutions in the UK and Australia, including The Photographers’ Gallery, Serpentine Galleries, Biennale of Sydney and the Museum of Contemporary Art Australia, before returning home to Aotearoa two years ago to work as Director of Development at Objectspace.
Almost two decades ago to the date of that very first auction, it is serendipitous to find myself at Webb’s, as we prepare for the auction house’s own half-century anniversary next year. I am honoured to take on the role of Director of Art at Webb’s and lead a team of experts spanning our three
locations across the country, in Tāmaki Makaurau Auckland, Te Whanganui-a-Tara Wellington and Ōtautahi Christchurch.
This Works of Art auction brings together an enviable body of work by our nation’s leading artists, among them: Gretchen Albrecht, Rita Angus, Paul Dibble, Max Gimblett, Charles F. Goldie, André Hemer, Frances Hodgkins, Michael Illingworth, Robert Jahnke, Ian Scott and international artists including Damien Hirst, Callum Innes, Rembrandt van Rijn and more.
Our cover image features Albrecht’s resplendent painting, Abyss (1976). Surreptitiously seductive, the work exudes the magnificence and beauty found in the natural world. A rare and timely highlight in this catalogue is Max Gimblett’s Spirit Box, made in collaboration with acclaimed furniture makers Humphrey Ikin and Jim Cooper, and jeweller Warwick Freeman. The presentation coincides with Freeman’s first major international survey exhibition at the Pinakothek der Moderne in Munich, home to the largest design collection in the world.
We’re also thrilled to showcase two magnificent photographs by Fiona Pardington, who has been selected to represent Aotearoa at the 61st International Art Exhibition at La Biennale di Venezia next year. An undisputed grand diva of seemingly timeless, transcendent photography inspired by the fragile taonga of our cultural heritage, Fiona Pardington is in a class of her own, eloquently conveying the cultural complexities of our 21st century existence.
Another exciting discovery is the inclusion of C. F. Goldie’s Souvenirs from the Field of Battle (c.1890) a more unusual historical depiction—which has been defined as the artist’s first masterpiece— portraying a military helmet, old flintlock holster pistol and spurs, abreast a crimson curtain, which attracted critics’ attention when the work was first exhibited at the Auckland Academy of Art. The painting is situated alongside an intimate portrait by Vera Cummings, a pupil of Goldie’s, whose painting is a recognisable copy of Goldie’s earlier work, Ka Ra Te Wera or A Hot Day (1919), which came to market at Webb’s in 2017, selling for $440,000, almost double its estimate.
Looking back over the past year, we are proud to have set new national records for works by artists including Doris Lusk and Andy Warhol, as well as achieving a phenomenal result for Don Binney’s Malay Dove, Wooden Mansions, which sold for $575,397. The year ahead promises more exceptional results, heralded by the recent February Select auction of Raewyn Turner’s painting A Thousand Acres (c.1977-78), which surpassed all expectations when it sold for $98,000—more than eight times its estimate.
It gives us immense pleasure to continue our support of the Auckland Art Gallery Foundation, Museum of Te Papa Tongarewa, Te Uru, the restoration of works by Selwyn Muru, recently acquired by Te Papa, the Colin McCahon Legacy Project and the IHC Awards, as well as our exhibitions and events throughout the year, including the opening of Max Patté’s show in Wellington next month, and our collaboration with Auckland Design Week.
Together with the Art team, I look forward to welcoming you to our upcoming launch of this season’s Works of Art, and sharing the journey of these important works with you.
Top Prices: Webb's Art Highlights of 2024
Webb’s consistently achieves excellent results for Aotearoa’s renowned blue chip artists. In 2024 we have observed firsthand competitive bidding for many fantastic works which have often exceeded their expected estimates. Aotearoa’s secondary market is booming and this is an excellent time to consign your artworks with the team of specialists at Webb’s.
1 Don Binney Malay Dove, Wooden Mansions
est $500,000—$750,000 sold $575,397
2 Robin White Paremata Landscape
est $300,000—$360,000 sold $342,790
3 Ralph Hotere What’s in a Game?
est $300,000—$400,000 sold $318,305
4 Colin McCahon
The First Bellini Madonna (Second Version)
est $300,000—$400,000 sold $318,305
5 Paul Dibble
Geometric Figure 1
est $170,000—$250,000 sold $183,637
6 Andy Warhol Mick Jagger FS IIB.147
est $140,000—$200,000 sold $171,395
Wellington Programme Christchurch Programme
Auckland Programme
auckland
33a Normanby Rd
Mount Eden
Auckland 1024
wellington
23 Marion Street
Te Aro
Wellington 6011
Launch Event
Monday 10 March 5.30 — 7.30pm
Launch Event
Wednesday 12 March 5.30 — 7.30pm
Join us for an evening of conversation with celebrated painter, poet, curator and art critic Gregory O’Brien, who will be discussing a selection of curated highlights from this catalogue alongside our Senior Art Specialist, Mark Hutchins-Pond. Please RSVP to karen@webbs.co.nz
Viewing
Thursday 13 – Friday 14 March 10am — 5pm Saturday 15 March 11am — 4pm
Launch Event
Tuesday 18 March 6 — 8pm
Join us at our Mount Eden gallery with special guest Heather Galbraith— acclaimed art curator, writer and educator, with tenures spanning Te Papa Tongarewa, The Arts Council Commissioner for New Zealand at Venice and more—as we explore the full selection of works from this outstanding catalogue. Please RSVP to art@webbs.co.nz
Viewing
Wednesday 19 March 10am — 5pm
Thursday 20 March 10am — 7pm
Friday 21 March 10am — 5pm
Saturday 22 — Sunday 23 March 10am — 4pm
Viewing on Request
Monday 24 March 10am — 5pm
Live Auction Monday 24 March 6.30pm
1 Pat Hanly Inside The Garden, No 41. 1969
watercolour on paper signed Hanly, dated 1969 and title inscribed Inside the Garden (41) in ink and graphite, lower right 530 × 520mm
est $5,000 — $8,000
provenance
Private collection, Auckland. Acquired from Warwick Henderson Gallery, Auckland, 2011.
2 Rohan Wealleans untitled 2005 oil on canvas
signed RW, dated 2005 and inscribed Frances Hodgkins Fellowship 2005 in ink verso 1470 × 1140mm
est $8,000 — $14,000
provenance
Private collection, Havelock North.
3 Gretchen Albrecht Witness 1982
lithograph on paper, 20/30 signed Albrecht, dated 82 and inscribed 20/30 Witness in graphite lower edge 500 × 695mm
est $6,000 — $10,000
provenance
Private collection, Auckland.
4 Rita Angus untitled 1952
watercolour on paper signed Rita Angus and dated 52 in brushpoint lower right 235 × 265mm
est $10,000 — $15,000
provenance
Private collection, Wellington.
5 Bill Hammond untitled (Gutless) 2006
lithograph on paper, edition of 100 signed Bill Hammond and dated 2006 in graphite lower right 585 × 430mm
est $8,000 — $12,000
provenance
Private collection.
6 Bill Hammond Don't Go Breaking My Heart 1980 ink on paper signed Hammond in ink upper left 410 × 290 mm
est $6,000 — $8,000
provenance
Private collection, Christchurch. Acquired from Canterbury Gallery, 1988.
7 Bill Hammond Let's Twist Again Like We Did Last Summer 1983 oil on board signed W. Hammond, dated 1983 and inscribed Let's TWIST Again Like WE Did Last Summer in brushpoint lower edge. 224 × 674 mm est $20,000 — $25,000
provenance Private collection, Christchurch.
GIRL IN A BUSH SHIRT
Essay by STEPHANIE AUYEUNG
“I can’t paint all the sort of fuzzy warm things about being Māori, I have to paint the reality, that’s what it is. The reality of Māori life today.¹”
— Robyn Kahukiwa
Though more than 40 years have passed since Girl in a Bush Shirt was first painted by artist Robyn Kahukiwa (Ngāti Porou, Te Aitanga-aHauiti, Ngāti Hau, Ngāti Konohi, Te Whānaua-Ruataupare, Te Whānau-a-Te Aotawarirangi), the work remains unflinchingly current. It certainly struck, discomforted and compelled contemporary audiences during the seminal Toi Tū Toi Ora exhibition at Auckland Art Gallery Toi o Tāmaki in 2020, which remains the largest and most ambitious singular exhibition ever shown by the gallery in its 137-year history.
Kahukiwa herself admits that her life began somewhat distanced from her Māori heritage, having been born and educated in Australia. It was only in growing up that Kahukiwa became more connected to “the whakapapa that I always knew I had, but didn’t know what it meant,”² and has poured much of her journey of personal reconciliation into her art practice since.
It would seem remiss to ignore that Girl in a Bush Shirt dates from 1982, shortly after Kahukiwa painted her influential Wāhine Toa series (1980–82), a suite of eight works showcasing key female figures from te ao Māori. Perhaps most recognisable of the series is Hinetītama (1980), a vibrant and boldly expressive portrait of the titular ‘first true human’, who would later become Hine-nui-te-pō, the Goddess of Death. In this earlier work, the figure of Hinetītama is surrounded by concentric golden rings –part crown, part halo – and extends her arms
against a backdrop of blue sky, rolling hills, and a tapestry-like strata of earth around her. Her sense of land, place and home is abundant. In te reo Māori, the word ‘whenua’ is used to denote land, but also placenta. In this one simple homonym, one can begin to grasp the sense of symbiotically life-affirming sustenance and identity that the land holds for tangata whenua. It is therein that the flattened, horizonless composition of Girl in a Bush Shirt proves such a stark and biting discomfort. A thick grey smog inserts itself into every inch of unoccupied canvas around the central figure. She is denied any traditional sense of belonging; no place to stand, no place to call home.
And yet Kahukiwa’s painting is not resigned to some ethnographically romanticised, powerless epilogue. Instead, Girl in a Bush Shirt observes us directly, lips pursed in defiance; one fist grips the side of her checkered shirt, alert and on guard. The greyness behind her, on the one hand symbolic of the displacement and urbanisation of post-war Māori to industrialised centres in search of work and greater opportunities, is also a deft visual tool, thrusting the figure right to the front of the picture plane where we, the viewer, cannot shy away. Rather, Kahukiwa’s Girl in a Bush Shirt pushes us to sit with our discomfort; hers is a gaze that will not be ignored.
