Fine Art Catalogue - March 2019

Auction Catalogue

March 2019

Fine Art

Fine Jewels & Watches

M AR CH 2 01 9

22

Auction Dates —

Fine Jewels & Watches — Including Worn at The Ritz: A Private Collection from a High Society Family Sunday 24 March 2.00pm

Fine Art — Tuesday 26 March 6.00pm

M AR CH 2 01 9

24

Viewing Times — Preview Evening — Tuesday 19 March / 6pm – 8pm

Jewellery & Fine Art — Wedneday 20 March / 10am – 5pm Thursday 21 March / 10am – 5pm Friday 22 March / 10am – 5pm Saturday 23 March / 10am – 4pm Sunday 24 March / 10am – 12pm

Fine Art — Monday 25 March / 10am – 5pm Tuesday 26 March / 10am – 3pm

Specialist Enquiries and Condition Reports —

Auctions Private Sales Valuations auction@webbs.co.nz +64 9 529 5600

Amanda Morrissey-Brown Fine Art Specialist amanda@webbs.co.nz +64 27 929 5609

Lauren Boustridge BSc, AJP, GG (GIA)

Fine Jewels and Watches Specialist lauren@webbs.co.nz +64 27 929 5607

33A Normanby Road, Mount Eden, Auckland 1024, New Zealand

Christine Kearney Marketing and PR christine@webbs.co.nz +64 27 929 5604 Amelia Haliday Design and Advertising design@webbs.co.nz +64 9 529 5600

www.webbs.co.nz 25

MA R C H 20 19

Buying or Selling?

Decorative Arts 10 April 2019, 6pm Image: A Korean Tansu Chest. Estimate: $1,500 - $2,500 Wine Cooler & Stand. Estimate: $200 - $400 A Wassily Style Chair. Estimate: $250 - $500

Contact Caolรกn McAleer Decorative Arts Specialist caolan@webbs.co.nz +64 9 529 5603 | +64 27 929 5603

Rarely seen.

Always remembered.

27

Enjoy Church Road Wines Responsibly MA R C H 20 19

A.W CONSULTING LIMITED Mortgage and personal finance Property Investment

Business Finance and consultation.

OFFER FEB - MAY

Any obligation free financial health check appointment will be in the draw to win Return tickets to Queenstown plus one night accommodation.

We understand financial reviews can be stressful. Let us do the hard work so you can enjoy Queenstown.

Contact

www.alexwang.co.nz

021 903421

Dreams can be true

ENJOY ENJOY MARTELL MARTELL RESPONSIBLY RESPONSIBLY 29

MA R C H 20 19

The stunning Ayana rug in Coal from the Deconstructed Collection by Artisan.

Mount Eden Remuera artisancollective.co.nz/rugs

Where design becomes art

Leda Armchair-Sculpture © Salvador Dalí, Fundació Gala-Salvador Dalí, Barcelona, 2017 Taken from “Femme á la Tête Rose” 1935 (Woman with a head of roses). A three dimensional sculpture, remaining faithful to every detail in Dalí’s painting. Dalí affirmed: “A chair can be used even to sit on, but only on one condition: That we sit uncomfortably.” We can sit on the Leda, but due to the fact that it only has three legs and that the chair is heavy, it being made of solid brass, is more a work of art than a functional piece of furniture.

99 The Strand, Parnell, Auckland +64 9 302 2284

134 Victoria Street, Christchurch +64 3 366 0623

www.matisse.co.nz design@matisse.co.nz

Buying or Selling?

Fine Jewels, Watches & Luxury Accessories June 2019

Image: An Important Georgian Emerald and Diamond Brooch Estimate $29,000 inc B.P Contact Lauren Boustridge BSc, AJP GG (GIA) Fine Jewels & Watches Specialist lauren@webbs.co.nz +64 9 529 5607 | +64 27 929 5607 Featured: Kate Sylvester Dress

AD Beatrice Rossetti - Photo Federico Cedrone

CAMPIELLO SECTIONAL SOFA Antonio Citterio Design www.flexform.it

34

25 Nugent Street, Grafton, Auckland Tel. +64 9 523 2105 info@studioitalia.co.nz

Contents —

Articles of Interest

14

01

Fine Art

21

Terms & Conditions Index of Artists

58 60

01 [flipped]

Fine Jewels & Watches Including Worn at The Ritz: A Private Collection from a High Society Family

MA R C H 20 19

19

Highlights —

Auction Highlights 2018 Significant artworks from some of New Zealand most senior artists made up two Significant Art auctions held in 2018.