¹ “Five Māori Painters: Robyn Kahukiwa,” Auckland Art Gallery Toi o Tāmaki, 2014, 3:53, https:// www.aucklandartgallery.com/page/fivemaori-painters-robyn-kahukiwa
² Ibid, 0:52.
8 Robyn Kahukiwa Girl in a Bush Shirt
1982 oil on hardboard
signed Robyn F. Kahukiwa, dated '82, and inscribed GIRL IN A BUSH-SHIRT in ink verso 990 × 850mm
est $18,000 — $28,000
provenance
Private collection, Hastings. Acquired directly from the artist.
exhibitions
Toi Tū Toi Ora: Contemporary Māori Art, Auckland Art Gallery Toi o Tāmaki, Auckland, 5 December 2019 - 9 May 2021.
literature
Nigel Borell (ed.), Toi Tū Toi Ora: Contemporary Māori Art, (Auckland: Penguin Random House New Zealand and Auckland Art Gallery Toi o Tāmaki, 2022), 165, 332.
9 Teuane Tibbo
The Grave of Robert Louis Stevenson
1973
acrylic on canvas board
signed Teuane Tibbo in brushpoint lower right 600 × 750mm
est $10,000 — $18,000
Private collection, Auckland. Acquired directly from the artist.
560
est $18,000 — $26,000
Private collection, Wellington.
10 Jeffrey Harris On the Beach 1975 oil on canvas
signed J. H and dated '75 in brushpoint, lower right
× 770mm
signed Shane W Cotton and dated '95 in graphite lower right; signed S W C, dated '95 and title inscribed 2. At 3 Atrium Lift Wall 2 in brushpoint lower edge
760 × 550mm
est $19,000 — $23,000
collection, Auckland.
11 Shane Cotton At 3 Atrium Lift Wall 2 1995 acrylic on paper
12 Stephen Bambury Buddha’s Foot Prints 2006 chemical action, silver leaf and aluminium on board signed Bambury, dated 06 and inscribed 'BUDDHA'S FOOT PRINTS'/ STEPHEN BAMBURY in ink verso 455 × 880mm
est $20,000 — $30,000
provenance
Private collection, Auckland. Acquired from Mark Hutchins Gallery, Wellington, 2006.
13 Michael Parekōwhai Acts
85 × 15mm (widest points, each)
est $5,000 — $9,000
Private collection, Auckland.
14 Michael Parekōwhai Mare Tranquillitatis: Sea of Tranquility
2007
c-type photograph, edition of 100 200 × 150mm
est $3,000 — $5,000
provenance
Private collection, Auckland.
15 Bill Hammond
Singer Songwriter I
2001 lithograph on paper
signed W D Hammond dated 2001 and title inscribed Singer Songwriter I on plate top right 690 × 840mm
est $15,000 — $20,000
provenance
Private collection, Christchurch.
16 Bill Hammond
Singer Songwriter II
2001 lithograph on paper
signed W D Hammond dated 2001 and title
inscribed Singer Songwriter II on plate top right
690 × 840mm
est $15,000 — $20,000
provenance
Private collection, Christchurch.
CHELSEA HEADS
Essay by MARK HUTCHINS-POND
Lyonel Grant was born in Rotorua and is of Ngāti Pikiao and Te Arawa descent.
He studied whakairo (traditional Māori carving) in the 1970s with master carver John Taipa at the Māori Arts and Crafts Institute in Rotorua, graduating with honours and subsequently becoming first assistant to the master.
In 1984 Grant embarked on an independent career focusing exclusively on whakairo. Over subsequent decades, he has completed major public commissions for The British Museum and the National Museum of Scotland, three whare whakairo (carved Māori meeting houses) and the Waitangi sesquicentennial waka.
Grant has drawn inspiration from both his Māori and Northern Hemisphere heritages to develop his highly contemporary art practice. The artist’s sculptural works are a conceptual and technical fusion of his mastery of whakairo, along with his equal sculpting skills with traditionally European materials such as steel and granite.
Having such a broad repertoire of technical skills and experience built up over many years of working with a wide variety of materials on many diverse projects has enabled Grant to be infinitely adaptable and versatile within his art practice.
His multidisciplinary cross-cultural virtuosity came to the fore in 2004 when he was part of the team of artists and designers from Aotearoa who were awarded one of only five gold medals presented at that year’s Chelsea Flower Show. The entry was a mythical garden – loosely inspired by the pink and white terraces, which
¹ NZPA, “New Zealand Garden Wins
at Chelsea Flower Show,” New Zealand Herald, 26 May 2004, https://www. nzherald.co.nz/nz/new-zealand-garden-wins-gold-at-chelsea-flower-show/7MNBMQVD53XTWXO5JGLT3GJT2I/
disappeared in the 1886 Tarawera eruption, overlooked by ngā whika kaitiaki (guardian figures) designed and carved by Lyonel Grant.
The press reported: “The native bush garden with Māori carvings and a misty hot pool stands out among the more formal and traditional gardens featuring at the 142-year-old event and it has proved a favourite with the international media.”1
To commemorate the amazing success of this project, Grant produced an edition of five kaitiaki heads, cast in bronze, individually polychromed and mounted on granite plinths. These became known as ‘the Chelsea Heads’, and Grant presented the first of these editions to the garden’s sponsor, Tourism New Zealand. The remaining four were marketed through the artist’s dealers. The set of four kaitiaki heads on offer in this auction is from a private collection in Wellington.
18 Ralph Hotere
Winter Solstice, Carey's Bay
1991 oil stick on board
signed Hotere, dated 13-11-91 and inscribed Carey's Bay in pastel, lower right
350 × 260mm
est $15,000 — $25,000
provenance
Private collection, Auckland.
19 Andrew McLeod untitled 2006
gouache and ink on canvas
signed Andrew McLeod and dated 2006 in ink lower edge
360 × 160mm
est $4,000 — $7,000
provenance
Private collection, Auckland.
20 Andrew Mcleod Duck
2006 oil on canvas
signed ANDREW MCLEOD in brushpoint lower right 1150 × 1200mm est $35,000 — $50,000
21 Gordon Walters On the Diagonal 1979 gouache on paper signed Gordon Walters, dated 79 and inscribed On the Diagonal in graphite lower edge
290 × 380mm
est $30,000 — $50,000
Private collection, Auckland.
22 Callum Innes Untitled, No. 88 oil on canvas
1000 × 950mm
est $30,000 — $40,000
provenance
Private collection, Matakana.
SOUVENIRS FROM THE FIELD OF BATTLE
Essay by MARK
HUTCHINS-POND
Charles Frederick Goldie was born in Auckland, New Zealand, on 20 October 1870. The second of eight children born to David Goldie and his wife, Maria Partington, he was secondgeneration colonial on both sides. The boy was named after his maternal grandfather, Charles Frederick Partington, builder of the windmill near Karangahape Road, which was a wellknown early Auckland landmark.
Goldie entered Auckland College and Grammar School in 1883, where he soon displayed a precocious talent for drawing. Roger Blackley notes that "'Master Goldie’ first came to the attention of the Auckland art world in 1885, when the Auckland Society of Arts awarded the schoolboy [at the age of 15] second prize and a certificate of merit for a drawing in the category ‘Shaded Study from the Round’. Later that same year he won another prize, also a letter of commendation, for an unidentified drawing exhibited with student works at the rival New Zealand Art Students Association … Established Auckland artist Kennett Watkins was president of the New Zealand Art Students Association, having founded the Association in 1883 as an alternative to the Society of Arts.”1
After leaving school, Goldie worked in his father’s business while continuing part-time art studies under Louis John Steele (1842–1918). An established and respected English artist specialising in history painting, who had exhibited at the Royal Academy in London and the Salon in Paris, Steele was in his mid-40s when he arrived in Auckland in 1886 in search of a healthier environment. Steele had trained at the École Nationale Supérieure des BeauxArts in Paris before travelling and painting extensively throughout Europe. He would regale his students with stories of his cosmopolitan experiences, inspiring many, Goldie among them, to pursue an art education in Europe.
While studying under Steele, Goldie became involved in a second organisation that rivalled the Auckland Society of Arts. The Auckland Academy of Art was founded in 1889, with Steele as president.2 Membership of the Academy stood at around 100, mostly comprising Steele’s students, and other aspiring young artists desperate to be taught by the master, but also included leading citizens of the day such as former Governor General Sir George Grey and Sir Maurice O’Rorke.
The Auckland Academy opened their inaugural exhibition in April 1890, a month
before the long-established opening date of the Auckland Society of Arts annual display. The venue was the large studio Steele shared with Kennett Watkins on the fourth floor of the Victoria Arcade on Shortland Street.
“Perhaps there was a touch of Bohemia in the air which affected people,” remarked one commentator who attended the lively opening party, so unlike the staid conversations of the older society.3
While pride of place was accorded to Steele and Watkins’ large history painting, The Blowing up of the Boyd, two still-life paintings by Goldie, the larger and more impressive titled Souvenirs from the Field of Battle, attracted the critics’ attention.
It represents military helmet, old flintlock holster pistol, spurs, scimitars in brass case, and water bottle. A piece of old tapestry and crimson curtain form the background, while the weapons of war and the fold of curtain are excellently managed and painted.4
Sir George Grey was among those attending the inaugural exhibition of the Auckland Academy of Art who were impressed by the young Goldie’s two still-life paintings – so much so that he decided to convince David Goldie to allow his son to undertake further art training in Europe.
Goldie re-exhibited his much admired still-life paintings the following month at the Auckland Society of Arts, where Souvenirs from the Field of Battle was acknowledged as “without doubt the best piece of still-life work in the exhibition.”5 Understandably, Goldie hoped his already publicly acclaimed still-life painting might win him yet another prize, but the fact that it had already been exhibited a month earlier automatically disqualified it from the Auckland Society of Arts competition.
These historical records and contemporary accounts clearly affirm Souvenirs from the Field of Battle as Charles Frederick Goldie’s first officially recognised masterpiece, the triumphant culmination of all he had so eagerly learned and applied from his studies under Watkins and Steele in Auckland.
As in all youthful works of great artists, the influences of his best teachers are evident, but even at this early stage of his career, while he was still a student, the experienced eyes of connoisseurs such as Sir George Grey could see Charles Frederick Goldie had an exceptionally rare ability and was destined for greatness.
¹ Roger Blackley, Goldie (Auckland Art Gallery and David Bateman, 1997), 4.
2 Ibid, 5.
3 A contemporary source quoted by Roger Blackley, ibid, 5.
4 A contemporary description of Souvenirs from the Field of Battle when first exhibited, quoted by Roger Blackley, ibid, 5.
23 Charles Frederick Goldie Souvenirs from the Field of Battle c1890
oil on canvas
590 × 790mm est $75,000
LINDA TYLER
The early 1920s were the heyday of Vera Cummings’ artistic production. Her painting A Breton Fisherman was for sale for 15 guineas at the Auckland Society of Arts in 1920, as was her portrait of Wiremu Te Manawa. In 1921 she advertised in the New Zealand Herald for those wanting paintings of Māori subjects: “All Tourists requiring paintings of Māori Heads write Miss Veronica Cummings Box 1668 GPO.”1 At the ASA that year her works Māori Study: The wāhine Māori (priced at 10 guineas) and Study from Life Te Kōwhai were hung together. In the evening paper the following year she advertised again, inviting locals wanting to send a distinctive gift “back home” to place an order at her Grafton studio: “For Overseas Presents order Miss Veronica Cummings, Maori Paintings, 84A, Grafton Rd., City.”2 She was back in the papers in 2024 when one of her sensitively painted portraits of a Māori man with a tā moko and wearing a pounamu hei tiki pendant startled an auctioneer in Staffordshire by fetching £1,800. He shouldn’t have been surprised: one of her larger works, a portrait of a Māori man with three huia tail-feathers in his hair and wearing a dramatically patterned cloak had sold for £18,750 at Christie’s in 2015. Bonhams have also presented her work for sale in London, as well as Sworders in Stansted. Her marketing to tourists suggests that there may be more discoveries in England to come. Cummings’ untitled painting here is recognisable as a copy based on Charles Goldie’s earlier painting, Ka Ra Te Wera or A Hot Day (1919). Writing about the Goldie work when it came up for sale at Webb’s in 2017 (where it sold for almost twice its lower estimate), art historian Elizabeth Rankin noted that the
artist had jumbled his reo, which should read “ka wera te ra” as the correct translation of “a hot day”. In Goldie’s composition, a young man rests his head against the knee of one ancestor depicted in a wooden carving, and his shoulder presses against the forehead of another depicted below. This poupou could be based on the one holding up the gable and the koruru at its point on Tamatekapua, the wharenui at Te Papaiouru Marae named for the captain of Te Arawa canoe. On a 1901 trip to Rotorua, Goldie met several people living in this village at Ōhinemutu, and he returned there repeatedly to paint them.
The subject of a youth slumbering takes on a special poignancy after World War I. Conscription was applied to Māori in 1917, and over 2,000 served in the Māori Contingent and the Pioneer Battalion. Dressed in the white shirt and blazer of what may be a school uniform, this young man is supported literally and symbolically by the representation of his ancestors. Perhaps it was painted as a reminder: he is unscathed and on the cusp of adulthood, safe in his papakāinga, whereas many young New Zealanders sleep forever in the vast WWI cemeteries in Europe.
In copying Goldie’s 1919 painting, Vera Cummings was conforming to a long tradition of artists honing their technical skills by doing their own versions of paintings by the Old Masters. Her technique blurs the outlines of the forms, but matches Goldie’s soft tones perfectly. Goldie himself revered French realism and copied paintings in the art museums in Paris, where he studied. He may have seen youthful slumbers in daytime depicted in Jean-Baptiste Greuze’s Young Knitter Asleep
1 New Zealand Herald, 22 January 1921, 2.
2 Auckland Star, 14 November 1922, 1.
collection, Christchurch.
24 Vera Cummings untitled oil on board signed V. Cummings in brushpoint upper right 285 × 225mm est $6,000 — $8,000 provenance Private
3 See Alister Taylor and Jan Glen, C. F. Goldie (1870–1947): Prints, Drawings and Criticism (Alister Taylor, 1979), 157.
(c.1759) or Johannes Vermeer’s A Maid Asleep (1656–57), works by two painters whom he admired. Copying was sanctioned as a way of learning, and as Penny Jackson in her 2022 book The Art of Copying Art points out, the later nineteenth century saw a rise in numbers of female copyists due to women being barred from life-drawing classes until then.
Vera Cummings was also a private pupil of Goldie’s.3 She trained in his Shortland Street studio after some part-time study from 1902–7 at the Elam School of Art and Design in its Rutland Street premises, when Edward William Payton (1859–1944) was the principal. Cummings went on to copy several of Goldie’s portrayals of well-known subjects, such as Patara Te Tuhi, Ena Te Papatahi and Harata Rewiri Tarapata. Her painting of the latter kuia was purchased for the collection of the Museum of New Zealand Te Papa Tongarewa in 2020. She introduced a few of her own subjects, many of whom were Māori women leaders who came to prominence during her lifetime, such as Guide Sophia Hinerangi, Princess Te Puea Hērangi and Maggie Papakura. The Auckland Art Gallery Toi o Tāmaki owns two works by Vera Cummings: Portrait of a Maori Woman (1895), acquired in 1995, and Tamarere, a portrait of a chief from Koriniti and Ātene on the Whanganui River, based on a photograph by William Henry Thomas Partington from 1895.
The youngest of ten children, born on 8 January 1891 in her mother’s hometown of Thames to Matthew Cummings (1838–1906), from County Armagh in Ulster, and his Glaswegian wife Annie, née Cunningham (1849–1930), Kathleen Veronica (Vernie or Vera) Cummings was one of eight sisters who were brought up in their mother’s Catholic faith, while their two brothers were given an Anglican education. The family lived in Wood Street in Ponsonby and were academic achievers, Vera winning a Junior National Scholarship and a free place for her secondary schooling at the age of 11 years. One of her married older sisters was Miriam Bridelia Soljak, a teacher in native schools in Northland, who was fluent in te reo Māori and was a political activist, feminist and radio journalist as well as mother to seven children. Unlike Miriam, who divorced her husband and lived to the age of 91, Vera never married and died on 14 July 1949, almost exactly two years after Charles Goldie. She was aged just 57. Maintaining their religious separation even after death, the female children of the Cummings family are buried with their mother in the Roman Catholic division of Waikumete Cemetery, while the two sons are in a plot with their father in the Anglican section. Vera Cummings’ name lives on, in Britain as it does here, as an authentic painter of Māori subjects in the early to mid-twentieth century.
Charles Frederick Goldie, Ka Ra Te Wera or A Hot Day, 1919, oil on canvas
27 Robert Jahnke Some of My Best Friends are Coloured
Robert Jahnke is a celebrated artist, scholar, curator, and educator. His work is typically based on political issues that face Māori, directing public attention to the dynamics of inter-cultural exchange and the politics of identity. Jahnke’s work is provocative, politically charged, and visually dynamic.
Born in 1951 in Tairāwhiti, his lineage is a rope of many strands connecting him to Māori, Samoan and Pākehā ancestry. This multicultural makeup enables Jahnke to clearly see both perspectives of the complications resulting from our colonial past. Jahnke’s practice questions the established Eurocentric narrative of Aotearoa’s history, championing the Māori experience within his considered contemporary metaphor.
Jahnke was appointed Lecturer in Māori Studies at Massey University in 1991 and was elevated to Senior Lecturer in 1998. Later that year, he was awarded a Fulbright Scholarship at the University of Hawai’i. This international experience consolidated his perceptions of the fundamental qualities of what makes indigenous art authentic, as well as the commonalities between indigenous artists from different nations.
It was during this tenure in Hawai’i that Jahnke created Kia Kaha , while the stainless steel Kia Kaha (Stamp of Approval) was created the following year. The latter, recontextualises
a stamp-based sculpture he made in 1995, now part of Te Papa’s permanent collection, transforming the intent from a message of protest to a stamp of approval. By contrast, Kia Kaha (Stamp of Disapproval) bears a forceful message against the controversial Foreshore and Seabed Act 2004.
By 2011, Jahnke began exploring a new direction in his work, segueing from addressing concerns specific to Māori, to creatively participating in the wider international debate on cultural existentialism.
Some of My Best Friends Are Coloured hails from a wider series, consisting of stainless-steel panels painted with highgloss enamel, over which the artist has inscribed bold, sans serif text. Stripped of all decorative embellishment traditionally associated with Māori art, these works read like didactic political placards, intentionally ambiguous and ironic,
Each painting makes a statement beginning with ‘IAM’, which curator AnnaMarie White observed, refers to theories that Jahnke considers influential to Māori identity discourses by post-colonial scholars such as Edward Said and Homi K. Bhabha. The ambitious scope of this series is immediately signalled by its title. “Cogito ergo sum, better known in English as ‘I think therefore I am,’ coined by philosopher René Descartes.”
28
Robert Jahnke
Kia Kaha 1999 cast glass and wood 1220 × 410 × 410mm (widest points)
est $8,000 — $12,000
provenance Private collection, Auckland.
Te
1969 charcoal and pastel on paper signed DON BINNEY, dated 1969 and inscribed TE HENGA in graphite lower right 740 × 540mm est $25,000 — $35,000 provenance Private collection, Auckland.
29 Don Binney
Henga
30 Don Binney
colour pencil on paper signed DON BINNEY and dated Oct 2008 in graphite lower edge 210 × 295mm est $12,000 — $18,000
provenance
Private collection, Wellington.
31 Frances Hodgkins Landscape, Ibiza 1933
watercolour on paper signed Frances Hodgkins and inscribed Landscape. IBIZA. in graphite lower left 550 × 400mm
est $65,000 — $90,000
provenance
Private collection, Auckland.
exhibitions
Lace
Collars and Calico: Textiles and Dress in the works of Frances Hodgkins, Dunedin Public Art Gallery, 2015.
LANDSCAPE, IBIZA
Essay by EMILY GARDENER
Frances Hodgkins’ first rendition of Ibiza was painted during a winter escape to the Balearic Island, a trip made possible from the sale of her painting Cornwall to her friend Geoffrey Gorer’s mother. Pressure to perform was mounting for the artist and she was determined to make her trip productive, as more eyes would soon be upon her with her first solo show at the Lefevre Galleries scheduled to take place in London several months later. In a letter to friend and fellow artist Karl Hagedorn, Hodgkins confided, “the SHOW is the THING—I must set London talking.”