Highlights from these auctions include Paul Dibble’s large, bronze sculpture View Over the Vineyards which achieved a record price of $108,112. Fiona Pardington’s Kereru Wings, Waiheke achieved $57,059 and a beautifully presented set of Colin McCahon’s 15 Drawings achieved $10,210. The final highlight of 2018 for our Fine Art department was the sale of the spectacular painting Manunui, Queen Charlotte by Don Binney which achieved $235,000.

The Decorative Arts sales in 2018 covered a multitude of styles and periods. The secondary market for mid-century pieces continues to grow. An Arne Jacobsen Egg Chair and Stool achieved an Australasian auction record of $16,450.

A repatriated Māori Carved Wooden Panel by master carver Iotua Charlie Tuarau reached a final price of $13,513, demonstrating strong interest for quality Māori pieces. Two Faberege cigarette cases achieved $9,400 and $8,225 respectively. There is a strong demand for quality pieces in good condition, please get in touch to discuss consignment.

Webb’s launched their first specialist Asian Art sales in 2018. Highlights begun with A Pair of Rare and Important Daoguang Mark and Period Canton Porcelain Bowls achieving $29,962 against a $16,000 - $20,000 estimate, with an accompanying pair of plates achieving $11,750.

The Dr Francis de Hamel collection demonstrated ongoing interest in single-owner collections. The collection of Song Dynasty ceramics had numerous highlights attracting bidders and buyers internationally. A Qingbai Cosmetics Box and Cover achieved $9,400 against a $1,600 - $2,300 estimate and a beautiful Chinese Qianlong Ox Blood Glaze Porcelain Shallow Bowl made $8,695.

The Fine Jewels sales througout 2018 attracted interest nationally and internationally. Fierce bidding drove up the prices of a Gold Rolex Day-Date wristwatch which achieved $22,325 and an important Georgian Emerald and Diamond Brooch fetched $29,375. A renewed interest in quality antique pieces saw unique Edwardian and Victorian jewellery selling above their highest estimates, a trend set to continue into 2019.

The Fine & Rare Wines department grew in value consistently in 2018. Our highest-ever-grossing live auction achieved $191,900 with a 98% sell through just one month after moving to Webb’s’ new home in Mt Eden. We have immense gratitude to both new and loyal existing consignors and buyers for this extraordinary result. New records were achieved for iconic New Zealand and Australian Wines which included Stonyridge Larose, Te Mata Coleraine and Penfolds Grange with Church Road Tom & St Nesbit showing the highest growth in hammer value.

W EBB’S

11.

10.

01.

Fiona Pardington KererĹŤ Wings, Waiheke 2010 Archival photographic ink-jet print Price Achieved $57,059

02.

A White Gold Calatrava Wristwatch Patek Philippe Price Achieved $14,688

03.

01.

02.

IOTUA CHARLIE TUARAU (Detail) MÄ ori Carved Wooden Panel Price Achieved $13,513

04. c1938 Remy Martin Louis XIII Cognac Price Achieved $3,795

03.

05.

A Pair of Rare and Important Daoguang Mark and Period Canton Proceline Bowls and Plates Price Achieved $41,713

06.

05.

Arne Jacobsen Egg Chair and Stool Price Achieved $16,450

07.

A bottle of 1940 The Macallan.

Price Achieved $30,550

04.

08.

An Important Georgian Emerald and Diamond Brooch Price Achieved $29,375

09.

06.

07.

A 1965 - 2012 Vertical of Penfolds Grange Price Achieved $35,250

10.

Don Binney Manunui, Queen Charlotte oil on canvas, 2005 Price Achieved $235,000

11.

08.

09.

Paul Dibble View Over the Vineyards bronze Price Achieved $108,112

Michael Smither Dreamboats II (detail) Screenprint Initialled MDS, dated 06 and editioned A/P in graphite lower edge 900mm x 640mm Estimate: $600 - $900

Article —

Going once, going twice, going online – From contemporary art to diamonds, mid-century classics and fine wine, if you can find it in an auction house you can now also find it online. With the launch of online auctions by leading international auction houses including Sotheby’s and Christie’s, online auctioneers are bidding for the attention of new collectors by offering a 21st century approach to buying and selling at auction.