However, the strain of the deadline was too much for her, and Hodgkins postponed the exhibition, remaining in Ibiza for six months, where she produced watercolours, gouaches and sketches that would form the basis for her oil paintings back in London. While the resulting body of work a year later did not receive the attention the artist had hoped for, Gorer praised her exhibition in The Listener, identifying, in his view, the reasons for Hodgkins’ unique talent: “she is a woman, and she is a New Zealander. These in turn, gave her work a sensitivity and freshness of vision that made her the most original and individual painter working in England today.”
Ibiza provided warmth and comfort from the bleak London winters, as well as crisp light and vivid panoramic views across the harbour. Preferring to work in the early morning or cool evening air to avoid the intensity of the sun, Hodgkins would regularly climb to the walled citadel of Dalt Vila, where she could focus in solitude and draw inspiration from the multitude of vistas surrounding her.
Hodgkins returned to Ibiza several times throughout the 1930s. Captured by the clear ivory light after a storm, Hodgkins wrote to her friend and fellow artist Karl Hagedorn, “every common object looks important… things appear
in stark simplicity minus all detail—nothing corked up (bouchée) or hidden as in grey, or brown light of the North…The pale coloured flat roofed houses without windows give a blind restful feeling of immense space.”
Landscape, Ibiza was painted in watercolour on one of these trips towards the 1940s. The work was originally commissioned for a limited edition of silk scarves by Zika Ascher, a Czechoslovakian Jew who escaped Nazism, arriving in London in 1939. He founded a textile company and commissioned artists including Henri Matisse, Pablo Picasso, Sonia Delaunay, Barbara Hepworth, Frances Hodgkins and Henry Moore, to design materials that were marketed through Liberty and Harrods. The scarves were produced in an edition of 100–500; however, the Ibiza scarf was limited to an edition of four.
It is likely the watercolour was painted at one of the artist’s favourite locations, hidden by a rough path leading away from the citadel along the ridge, which overlooked the sweeping bay of Figueretas. A fresh but muted colour palette of pale pinks, olive and ocean blue, painted in a looser handling of line and colour than earlier works, reveals Hodgkin’s confidence and freedom of expression in a landscape she knows well. Critic Giles Auty notes this progression: “The artist picked her way patiently through a background of academic tradition and found release later in a fluid, intuitive style no matter what the medium. Hodgkins belongs properly to the group of artists who sought the poignant, dramatic and lyrical in their rediscovery of nature … she was not only an idiosyncratic woman but also a singular artist.”
The work has since been presented in an exhibition curated by Priscilla Pitts at the Dunedin Public Art Gallery, Lace Collars and Calico: Textiles and Dress in the Works of Frances Hodgkins (2015), testifying to the painting’s ongoing significance.
1 “Letter to Karl Hagedorn, 3 January 1933, Hotel Balear, Ibiza, Balearic Islands, Spain,” https://www.franceshodgkins. com/ibiza-1933
3 “Frances Mary Hodgkins Biography,” Frances Hodgkins, https://www. franceshodgkins.com/biography
signed AM and dated 10-2-76 in brushpoint verso 1210 × 1520mm
est $30,000 — $40,000
Private collection, Lower Hutt.
32 Allen Maddox untitled 1976 oil on jute
33 Allen Maddox untitled c1976
acrylic and enamel on found board
1165 × 1265mm
est $7,500 — $15,000
provenance
Private collection, Lower Hutt.
34 Allen Maddox Big Yellow Arthur c1976
acrylic on found board
1210 × 775mm
est $6,000 — $8,000
provenance
Private collection, Lower Hutt.
35 Max Patté
One Wonder
acrylic and epoxy resin on panel
signed M Patté in ink verso
1620mm diameter est $15,000 — $25,000
Private collection, Wellington.
36 Max Gimblett
The Rainbow's Way 2021 gesso, acrylic, resin, water-based size and gold leaf on canvas signed Max Gimblett, dated 2021 and inscribed "The Rainbow's Way" in brushpoint verso 380 × 380mm (widest points) est $16,000 — $22,000
provenance
Private collection, Auckland.
37 Damien Hirst Loyalty (From The Eight Virtues) 2021 laminated giclée print on aluminum composite panel, edition of 1067 1200cm × 960mm est $19,000 — $25,000 provenance
Private collection, Auckland. Acquired from HENI Leviathan, England, 2021.
“(Damien) Hirst’s fascination with the incredible ephemerality of the cherry blossom is echoed in the artwork titles, with each print named for The Eight Virtues of Bushidō according to the Nitobe Inazō – Justice, Courage, Mercy, Politeness, Honesty, Honor, Loyalty and Control.”
Brent Wong’s Headland Clouds has an inherently familiar feel to anyone who has spent time around parts of Aotearoa New Zealand’s headlands. The golden, almost shimmering grass of late summer, the hazy sky of a hot day and the mesmerising, undulating hills in the distance. This familiarity evoked by Wong makes the viewer feel almost as though they were right there, or perhaps were there just last summer, or even once as a child. But the viewer has never seen these hills before, they have not dipped a toe in the water. The viewer has never visited the site, nor will they ever. Wong’s landscapes are imagined. Taken from fleeting memories of days past, his works are often considered inner landscapes.
Start to look closer and you will see a uniformity in the knolls, rarely observed in nature, and clouds that appear as though they have been permanently placed in the soft sky. The arid terrain is typical of Wong: utterly barren and dry as a bone, almost at odds with the sky, which stands in as his source of eternal optimism and joy. Wong’s use of colour is deliberate – his palette often veers toward earthy ochres and deep blues, creating a striking balance between warmth and coolness. The intensity of golden hues for the hills, set against the indigo of the sea, heightens the sense of familiarity while simultaneously reinforcing the dreamlike detachment of the scene.
While much of Wong’s work is firmly rooted in surrealism, Headland Clouds does not strictly belong to that category, though the work’s imagined crests, dreamlike clouds and the emotional resonance of the sky subtly allude to his broader surrealist body of work. The piece feels like a bridge between his
more overtly surreal compositions and a more restrained, contemplative vision.
Headland Clouds was painted in 1983. During this period Wong lived in central Auckland and he would soon move west to Muriwai Beach, where his works would become depictions of light and energy, taking on a much softer colour palette and dream-like quality. Wong was born in Ōtaki in 1945 and moved to Wellington at age four. Spending only two months at Wellington Polytechnic, Wong is largely self-taught. This lends his work a distinctive, intuitive quality, unbound by formal academic constraints. Before he was exhibiting paintings, the young artist had a job at The Dominion newspaper. There he mixed with a crowd of writers, musicians, intellectuals and political observers who gave him the impetus to delve into the philosophical foundations of much of his work. Wong’s first solo show was held in 1969 at age 24, hanging 12 paintings in Wellington’s then Rothmans Gallery. The strength of his imagery, technique and artistic intensity caught the eyes of critics and overnight he was established as one of this country’s important painters.
As well as those in his immediate circle, Wong drew inspiration from artists such as Wassily Kandinsky, Paul Klee and Andrew Wyeth – each contributing to both the stylistic and intellectual underpinnings of his work. The interplay in Headland Clouds between the real and the imagined echoes elements of his early influences, such as Paul Klee’s ability to distil landscapes into poetic, dreamlike scenes. Wong’s own approach, though less overtly surrealist in this instance, retains a sense of quiet dislocation – familiar yet unreachable, like a memory just out of grasp.
1983
acrylic on hardboard signed B Wong, dated 1983 and inscribed Headland-Clouds in brushpoint verso 465 × 635mm
est $25,000 — $35,000
provenance Private collection, Wellington.
38 Brent Wong Headland Clouds
39 Fiona Pardington
Magpie Tail (below), Hunter
2022
pigment ink on Hahnemühle Photo Rag, 3/10 signed Fiona Pardington in ink verso 1080 × 1460mm
est $28,000 — $36,000
provenance
Private collection.
Webb’s is delighted to hear the recent announcement by Creative New Zealand that Fiona Pardington MNZM (Kāi Tahu, Kāti Mamoe, Ngāti Kahungunu, Clan Cameron of Erracht) will represent Aotearoa at the 2026 La Biennale di Venezia in New Zealand's national pavilion with delivery partner Christchurch Art Gallery Te Puna o Waiwhetū.
When considering our many exceptional artists of Aotearoa, Fiona Pardington stands out as a unique creative voice.
An undisputed significant figure, Fiona Pardington is in a class of her own, eloquently conveying the cultural complexities for Māori and Pākehā in the 21st Century.
Pardington’s practice is deeply grounded in her identity as a woman artist of Māori descent. Like so many people of Aotearoa,
however, her genetic origins are a mixture of indigenous and Pākehā whakapapa. Pardington herself has links to three iwi as well as the Scottish clan Cameron.
This multicultural makeup enables her to clearly see both perspectives of the complications resulting from our nation’s colonising history. Her frequent choice of taxidermied native birds in museums as the protagonists of her metaphorical tableaux provides her with a wealth of material to draw upon that people of Aotearoa can relate to.
Webb’s congratulates Fiona Pardington on her selection and eagerly awaits what we’re sure will be an incredible presentation at the 2026 Venice Biennale, representing our nation.
40 Fiona Pardington
Portrait of Kimiakau Kiwi
2022
pigment ink on Hahnemühle Photo Rag, 1/10 signed Fiona Pardington in ink verso 1400 × 1760mm
est $25,000 — $40,000
provenance
Private collection, Auckland.
41 Max Gimblett, Warwick Freeman, Jim Cooper, Humphrey Ikin Spirit Box
wood, pāua shell, clam shell, tortoise shell, pounamu, tree bark and animal bone
570 × 380 × 510mm (widest points)
est $100,000 - $130,000
provenance
Private collection, Auckland.