As the world becomes increasingly digitised, with new apps and online services appearing almost daily, it is only logical for the art market to follow this rapid development.

Online art auctions are flourishing because of their accessibility and ease. Webb’s now offer regular online auctions that focus on presenting quality artworks by recognised artists at accessible price points; perfect for new and seasoned collectors looking for their next great piece.

While online art auctions cannot completely replace the speed and thrill of a live auction, it seems their popularity will only continue to grow and with that ultimately engage a new generation of collectors.

Online auctions are an excellent, accessible way for new collectors to familiarise themselves with the art market.

The rise of ‘digital natives’ means that the new generation of collectors are well-accustomed to apps and digitised life, but could be less art world savvy. For these buyers shopping is naturally facilitated online, including browsing for works of art: they are perhaps more likely to browse Instagram for interesting artwork rather than visiting an auction house or gallery. The high-pressure environments of live art auctions, while gripping, can be daunting. Webb’s online auctions give people more time to consider their bids and feature works at lower price points that make new bidders feel more comfortable. Lower priced items are often prints and editioned works, which are a great way for new collectors to acquire works by established artists that they may not be able to afford otherwise. A few favoured artists that have recently featured in Webb’s online catalogues include Robyn Kahukiwa, Michael Smither, Don Binney, Fatu Feu’u, and the ever-popular Dick Frizzell. Buying online through Webb’s also ensures that these works are genuine, and clients are welcome to view these items at the Webb’s gallery prior to purchase. Fine Art Department specialists inspect the artworks and are happy to provide condition reports or discuss works with buyers, which may not be the case with other auction sites where items are listed by private, unknown individuals.

Traditionally, the art market is built on in-person transactions, with buyers going to a gallery or showroom to view and discuss artworks. However, the convenience of an online auction is a big draw for people in the fast-paced world we live in. People are now used to adapting experiences to fit their busy lives – they can stream television whenever they want; order food so it arrives home at the same time they do; or buy a new pair of shoes at 2am if they feel the urge.

39

Online art auctions provide the same convenience and flexibility of online shopping, but with the rush of excitement as you see the seconds tick down - You’ve Won! Bidders can be cunning and wait until the last second to bid at closing time; or, they can simply set their maximum auto-bid and go about their day, receiving a pleasant surprise email if they win. Webb’s online auctions also allow people to add items to their wishlist and ponder over them before placing their bids. Just like the rest of their lives, buyers can now tailor their auction experience however they like.

Seasoned collectors and consignors are quickly acclimatising to the changing auction environment as they come to appreciate that the freedom of buying online does not have to mean a decrease in quality. As technology rapidly improves and young collectors become the new primebuyers, we can assume that online art auctions will soon be a routine part of the art market.

- Tasha Jenkins - Fine Art Department.

Alan Taylor Te Ata (detail) screenprint signed A. Taylor, inscribed TE ATA and editioned AP in graphite lower edge 750mm x 560mm $400 - $600

Brad Novak Reservoir Birds of NZ 1.1 (detail) screenprint signed Brad Novak, inscribed RESERVOIR BIRDS OF NZ 1.1, dated 10 and editioned A/P in graphite lower edge 560mm x 757mm $500 - $800 MA R C H 20 19

Article —

Words of Winesdom – We had many exciting highlights in the Fine & Rare Wines department at Webb’s in 2018, but we could not have asked for a better way to end the year than by auctioning a 48-vintage ‘vertical’ collection of Penfolds Grange spanning vintages from 1965-2012. The beginnings of this story involve a 22-vintage collection sold for $3,000 in the 90’s by New Zealand’s second ever Master of Wine, Bob Campbell.

“When I learned that Webb’s had sold a 48-bottle set of Penfolds Grange for NZ$35,250 and that the seller was Vern Warren, I knew that some of the bottles had my fingerprints on them. Vern helped me gain a liquor licence back in the early nineties. I had a large mailing list of people who had attended my wine classes and offered them a service called Bob’s Trade & Exchange. If someone wished to sell a few bottles of wine I’d list them in my monthly newsletter and, If I found a buyer, I’d clip the ticket by adding 10%.

I was approached by someone wanting to sell a 22-vintage set of Penfolds Grange from 1965-1986. He wanted to sell the wines because he couldn’t drink them without breaking the set. I offered them for NZ$3,000 (including my 10% fee).