1 Dorita Hannah, Urbis (Summer 2000), 41, https://w.kashyahildebrand.org/ new_site/artists/gimblett/pdfs/007_urbis_ summer2000.pdf
3 Wystan Curnow, “Max Gimblett,” Art Asia Pacific 23 (1999), 107.
Max Gimblett’s work has achieved iconic status in Aotearoa. His quatrefoils are instantly recognisable, becoming a cultural emblem of our time. The symmetrical curved design is a symbol that originated in pre-Christian times and has been used throughout the iconography of both Western and Eastern religions to evoke spiritual symbolism of the window, the cross, the rose and the lotus. Gimblett states, “The quatrefoil is the female cross, the curvilinear, the Jungian ‘anima’, the transition from the Trinity to the Quaternity. It is the dominant shape of my oeuvre.” Their translucent, layered forms with expressive strokes lure the viewer in with their seductive beauty, rendering an object of familiarity and desire. However, a glance beneath the shimmering surface of these works reveal an artist whose practice is rich in technical ability, philosophical engagement, Eastern and Western spirituality, ancient cultures, abstract expressionism and modernism.
Born in Tāmaki Makaurau in 1935, Gimblett moved to New York in the early 70s, where he continues to reside, bridging both cultures and geographic locations. His approach is both fast and instinctual, as seen in his Japanese-inspired ink works, where the artist intuitively engages his whole body in the process, in a Buddhist meditative state. At the same time, his jewel like-layered paintings present a slower, more thoughtful way of working, each completed in gradual steps, rather than all at once.
Spirit Box (1998) marks a stark contrast from Gimblett’s emblematic paintings, yet his recurring symbolism is apparent. This significant work was made in collaboration with friend, jeweller and long-time collaborator Warwick Freeman, and renowned furniture makers Jim Cooper and Humphrey Ikin. Finely crafted from bird’s-eye maple, the work is minimalist in form when closed. When opened, Spirit Box reveals an intimate cabinet of curiosities, each secret drawer divulging a series of recurring skulls, fashioned by the jeweller, in a variety of materials including pāua shell, burnt cow bone, driftwood, lead, tortoiseshell, mother of pearl and hand-beaten silver. Materiality and surface continue to play an important role, suggesting the levels from human consciousness to enlightenment. “This is an exhibition in a box, a show in the shape of a display case. Because the box itself is so unadorned – an embodiment you could say of self-containment – the shock of entry, of pulling open the first drawer, is all the greater. There in the tray, staring you in the face, in silhouette, is a grinning death’s head, exquisitely finished in polished pāua shell. Close it up and open the next drawer and there it is again – no getting away from it … it’s a treasure … its success arises from Gimblett v’s continuing renegotiations of the margin between sculpture and painting.”
Essay by EMILY GARDENER
provenance Private collection, Auckland.
42 Gretchen Albrecht Reef 2 1989 acrylic on canvas on plywood signed Albrecht, dated 89 and inscribed Reef (2) in brushpoint verso 445 × 890mm (widest points) est $30,000 — $45,000
Should someone make mention of Gretchen Albrecht, while in the absence of one of her artworks, the mind’s eye will undoubtably conjure up one of the artist’s stained canvases, composed of bleeding fields of colour.
Albrecht established herself as a pioneer within the field of abstract expressionism in Aotearoa New Zealand during the 1970s, when the artist moved away from figurative representation to intensively hone the formal components of what makes a painting. Consequently, she liberated her work from content in favour of focused exploration into process. “Gone were the trappings of narrative and symbolism... Gone too was her commitment to naturalism.” And born was a lifelong love of method as meaning, and a visual language all of her own, one that is now synonymous with the artist.
Albrecht’s paintings are quietly sophisticated, unassumingly complex, and surreptitiously seductive. Her paintings pull the viewer into an intimate mediative space of pure experience, as they get lost in looking at the dynamic play between colour, depth and movement, form and gesture. “As … colours shade from warm to cool and their shapes flare and taper, they call to mind a host of natural movements, like the
swelling of the sun within the sky, the sweep, surge and drift of ocean currents, or the shadowy contradiction of the land as night begins.”
Painted 1976, Albrecht’s Abyss exudes the magnificence and beauty found in the natural world. Looking at Abyss is akin to an encounter with the phenomenological awesomeness of the stratospheric passage of noon to dusk, or dawn into day. The compositionally orchestrated colour and form are, in themselves, meaninggenerating elements. At the time Albrecht created this work, she was living with her partner James Ross in Tāmaki Makaurau’s westside suburb of Titirangi. Albrecht spent much time out amongst the wild west-coast landscapes and beach lands of Karekare, Piha and Whatipū. While we can see in Abyss Albrecht’s newly developed automatic approach to making paintings, which drew from memories and the sensations she experienced during these beach visits, nature and memory are fundamentally employed by the artist as means for technical and compositional exploration. Albeit that we the beholder do recognise, in the presence of an Albrecht painting, her undeniable artistic skill, it is the painting’s emotional and psychological affect that makes her work so eternally alluring.
Essay by GEORGINA BRETT
1 Luke Smythe, Gretchen Albrecht: Between Gesture and Geometry (Massey University Press, 2018), 61.
2 Ibid, 56.
43 Gretchen Albrecht
Abyss
1976
acrylic on canvas signed Albrecht and dated 76 in brushpoint lower right; signed Albrecht, dated 1976 and inscribed Abyss in ink verso 1545 × 1815mm
est $90,000 — $130,000
provenance
Private collection, Auckland. Acquired from Denis Cohn Gallery, Auckland, 1983.
exhibitions
Gretchen Albrecht Painting, 1975—1976, Barry Lett Galleries, 1977.
Fomison/Clairmont/Albrecht, Elva Bett Gallery, Wellington, 1978.
44 Paul Dibble
Long Horizon Study
2000 cast bronze signed Paul Dibble and inscribed 2/3 with incison on base
290 × 600 × 80 mm (widest points) est $15,000 — $20,000
provenance
Private collection, Christchurch. Acquired from Bowen Gallery, Wellington 2000.
$20,000 — $25,000
45 Paul Dibble
cast bronze, artist's proof, edition of 2
× 420 × 180mm (widest points)
collection, Dunedin.
Paul Dibble’s exploration of New Zealand’s history, Pacific mythologies, and narratives surrounding flora, fauna and the human body are deeply rooted in his profound connection to the land. His art eloquently expresses the intricate relationship between people and place, reflecting the rich cultural and natural history of New Zealand.
Born in 1943 in a small town near Thames, Dibble spent his early life on a farm. Despite having artists in his family, it wasn’t until he attended university that he first visited an art gallery. He went on to study at the Elam School of Fine Arts, graduating in 1967. To support himself and his family, he took on various teaching roles, and in 1977 he moved to Palmerston North. His role at the teachers’ training college allowed time to focus on his personal artistic practice.
Although primarily known as a sculptor, Dibble’s artistic journey began as a ceramicist. In the early 1980s he began creating slip-cast geometric forms inspired by the vibrant work of Clarice Cliff. The process of making moulds and casting forms using liquid clay marked a pivotal moment in his artistic development. By the 1990s, Dibble had transitioned away from pottery and begun applying those mouldmaking techniques to creating sculptures in metal.
Dibble was one of the few artists who cast his own works, demonstrating his deep involvement in every aspect of his creative process. After he and his wife, Fran, moved to Palmerston North, they initially set up a workshop in their garage, but that quickly became too small for their scale of operation. Eventually, in 2000, they purchased a building in an industrial estate and converted it into a bronze-casting facility.
By then, Dibble and Fran had left teaching to focus entirely on sculpture production, and over the next 23 years produced more than 1,000 works. The three pieces featured in this auction reflect two decades of this artistic journey, showcasing the breadth of the practice and the ability to work across various scales.
One of Dibble’s favourite subjects was the huia, a bird last seen in 1907 near where he lived in Palmerston North. The huia appears in many of his pieces, including Bouquet of Birds and Flowers (2019), a largescale work consisting of three elements: a huia perched atop a ring with a sprig of flowering kōwhai hanging below. Dibble had a particular love for exploring negative space, and the ring in this work acts as both a symbol of humankind’s industrial progress and a threat to the landscape. This interplay between positive and negative space is a central theme throughout his art.
Dibble was inspired by Picasso and
the cubists, but he never sought to imitate them. Long Horizon Study (2000) beautifully illustrates how he simplified the human form into just a few elements, much like the cubists did. This piece features three shapes forming a reclining figure – a geometric cone representing one leg, holes for breasts, and a swooping form suggesting a woman in a reclined pose.
In Performance (2010), a larger-scale piece, Dibble depicts a ballerina stretching and limbering up against a tree, seemingly oblivious to the bird perched overhead. The interplay between humans, flora and birds is evident, and there is a sense that something is about to happen.
These three works demonstrate Dibble’s ability to transition seamlessly from small, domestic-scale works to monumental outdoor sculptures. The grandest of these is Southern Stand , the New Zealand War Memorial in Hyde Park, London, completed in 2006 and officially opened by Queen Elizabeth II. The work consists of 16 large markerposts leaning forward in a stance, each one covered in patterns, images, emblems and textures from New Zealand. The elements reference pou or fence posts, and each is cut in such a way as to form a cross at the top in remembrance of those who gave their lives. The back half of the sculpture is laid out to represent the Southern Cross – an eternal reminder of home.
Throughout his life, Dibble created over 31 public sculptures, and in 2004 he was awarded the New Zealand Order of Merit (ONZM) for his significant contribution to the arts. His work continues to inspire, not only for its unique aesthetic but also for its deep connection to the land that he cherished and its history. Dibble died in 2023, leaving behind a remarkable body of work that will continue to nourish future generations.
Essay by SEAN DUXFIELD
46 Paul Dibble Bouquet of Bird and Flowers 2019
cast bronze and 24 carat gold gilding, edition of 3 and 3 artist's proofs
Startling in their originality, Michael Illingworth’s sculptures are as quirky and distinctive as his paintings. His c.1963 fibreglass sculpture of Adam and Eve uses the vehicle of the original couple to demonstrate a balance of forces, yin and yang or animus and anima, to form a natural equilibrium.
The subject seems as old as time. Genesis, the first book of the Bible, names Adam and Eve as the first man and woman; the original ancestors from whom everyone else is descended. They were placed in the Garden of Eden and told to go forth and multiply, and be good stewards of all creation. Disobeying God’s instructions, they consumed fruit from the Tree of Knowledge, and they were banished.