Vern wanted to buy the set. I recall him saying that he would add a few more vintages before selling it at a profit on the Australian market.…”

An online auction follows the March Jewels & Fine Art live auctions, from 27-31 March. We are also very busy accepting wine and spirits for our 16 April live auction where we look forward to breaking more auction records.

In memoriam: Friends, family and the New Zealand wine industry are mourning the loss of wine reviewer Raymond Chan who died peacefully on Sunday 10th February after a long, hard-fought battle with cancer.

I personally spoke to Raymond on many occasions over the years and echo the thoughts of my industry colleagues: a ‘Great bloke’, a true gentleman, please raise a glass to his memory.

- Marcus Atkinson - Fine and Rare Wine Specialist.

If you are interested in offering all or part of your collection for auction, please don’t hesitate to contact Marcus: DDI +64 9 529 5601 / M +64 27 929 5601 marcus@webbs.co.nz

Excerpt from The Real Review, December 31, 2018 By Bob Campbell MW.

Due in part to Australia’s crippling Wine Equalisation Tax of 29% plus GST, selling Grange to Australia is not currently a viable option. Vern approached Webb’s about this collection late last year. It was a perfect fit for our Christmas live auction. With impeccable provenance we were not surprised when the lot achieved $35,250 in our final Fine Wines auction of 2018.

Another record at the auction included $30,550 achieved for a bottle of 1940 ‘The Macallan’ single malt whisky, originally purchased in 1982 for just $80 from a retailer in Wellington. A bottle of 1998 ‘La Tache’ from the most significant producer in Burgundy, Domaine de la Romanee Conti, achieved $5,875.

One lucky bidder picked up a circa 1938 Remy Martin Louis XIII Cognac for $3,795, which was great buying.

Originally presented in 1942 to Squadron Leader Eric Shaw on the awarding of the DFC (Distinguished Flying Cross) at Buckingham Palace. He brought the bottle back to New Zealand post-war where it was then passed down to his son who offered it for auction with Webb’s.

Above and left: A selection from lot 103 1965-2012 Vintage Vertical of Penfolds Grange Bin 95 Price Achieved: $35,250

Webb’s continues to make history with our highest ever grossing Fine & Rare Wines online sale in January 2019 and we have just completed our second. There is more interest building from buyers with record prices reached for aged Antipodean wines. This has led to an increase in consignments as collectors see the potential value of their cellars.

41

MA R C H 20 19

42

Fine Art Tuesday 26 March — 6:00pm

Specialist Enquiries and Condition Reports — Amanda Morrissey-Brown Fine Art Specialist amanda@webbs.co.nz +64 27 929 5609

43

01 MA R C H 20 19

1 Michael Hight Kyeburn

lithograph signed HIGHT, inscribed KYEBURN, dated ‘05 and editioned P/P in graphite lower edge 495mm x 700mm $1,000 – $1,500

2 Michael Smither Hawkdun Range

screenprint initialled MDS, dated 08 and editioned P/P in graphite lower edge 119mm x 405mm $900 – $1,200

W EBB’S

M AR CH 2 01 9

44

3 Dick Frizzell Side A, Side B

4 Dick Frizzell Legerdemain II

screenprint signed Frizzell, inscribed Side A, Side B, dated 2009 and editioned P/P in graphite lower edge 560mm x 760mm $1,200 – $1,800

screenprint signed Frizzell, inscribed Legerdmain II dated 2007 and editioned P/P in graphite lower edge 755mm x 570mm $1,500 – $2,000

5 Michael Smither Pukekura Park Poets Bridge

screenprint initialled MDS, dated 08 and editioned A/P in graphite lower edge 795mm x 975mm $900 – $1,200

45

MA R C H 20 19

6 Miranda Parkes Dreamer

acrylic on canvas signed parkes, inscribed Dreamer and dated 06 in ink verso 470mm x 470mm x 660mm $4,000 – $7,000

7 Michael Parekowhai Captain Cook

digital print on photopaper Michael Parekowhai The Lighthouse printed on label affixed verso; Captain Cook 2016 printed on label affixed verso 125mm x 85mm $1,200 – $1,800

W EBB’S

M AR CH 2 01 9

46

8 Colin McCahon 15 Drawings ink on paper each drawing 255mm x 200mm $6,000 – $8,000

Note Accompanied by a folder containing title page and additional pages.

9 Graham Milton The River Wey oil on board THE RIVER WAY, GRAHAM MILTON printed on artists label verso 590mm x 790mm $2,000 – 3,000

47

MA R C H 20 19

10 John Pule Looking at Rain too Long Has Given Me Eternity lithograph on paper signed John Pule, dated 2001 and editioned 8/16 in graphite lower left 415mm x 295mm $1,500 – $2,500 Note From the 100 Love Poems series

11 John Pule I Need to Tell You That I Want to Live lithograph on paper signed John Pule, dated 2003 and editioned 20/30 in graphite lower left 415mm x 295mm $1,000 – $2,000 Note From the 100 Love Poems series

W EBB’S

M AR CH 2 01 9

48

12 John Pule Fenonga Kia Koe

lithograph signed John Pule, inscribed Fenonga Kia Koe, dated 2002 and editioned 5/100 in graphite lower edge 760mm x 570mm $1,200 – $2,000

13 Fatu Feu’u Viiga Poula: Adoration of Fertility Ritual by Night woodcut editioned 36/40 in graphite lower left 600mm x 1200mm $1,500 – $2,500

49

MA R C H 20 19

14 Peter Robinson Untitled 1990

acrylic on paper 965mm x 1495mm $4,000 – $6,000

15 Ralph Hotere Lo Negro Sobre Lo Oro: The Black over the Gold, Window in Spain

lithograph signed Hotere, inscribed Lo Negro Sobre Lo Oro, dated ‘92 and editioned 30/50 in ink and graphite lower left; inscribed The Black over the Gold, Window in Spain, Hotere and ‘92 in mirrored writing in ink and graphite lower right 720mm x 530mm $4,000 – $7,000

W EBB’S

M AR CH 2 01 9

50

16 Dick Frizzell Architiki

screenprint signed Frizzell, inscribed Architiki, dated 2006 and editioned P/P in graphite lower edge 756mm x 566mm $1,500 – $2,500

17 Dick Frizzell Legerdemain III

screenprint signed Frizzell, inscribed Legerdemain III, dated 2008 and editioned P/P in graphite lower edge 750mm x 558mm $1,500 – $2,000

18 Gretchen Albrecht Pounamu lithograph signed Albrecht, inscribed Pounamu, dated 2002 and editioned 89/100 in graphite lower edge 570m x 755mm $2,000 – $2,500

51

MA R C H 20 19

19 Billy Apple IOU

UV impregnated archival ink on canvas 600mm x 420mm $22,000 - $28,000

W EBB’S

An IOU is a written commitment referencing a sum of money that is borrowed, and the intentions to return it: a sentiment which turns Billy Apple’s canvas into a contract between artist and buyer, should it be completed. Apple has explored the commercialisation of art and artists throughout his lengthy career. IOU extends on his series Art Transactions, begun in the 1980s, in which Apple bartered works in exchange for items and services he required. By making his monetary transactions visible to all he was explicitly addressing the economic needs of artists - because as we know, the artist has to live like everybody else.

M AR CH 2 01 9

52

20 Richard Misrach Road Blockade and Pyramids, 1989

21 Wayne Barrar Mason Bay #9

selenium toned silver gelatin print signed Wayne Barrar in ink verso and dated 1988 on label affixed verso 225mm x 300mm $2,000 – $3,000

c-type print signed Richard Misrach, inscribed Road Blockade and Pyramids and dated 1989 in ink lower edge; inscribed Richard Misrach (USA) signed on print in graphite verso 255mm x 320mm $3,000 – $4,000

Note From the series Mason Bay: A Natural Selection

22 Laurence Aberhart Conical Monopole

23 Laurence Aberhart Old Bridge Structure from New Bridge

silver gelain selenium toned print signed L. Aberhart, inscribed Conical Monopole, Scott Base, Ross Island, Antarctica, 3 December 2010 and dated 2010/6 in ink bottom edge 243mm x 192mm $2,000 – $3,000

gelatin silver print inscribed Old Bridge Structure from New Bridge, Clutha River, Alexandra and dated 1980 in ink on print; inscribed Laurence Aberhart / signed on print below matt in graphite verso 195mm x 240mm $3,000 – $5,000

53

MA R C H 20 19

24 Terry Stringer Remember Me

bronze signed TERRY STRINGER, inscribed #353 A.P. IX and dated 1992 etched verso 125mm x 108mm $1,000 – $1,500 Note Image below shows verso of Remember Me