Illingworth has chosen to depict Adam and Eve before the fall. Wide-eyed and innocent, they stand backto-back, conjoined but forever apart. Their legs make the base of a triangle that is topped by a loaf-like head, making the sculpture reminiscent of the art of Paul Klee in its geometry. Back to back, two figures become one, codependent. They are two sides of the same coin, facing in opposite directions but still together. The single upraised arm seems to be waving a cheery greeting, but perhaps it is a farewell?
Born in Yorkshire in 1932, Illingworth immigrated to Tauranga as a 20-year-old in 1952 to work as a photographer and photo engraver. He had already completed a one-year Diploma in Textile Design with Distinction in the wool capital of the world, Bradford. He returned to the United Kingdom in 1959 to work in London for Victor Musgrave’s Gallery One in Soho, the centre of the English art world. There he encountered the work of the Milanese artist Enrico Baj (1924–2003) and was encouraged to become a full-time artist himself. Baj’s paintings of generic figures with oval heads and triangular bodies became influential in the development of Illingworth’s own iconography on his return to New Zealand.
The artist’s first exhibitions were with New Vision and the Ikon Gallery in Auckland before he shifted to Barry Lett Galleries in 1965. His work caused a sensation, and Illingworth was the inaugural recipient of the Frances Hodgkins Fellowship at the University of Otago in 1966, which brought with it a year’s salary and accommodation in Dunedin. The following year, a collector bought all 17 paintings from his solo exhibition with Barry Lett. Peter McLeavey became Illingworth’s sole dealer in 1975, returning unsold works to the estate after the artist’s untimely death in 1988 at the age of 56.
Finished with red paint, Tawera as Adam and Eve resembles a customary Māori carving, painted ‘museum red’. When Illingworth was in his early 20s, he had stayed with iwi at their marae, Te Tāpui, in Matauri Bay. It may have been this experience that convinced him of the authenticity and power of figurative and representational Māori whakairo and its associated symbolism. The pou tokomanawa, burnished with kōkōwai, stands at the centre of the wharenui, supporting the tāhuhu, or ridge pole, as a symbol of the heart of the ancestor. Māori creation stories began with the separation of the embracing couple Ranginui, the Sky Father, and Papatūānuku, the Earth Mother. Red represents Te Whei Ao, coming into being, symbolising Papatūānuku, who sustains all life.
Rangi and Papa were separated, but Illingworth’s Adam and Eve are sticking together. With their overt biblical associations, they allude to the idea of an artefact coming to life: according to Genesis, God used earth to fashion a man in his own image. Once life had been breathed into his nostrils, Adam became the world’s kaitiaki, or caretaker. From Adam’s rib, Eve was created to be his helper. Western art is populated with depictions of
47 Michael Illingworth Tawera As Adam and Eve
these two being expelled from the Garden of Eden, yet the Bible and the Qur’an explicitly prohibit representation –statues are considered idols. Only God can make forms in his own likeness and make them come alive. Fear of the power attributed to images runs deep.
Illingworth’s art is a counter to iconoclasm. It is grounded in the potency of representational figures to tell stories and exert influence. When his painting As Adam and Eve (1965) (formerly in the Les and Milly Paris collection) caused a ruckus because the naked figures were deemed obscene, he was incredulous: “I am talking about one of the classical symbols of our society – the love and joy of man and woman, and procreation.”
Tawera as Adam and Eve, as the title of this work, refers to Illingworth’s own archetypal figure, Tāwera, named after the Māori name for the morning or evening star, Venus. Tāwera was part of Illingworth’s “gay, naïve, idealistic … defence against the Establishment” that Illingworth described as his protection from the “ugly dirty façade … of hypocritical suburbia.”
He explained the gesture of the upraised arm in his paintings and sculptures as a kind of wave of fear and hope at the same time: “What am I doing here? Where do I belong?” His figures were greeting a new world of possibility: “an ideal that perhaps might become something but is certainly nothing at the moment.” Gods with upraised arms are found in Egyptian art – it is an archetypal image – but could his figure’s lifted arm refer to Ringatū, the upraised hand? Might this be an indication of Illingworth’s admiration for mātauranga Māori and its systems of representation, being posited as an alternative to settler society?
Opposite: Marti Friedlander, Michael Illingworth, Alan Thornton and family with Adam and Eve Figure, Puhoi, 1968. Courtesy the Gerrard and Marti Friedlander Charitable Trust, E. H. McCormick Research Library, Auckland Art Gallery Toi o Tāmaki.
48 Robert Ellis
untitled 1961
acrylic and wax on card
signed Robert Ellis and dated 61 in ink lower right
760 × 535mm
est $5,000 — $6,000
est $18,000 — $26,000
49 Toss Woollaston Tower and Verandah, Greymouth c1956
oil on board
580 × 710mm
Private collection, Upper Hutt. Acquired privately, 2018; Private collection. Acquired from Peter McLeavey Gallery, Wellington, c1980s.
MODEL SERIES
by LUCINDA BENNETT
Artists have long painted models, although definitions of the word ‘model’ have proliferated over the years, from art models to runway, commercial, editorial, fit, erotic and so on. For his Model Series, Ian Scott takes the most popculture meaning of ‘model’ in the context of the 1990s and early 2000s. His models are of the Playboy variety: lithe, tanned young women in lingerie, most with bouncy blowouts and large bare breasts, many painted in the act of undressing or posing suggestively for the implied viewer.
In his essay “In-between Art, Sex and Suburbia: Ian Scott’s Model Series,” art historian Edward Hanfling describes the three elements that comprise each Model painting: “a female figure (scantily clad, derived from soft-pornographic magazines), a painting (most frequently a modernist, abstract work or an example of Pop Art), a wall (walls of suburban houses, brick, block, or blank).1 From the origination of the series in 1996 until Hanfling’s penning of his essay in 2004, this was indeed the case; however, Model Series No. 56 (Girl with Motherwell) – alongside other later works – disrupts the tidiness of this narrative, for it is missing one of these elements: the wall. In this work, all that can be seen beyond the model is an expansive, ultramarine Robert Motherwell painting, the edges of which extend right up to – and likely past – the edges of Scott’s painting, which is itself a reproduction of a reproduction. 2 Without a wall, we are without context, unmoored from the space in which this woman and this Motherwell have been brought together. Furthermore, without a wall, this particular Model painting appears distanced from Scott’s oeuvre, from the works preceding it, such as
the Girlie series of the late 1960s and early 70s in which Scott painted young women scantily clad in bikinis and mini-skirts, or else in nothing at all, subjects that art historian Michael Dunn has pointed out “hardly exist in New Zealand painting before his works.”3 In the so-called Girlie paintings, women were similarly lifted from the pages of American magazines, but they were placed in distinctly local contexts. Paintings such as Leapaway Girl (1969) show giant women displaced from Vogue and transplanted into a recognisably regionalist, West Auckland landscape populated with references to local art history.4 Meanwhile, Teller and Agronomist (both 1970) show nude women framed by fruit boxes and open shelving of the kind used by orchard stalls, bikini tanlines exposed in the warm sunlight as they pose seductively, surrounded by the visual fodder of the familiar orchards around Sunnyvale and Henderson where Scott worked.5
Rooted in the vernacular of suburban New Zealand, these American-style dream girls don’t feel so very far away. If the Girlie paintings represent Scott’s desire to bring some much-needed internationalism to the New Zealand scene by combining recognisable forms of ‘realism’ with aspects of pop art, the Model Series goes one step further, making international modernism more approachable by hanging Malevichs and Mondrians on the familiar brick exterior walls of houses like the ones in your neighbourhood, drawing attention to the similarities between the two painted surfaces, their shared patterns and banality.
And yet Model Series No. 56 is without walls, without any of the local references that usually colour Scott’s figurative paintings. Painted in
1 Edward Hanfling, “In-between Art, Sex and Suburbia: Ian Scott’s Model Series,” in Ian Scott: The Model Series Paintings: 1996–2004 (Ferner Galleries, 2004), 7.
2 Scott was known to paint from photographs and reproductions.
3 Michael Dunn, Ian Scott Paintings: 1968–1982 (Lopdell Gallery, 1991), 3.
4 Not only local art history – Leapaway Girl also seems to reference contemporary American abstraction as well as pop artists such as Mel Ramos and Tom Wesselmann.
5 Dunn, Ian Scott Paintings, 7.
6 Paraphrased from Scott himself, quoted in an interview with his son. Ian Scott, “Ian Scott on the Model Series,” interview by Chris Corson-Scott, in Ian Scott: Late Models (Gow Langsford Gallery, 2012), 26.
7 Works such as Model Painting No. 81 (The End of Newman) (2006) make this less of an assumption than a fact, as a wall label is included beside a cropped Barnett Newman painting.
2004, No. 56 demonstrates the shift that occurred with the later Model paintings as Scott began experimenting with “bringing the surface of the painting closer to the viewer” by alternately expanding blank space – as with Model Series No. 54 (Girl with Hirst) (2004), almost half of which is an empty white wall – or removing it entirely.6 Paintings that came later still, such as Model Series No. 84 (Girl with Malevich) (2006), show women – still conventionally attractive, beautifully made up, ‘models’ –at even closer range, cropped at the waist so as to appear almost like portraits with unconventional backgrounds. In No. 84 , the dimensions of Malevich’s Suprematic Painting (1918) have been slightly transformed to allow the model to be perfectly framed by its gold geometry.
50 Ian Scott
Model Series No. 56 (Girl with Motherwell)
2004
acrylic on canvas
signed Ian Scott and dated 2004 in graphite verso; inscribed "Model Series No. 56" (Girl with Motherwell ) in brushpoint verso 1850 × 1300mm
est $35,000 — $55,000
collection, Lower Hutt.
While the blank-space works open up the possibility that these paintings and women have come together within the conventionally white walls of a gallery, closer cropped works such as No. 56 seem to heighten the ambiguity.7 Here we have a model no less beautiful than those in the earlier paintings, and yet less overtly erotic, captured smoking a cigarette rather than cupping her own breasts. If it weren’t for the sparse, monumental Motherwell painting behind her, she could be a girl dressed as a maid at any costume party. But with the Motherwell (and only the Motherwell) behind her, we are instead invited to question the relationship between her and the painting, to ponder their similarities and differences, perhaps probing our own definitions of beauty, taste and propriety.
Lattice No. 53
1978
acrylic on canvas
signed Ian Scott, dated Sept. 1978 and inscribed in ink verso 1730 × 1730mm
est $60,000 — $80,000
provenance
Private collection, Auckland.
exhibitions
Ian Scott Paintings: 1968-1982, Lopdell Gallery, Waitākere, 26 September - 27 October 1991.
literature
Michael Dunn, Ian Scott Paintings: 1968-1982 (Waitākere: Lopdell Gallery, 1991), 13.
51 Ian Scott
52 André Hemer
New Representation #11 2016
acrylic and pigment on canvas signed André Hemer, dated 2016 Vienna and inscribed New Representation #11 in graphite verso 1800 × 1350mm est $60,000 — $80,000
provenance
Private collection, Melbourne. Acquired from Chalkhorse
Gallery, Sydney, 2016.
Manutanga 2004 oil and matte varnish on board signed J Walsh, dated 2004 and inscribed Manutanga in ink verso 1495 × 1190mm est $20,000 — $30,000
53 John Walsh
54 Louise Henderson Bush Revisited 1972 oil on board
signed Louise Henderson in brushpoint upper right; signed Louise Henderson, dated 1972 and inscribed Bush Revisited in brushpoint verso 900 × 600mm
est $28,000 — $36,000
provenance
Private collection, Wellington.
55 Lawrence M Daws Running Figure oil on board signed 1170 × 1170mm
est $5,000 — $10,000
provenance
Private collection, Auckland.
56 Terry Stringer Head 1990 bronze
signed TERRY STRINGER, dated '90, inscribed 2/3 with incision lower edge
190 × 150 × 50mm
est $4,000 — $7,000
provenance
Private collection.
57 Ann Robinson untitled 1997 cast glass signed aRobinson, dated 1997 and inscribed 1/1 in incision on base 630 × 160 × 160mm (widest points) est $22,000 — $34,000
provenance
Private collection, Wellington.
58 Alvin Pankhurst untitled 2002
oil and acrylic on canvas signed ALVIN PANHURST and dated 2002 in brushpoint lower right 1520 × 760mm est $22,500 — $32,000
provenance
Private collection, Nelson. Acquired from Carterton, 2002.
signed P McIntyre in graphite verso 330 × 280mm
est $40,000 — $55,000
provenance
Private collection, Lower Hutt.
literature
59 Peter McIntyre Shearers oil on board
A. H. & A. W. Reed, Peter McIntyre's New Zealand, (Wellington, Auckland and Sydney: A. H. & A. W. Reed, 1964), plate 24.
60 Trevor Moffitt untitled 1968 oil on board
signed Moffitt and dated 68 in brushpoint lower right 600 × 590mm
est $25,000 — $35,000
provenance
Private collection, Queensland.
61 Trevor Moffitt Southland Series III, No. 30 1990 oil on board
signed Moffitt and dated 90 in brushpoint lower right; inscribed Southland Series III, No. 30 in brushpoint verso 890 × 1190mm
est $20,000 — $30,000
provenance
Private collection, Hungary.
62 Sydney Lough Thompson
Drying Sails, Tunny Boats in Concarneau Harbour 1913-19 oil on board
signed S L Thompson in brushpoint lower right; signed Sydney L Thompson, inscribed Drying Sails, Tunny Boats in Concarneau Harbour in graphite verso 550 × 650mm
est $20,000 — $25,000
provenance
Private collection, Christchurch.
63 Cedric Savage Landscape at Motupipi oil on board
signed C. SAVAGE in brushpoint lower right
400 × 500mm
est $2,500 — $3,500
Private collection, Christchurch.
64 Ralph Hotere Roma
1963
crayon, ink and pencil on paper signed Hotere and dated 63 in graphite lower right
270 × 185mm
est $6,000 — $8,000
65 Rembrandt van Rijn
The Artist drawing from a Model circa 1639 etching
240 × 190mm
est $7,000 — $9,000
provenance
Private collection, Christchurch.
66 Salvador Dali
Venus of the Constellations 1975
etching on paper signed Dali in graphite lower right
660 × 430mm
est $5,000 — $7,000
provenance
Private collection, Christchurch.
67 Salvador Dali
Studio of Dali 1965
coloured lithograph signed and numbered 272/300
660 × 430mm
est $3,000 — $5,000
provenance
Private collection, Christchurch.
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in writing elsewhere, are statements of opinion and are not to be relied upon as statements of fact. Such statements do not constitute a representation, warranty or assumption of liability by Webb’s of any kind. References in the catalogue entry to the condition report to damage or restoration are for guidance only and should be evaluated by personal inspection by the bidder or a knowledgeable representative. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. Estimates of the selling price should not be relied on as a statement that this is the price at which the item will sell or its value for any other purpose. Neither Webb’s nor The Seller is responsible for any errors or omissions in the catalogue or any supplemental material.
Images are measured height by width (sight size). Illustrations are provided only as a guide and should not be relied upon as a true representation of colour or condition. Images are not shown at a standard scale. Mention is rarely made of frames (which may be provided as supplementary images on the website) which do not form part of the lot as described in the printed catalogue.
An item bought “on Extension” must be paid for in full before it will be released to the purchaser or his/her agreed expertising committee or specialist. Payments received for such items will be held “in trust” for up to 90 days or earlier, if the issue of authenticity has been resolved more quickly. Extensions must be requested before the auction.
Foreign buyers should note that all transactions are in New Zealand Dollars so there may be a small exchange rate risk. The costs associated with acquiring a good opinion or certificate will be carried by the purchaser. If the item turns out to be forged or otherwise incorrectly described, all reasonable costs will be borne by the vendor.
3.3. Buyers Responsibility All property is sold “as is” without representation or warranty of any kind by Webb’s or the Seller. Buyers are responsible for satisfying themselves concerning the condition of the property and the matters referred to in the catalogue by requesting a condition report.
No lot to be rejected if, subsequent to the sale, it has been immersed in liquid or treated by any other process unless the Auctioneer’s permission to subject the lot to such immersion or treatment has first been obtained in writing.
4. At the Sale
4.1. Refusal of Admission Webb’s reserves the right at our complete discretion to refuse admission to the auction premises or participation in any auction and to reject any bid.
4.2. Registration Before Bidding Any prospective new buyer must complete and sign a registration form and provide photo identification before
bidding. Webb’s may request bank, trade or other financial references to substantiate this registration.
4.3. Bidding as a Principal
When making a bid, a bidder is accepting personal liability to pay the purchase price including the buyer’s premium and all applicable taxes, plus all other applicable charges, unless it has been explicitly agreed in writing with Webb’s before the commencement of the sale that the bidder is acting as agent on behalf of an identified third party acceptable to Webb’s and that Webb’s will only look to the principal for payment.
4.4. International Registrations
All International clients not known to Webb’s will be required to scan or fax through an accredited form of photo identification and pay a deposit at our discretion in cleared funds into Webb’s account at least 24 hours before the commencement of the auction. Bids will not be accepted without this deposit. Webb’s also reserves the right to request any additional forms of identification prior to registering an overseas bid.
This deposit can be made using a credit card, however the balance of any purchase price in excess of $5,000 cannot be charged to this card without prior arrangement.
This deposit is redeemable against any auction purchase and will be refunded in full if no purchases are made.
4.5. Absentee Bids
Webb’s will use reasonable efforts to execute written bids delivered to us AT LEAST 24 Hours before the sale for the convenience of those clients who are unable to attend the auction in person. If we receive identical written bids on a particular lot, and at the auction these are the highest bids on that lot, then the lot will be sold to the person whose written bid was received and accepted first. Execution of written bids is a free service undertaken subject to other commitments at the time of the sale and we do not accept liability for failing to execute a written bid or for errors or omissions which may arise. It is the bidder’s responsibility to check with Webb’s after the auction if they were successful. Unlimited or “Buy” bids will not be accepted.
4.6. Telephone Bids
Priority will be given to overseas and bidders from other regions. Please refer to the catalogue for the Telephone Bids form. Arrangements for this service must be confirmed AT LEAST 24 HOURS PRIOR to the auction commencing. Webb’s accepts no responsibility whatsoever for any errors or failure to execute bids. In telephone bidding the buyer agrees to be bound by all terms and conditions listed here and accepts that Webb’s cannot be held responsible for any miscommunications in the process. The success of telephone bidding cannot be guaranteed due to circumstances that are unforeseen. Buyers should be aware of the risk and accept the consequences should contact be unsuccessful at the time of Auction. You must advise Webb’s of the lots in question, and you will be assumed to be a buyer at the minimum price of 75% of estimate (i.e. reserve) for all such lots. Webb’s will advise Telephone Bidders who have registered at least 24 hours before the auction of any relevant changes to
descriptions, withdrawals, or any other sale room notices.
4.7. Online Bidding
Webb’s offers an online bidding service. When bidding online the buyer agrees to be bound by all terms and conditions listed here by Webb’s. Webb’s accepts no responsibility for any errors, failure to execute bids or any other miscommunications regarding this process. It is the online bidder’s responsibility to ensure the accuracy of the relevant information regarding bids, lot numbers and contact details. Webb’s does not charge for this service.
4.8. Reserves
Unless otherwise indicated, all lots are offered subject to a reserve, which is the confidential minimum price below which the Lot will not be sold. The reserve will not exceed the low estimate printed in the catalogue. The auctioneer may open the bidding on any Lot below the reserve by placing a bid on behalf of the Seller. The auctioneer may continue to bid on behalf of seller up to the amount of the reserve, either by placing consecutive bids or by placing bids in response to other bidders.
4.9. Auctioneers Discretion
The Auctioneer has the right at his/ her absolute and sole discretion to refuse any bid, to advance the bidding according to the following indicative steps:
Increment Dollar
Range Amount
$20
$0–$500
$50 $500–$1,000
$100 $1,000–$2,000
$200 $2,000–$5,000
$500 $5,000–$10,000
$1,000 $10,000–$20,000
$2,000
$20,000–$50,000
Absentee bids must follow these increments and any bids that don’t follow the steps will be rounded up to the nearest acceptable bid.