25 Dean Buchanan Surfing Safari

oil on found surfboard signed Buchanan and dated 2018 in brushpoint on fin 1980mm x 475mm $2,000 – $3,000

26 Nejat Kavaas Deep Down in Coromandel III

klint cast glass 380mm x 1010mm $4,500 – $5,500

W EBB’S

M AR CH 2 01 9

54

27 Don Binney Manunui, Otakamiro

screenprint signed Don Binney, inscribed Manunui, Otakamiro, dated 2010 and editioned P/P in graphite lower edge 750mm x 560mm $7,000 – $10,000

28 Dieneke Jansen Untitled - from the NZ Backyard Series digital inkjet print on photopaper 780mm x 1350mm $1,800 – $2,800

55

MA R C H 20 19

29 Billy Apple Billy Apple R.

silkscreen and graphite on Arches 88, 200gsm paper editioned 10/10 in graphite lower left 560mm x 380mm $4,500 – $6,000

30 Dick Frizzell Cool Squares

screenprint signed Frizzell, inscribed for Mark, dated 2003 and editioned P/P in graphite lower edge 700mm x 500mm $1,000 – $2,000

31 Dick Frizzell Brown Squares

screenprint signed Frizzell, inscribed Brown Squares, dated 2005 and editioned P/P in graphite lower edge 720mm x 480mm $1,000 – $2,000

W EBB’S

M AR CH 2 01 9

56

32 Michael Smither Harmonogram A,F,E

screenprint initialled MDS, inscribed Harmonogram A F E, dated 09 and editioned P/P in graphite lower edge 753mm x 560mm $700 – $900

33 Dick Frizzell Red Haring IV

screenprint signed Frizzell, inscribed Red Haring IV, dated 2007 and editioned P/P in graphite lower edge 795mm x 605mm $1,500 – $2,500

34 Dick Frizzell Another Big Kiss

screenprint signed Frizzell, inscribed Another Big Kiss, dated 09 and editioned P/P in graphite lower edge 1850mm x 805mm $2,000 – $4,000

57

MA R C H 20 19

35 Simon Morris A Whole and Two Halves (Black) acrylic on linen signed Simon Morris, inscribed A WHOLE AND TWO HALVES (Black) and dated 2017 in ink verso 750mm x 750mm $5,000 – $6,000

36 Johl Dwyer Bloody Skull

cedar, resin, oil and enamel signed Johl Dwyer, inscribed Bloody Skull and dated 2017 in ink verso 600mm x 600mm $4,500 – $6,000

W EBB’S

M AR CH 2 01 9

58

37 STALLMAN (Stephen Stum & Jason Hallman) The Detection of Light acrylic on sculpted canvas signed STALLMAN, Stephen Stum + Jason Hallman, inscribed THE DETECTION OF LIGHT, dated 2017 in ink verso 1200mm x 900mm $15,000 – $20,000

59

Jason Hallman and Stephen Stum have combined their last names to create ‘Stallman’, a duo that combines traditional surface painting with sculpture. The two find inspiration from patterns and gradients in the natural world - and indeed, the ripples in The Detection of Light simultaneously appear to be both the sea and the sky. Their works are created by painting the cut edge of canvas and bonding it to a base, which then reflects on the background creating a spectrum of colour. By employing light, pigment and structure Stallman multiply the tones to create their intricate, topographical-like works.

MA R C H 20 19

38 Max Gimblett Divine Grace

gesso, acrylic & vinyl polymers, epoxy, oil size and caplain leaf on canvas signed MAX GIMBLETT, inscribed “DIVINE GRACE” and dated 2013 in brushpoint verso 381mm x 381mm $10,000 – $12,000

39 Jeena Shin Motus 6

acrylic on canvas signed Jeena Shin, inscribed Motus 6 and dated 2014 in brushpoint verso 1260mm x 840mm $8,000 – $9,000