4.10. Successful Bid and Passing of Risk
Subject to the auctioneer’s discretion, the highest bidder accepted by the auctioneer will be the buyer and the striking of his hammer marks the acceptance of the highest bid and the conclusion of a contract for sale between the Seller and the Buyer. Risk and responsibility for the lot (including frames or glass where relevant) passes immediately to the Buyer. If you are the highest bidder at the end of the auction, but your bid is below the reserve price, it will be marked as 'subject to vendor approval.' Your bid will then be presented to the vendor for consideration, and if accepted, the lot will be sold to you.
5. After the Sale
5.1. Buyers Premium
In addition to the hammer price, the buyer agrees to pay to Webb’s the buyer’s premium. The buyer’s premium is 19.5% of the hammer price plus GST. (Goods and Services Tax) where applicable.
5.2. Payment and Passing of Title
The buyer must pay the full amount due (comprising the hammer price, buyer’s
premium and any applicable taxes and GST) not later than 2 days after the auction date.
The buyer will not acquire title to the lot until Webb’s receives full payment in cleared funds, and no goods under any circumstances will be released without confirmation of cleared funds received. This applies even if the buyer wishes to send items overseas. Payment can be made by direct transfer, cash (not exceeding NZD$5,000, if wishing to pay more than NZD$5,000 then this must be deposited directly into a Bank of New Zealand branch and bank receipt supplied) and EFTPOS (please check the daily limit). Payments can be made by debit card or credit card in person with a 2.2% merchant fee for Visa, Mastercard and Paywave, and 3.3% for American Express. Invoices that are in excess of $5,000 and where the card holder is not present, cannot be charged to a credit card without prior arrangement. Cheques are no longer accepted.
The buyer is responsible for any bank fees and charges applicable for the transfer of funds into Webb’s account.
5.3. Collection of Purchases & Insurance
Webb’s is entitled to retain items sold until all amounts due to us have been received in full in cleared funds. Subject to this, the Buyer shall collect purchased lots within 2 days from the date of the sale unless otherwise agreed in writing between Webb’s and the Buyer.
At the fall of the hammer, insurance is the responsibility of the purchaser.
5.4. Packing, Handling and Shipping
Webb’s will be able to suggest removals companies that the buyer can use but takes no responsibility whatsoever for the actions of any recommended third party. Webb’s can pack and handle goods purchased at the auction by agreement and a charge will be made for this service. All packing, shipping, insurance, postage & associated charges will be borne by the purchaser.
5.5. Permits, Licences and Certificates
Under The Protected Objects Act 1975, buyers may be required to obtain a licence for certain categories of items in a sale from the Ministry of Culture & Heritage, PO Box 5364, Wellington.
5.6. Remedies for Non-Payment
If the Buyer fails to make full payment immediately, Webb’s is entitled to exercise one or more of the following rights or remedies (in addition to asserting any other rights or remedies available under the law)
5.6.1. to charge interest at such a rate as we shall reasonably decide.
5.6.2. to hold the defaulting Buyer liable for the total amount due and to commence legal proceedings for its recovery along with interest, legal fees and costs to the fullest extent permitted under applicable law.
5.6.3. to cancel the sale.
5.6.4. to resell the property publicly or privately on such terms as we see fit.
5.6.5. to pay the Seller an amount up to the net proceeds payable in respect of the amount bid by the defaulting Buyer. In these circumstances the defaulting
Buyer can have no claim upon Webb’s in the event that the item(s) are sold for an amount greater than the original invoiced amount.
5.6.6. to set off against any amounts which Webb’s may owe the Buyer in any other transactions, the outstanding amount remaining unpaid by the Buyer.
5.6.7. where several amounts are owed by the Buyer to us, in respect of different transactions, to apply any amount paid to discharge any amount owed in respect of any particular transaction, whether or not the Buyer so directs.
5.6.8. to reject at any future auction any bids made by or on behalf of the Buyer or to obtain a deposit from the Buyer prior to accepting any bids.
5.6.9. to exercise all the rights and remedies of a person holding security over any property in our possession owned by the Buyer whether by way of pledge, security interest or in any other way, to the fullest extent permitted by the law of the place where such property is located. The Buyer will be deemed to have been granted such security to us and we may retain such property as collateral security for said Buyer’s obligations to us.
5.6.10. to take such other action as Webb’s deem necessary or appropriate.
If we do sell the property under paragraph (4), then the defaulting Buyer shall be liable for payment of any deficiency between the total amount originally due to us and the price obtained upon reselling as well as for all costs, expenses, damages, legal fees and commissions and premiums of whatever kinds associated with both sales or otherwise arising from the default.
If we pay any amount to the Seller under paragraph (5) the Buyer acknowledges that Webb’s shall have all of the rights of the Seller, however arising, to pursue the Buyer for such amount.
5.7. Failure to Collect Purchases
Where purchases are not collected within 2 days from the sale date, whether or not payment has been made, we shall be permitted to remove the property to a warehouse at the buyer’s expense, and only release the items after payment in full has been made of removal, storage handling, insurance and any other costs incurred, together with payment of all other amounts due to us.
6. Extent of Webb’s Liability
Webb’s agrees to refund the purchase price in the circumstances of the Limited Warranty set out in paragraph 7 below. Apart from that, neither the Seller nor we, nor any of our employees or agents are responsible for the correctness of any statement of whatever kind concerning any lot, whether written or oral, nor for any other errors or omissions in description or for any faults or defects in any
lots. Except as stated in paragraph 7 below, neither the Seller, ourselves, our officers, agents or employees give any representation warranty or guarantee or assume any liability of any kind in respect of any lot with regard to merchantability, fitness for a particular purpose, description, size, quality, condition, attribution, authenticity, rarity, importance, medium, provenance, exhibition history, literature or historical relevance. Except as required by local law any warranty of any kind is excluded by this paragraph.
7. Limited Warranty
Subject to the terms and conditions of this paragraph, the Seller warrants for the period of thirty days from the date of the sale that any property described in this catalogue (noting such description may be amended by any saleroom notice or announcement) which is stated without qualification to be the work of a named author or authorship is authentic and not a forgery. The term “Author” or “authorship” refers to the creator of the property or to the period, culture, source, or origin as the case may be, with which the creation of such property is identified in the catalogue. The warranty is subject to the following: it does not apply where a) the catalogue description or saleroom notice corresponded to the generally accepted opinion of scholars and experts at the date of the sale or fairly indicated that there was a conflict of opinions, or b) correct identification of a lot can be demonstrated only by means of a scientific process not generally accepted for use until after publication of the catalogue or a process which at the date of the publication of the catalogue was unreasonably expensive or impractical or likely to have caused damage to the property.
the benefits of the warranty are not assignable and shall apply only to the original buyer of the lot as shown on the invoice originally issued by Webb’s when the lot was sold at Auction. the Original Buyer must have remained the owner of the lot without disposing of any interest in it to any third party.
The Buyer’s sole and exclusive remedy against the Seller in place of any other remedy which might be available, is the cancellation of the sale and the refund of the original purchase price paid for the lot less the buyer’s premium which is non-refundable. Neither the Seller nor Webb’s will be liable for any special, incidental nor consequential damages including, without limitation, loss of profits.
The Buyer must give written notice of claim to us within thirty days of the date of the Auction. The Seller shall have the right, to require the Buyer to obtain two written opinions by recognised experts in the field, mutually acceptable to the Buyer and Webb’s to decide whether or not to cancel the sale under warranty. the Buyer must return the lot to Seller in the same condition that it was purchased.
8. Severability
If any part of these Conditions of Sale is found by any court to be invalid, illegal or unenforceable, that part shall be discounted, and the rest of the Conditions shall continue to be valid to
the fullest extent permitted by law.
9.
Copyright
The copyright in all images, illustrations and written material produced by Webb’s relating to a lot including the contents of this catalogue, is and shall remain the property at all times of Webb’s and shall not be used by the Buyer, nor by anyone else without our prior written consent. Webb’s and the Seller make no representation or warranty that the Buyer of a property will acquire any copyright or other reproduction rights in it.
10. Law and Jurisdiction
These terms and conditions and any matters concerned with the foregoing fall within the exclusive jurisdiction of the courts of New Zealand, unless otherwise stated.
11. Pre-Sale Estimates
Webb’s publishes with each catalogue our opinion as to the estimated price range for each lot. These estimates are approximate prices only and are not intended to be definitive. They are prepared well in advance of the sale and may be subject to revision. Interested parties should contact Webb’s prior to auction for updated pre-sale estimates and starting prices.
12.
Sale Results
Webb’s will provide auction results, which will be available as soon as possible after the sale. Results will include buyer’s premium. These results will be posted at www.webbs.co.nz.
13. Goods and Service Tax
GST is applicable on the hammer price in the case where the seller is selling property that is owned by an entity registered for GST. GST is also applicable on the hammer price in the case where the seller is not a New Zealand resident. These lots are denoted by a dagger symbol † placed next to the estimate. GST is also applicable on the buyer’s premium.
A
Albrecht, Gretchen 43, 84, 85-87
Angus, Rita 43
B
Bambury, Stephen 51 Binney, Don 68-69
C Cooper, Jim 82-83 Cotton, Shane 50 Cummings, Vera 62-64
D Dali, Salvador 111 Daws, Lawrence M. 103 Dibble, Paul 88-91
E Ellis, Robert 96 F Freeman, Warwick 82-83
G
Gimblett, Max 75, 82-83 Goldie, Charles F. 61 Grant, Lyonel 55
H
Hammond, Bill 44-45, 53 Hanly, Pat 42
Harris, Jeffrey 49
Hemer, André 101 Henderson, Louise 103 Hirst, Damien 76 Hodgkins, Frances 70 Hotere, Ralph 56, 110
Maddox, Allen 72-73 McIntyre, Peter 106 McLeod, Andrew 56-57 Moffitt, Trevor 107
Pankhurst, Alvin 105 Pardington, Fiona 80-81 Parekōwhai, Michael 52 Patté, Max 31, 74
Savage, Cedric 109 Scott, Ian 99-100 Stringer, Terry 104
Thompson, Sydney Lough 108 Tibbo, Teuane 48 V van Rijn, Rembrandt 110
Walsh, John 102 Walters, Gordon 58 Wealleans, Rohan 42 Wong, Brent 79 Woollaston, Toss 97
I Ikin, Humphrey 82-83 Illingworth, Michael 93-94 Innes, Callum 59 J Jahnke, Robert 65-67 K Kahukiwa, Robyn 47 M