W EBB’S

M AR CH 2 01 9

60

40 Tony Fomison Isn’t It My Turn?

The compelling chiaroscuro, ominous mood and strong planes of dark paint used in Isn’t it My Turn? are key aspects of Tony Fomison’s work. The intense shadowing recalls Fomison’s formal training and the likes of Goya or Caravaggio; while the central head is reminiscent of carved Polynesian heads and point to his interest in Samoan culture. Murky green and black-brown brushstrokes conjure a cinematic atmosphere that darkens the uncertain narrative. Part of the intrigue of Isn’t it My Turn? is the ambiguity of the subject matter. The relationship between the three figures is unknown, they survey each other over what may be a card table, a bed, or a hillside, though we are unsure why. The title itself also draws us in – whose turn, and to do what? Ultimately it is Fomison’s expert painting technique that seduces us and keeps us looking.

oil on hessian board inscribed #122 in brushpoint upper left; Aspects of Recent New Zealand Art: Anxious Images, Tony Fomison, Isn’t it My Turn? 1976 printed on Auckland City Art Gallery label affixed verso 440mm x 800mm $90,000 – $120,000 Exhibited Aspects of Recent New Zealand Art: Anxious Images, Auckland City Art Gallery 27 June 1984 – 12 August, 1984.

61

MA R C H 20 19

41 Sam Shmith Plate Glass #3

pigment print, baryta paper dated 2013. Edition of 4 plus 2 A/P 972mm x 1800mm $5,500 – $6,500

42 Roy Good Notched Series Five

acrylic on canvas signed ROY GOOD, inscribed “NOTCHED SERIES - FIVE” and dated ‘07 in ink verso 1320mm x 1320mm $7,000 – $10,000

W EBB’S

M AR CH 2 01 9

62

43 Philip Trusttumm Untitled oil on board 970mm x 1450mm $10,000 – $12,000 Note Additional mixed media work verso.

44 Jeffrey Harris Morning Crucifixion (The Beginning)

oil on board signed Jeffrey Harris, inscribed 15. Morning Crucifixion (The Beginning) and dated 2000 in ink verso 616mm x 398mm $6,000 – $8,000

63

MA R C H 20 19

45 Miranda Parkes Little Smasher acrylic on canvas 570mm x 470mm x 230mm $3,000 – $4,000

46 Martin Selman Cans carrara marble 135mm x 55mm x 55mm; 40mm x 125mm x 80mm $2,000 – $3,000

W EBB’S

M AR CH 2 01 9

64

47 Matthew Couper Monogram oil on tin initialled M.C, inscribed Monogram and dated MMXII (2012) in brushpoint lower edge 180mm x 120mm $600 – $1,200

48 Matthew Couper A Capital Idea

oil on tin signed M. Couper NY, inscribed A Capital Idea and dated 2011 in brushpoint lower edge 170mm x 120mm $600 – $1,200

49 Cindy Sherman Mrs. Claus C-type print edition of 125 330mm x 254mm $2,500 – $3,500

65

MA R C H 20 19

50 Michael Smither Glass Houses in Fog

oil on canvas board initialled MDS and dated 96 in brushpoint lower left 250mm x 360mm $10,000 – $12,000

W EBB’S

M AR CH 2 01 9

66

51 Dick Frizzell Big Egg - Little Egg (Actual Size) lithograph signed Dick Frizzell, dated 2002 and editioned 5/100 in graphite lower edge 570mm x 760mm $1,000 – $1,500

52 Max Gimblett Untitled

screenprint signed MAX GIMBLETT and dated 2007 in graphite lower left 762mm x 570mm $2,500 – $3,500

53 Max Gimblett Untitled

screenprint signed MAX GIMBLETT and dated 2011 in graphite lower edge 380mm x 285mm $2,000 – $3,000

67

MA R C H 20 19

54 Mervyn Williams In The End oil on canvas signed MERVYN WILLIAMS, inscribed “IN THE END” and dated 2001 in brushpoint verso 510mm x 420mm $2,000 – $3,000

55 Yoshiko Nakahara Untitled ink on paper signed Yoshiko Nakahara in ink lower left 620mm x 830mm $1,500 – $2,500

W EBB’S

M AR CH 2 01 9

68

56 Bill Hammond Fly

acrylic on canvas signed Bill Hammond, inscribed FLY and dated 1999 in brushpoint upper edge 600mm x 400mm $65,000 – $75,000

69

Painted in 1999, Fly embodies the haunting dream world populated by birdfigures that Bill Hammond is known for. These creatures were inspired by Hammond’s trip to the Auckland Islands in 1991, which allowed him to see the natural beauty of New Zealand before civilisation and have since become a staple of Hammond’s work. Though reserved when it comes to speaking about his work, Hammond’s paintings and titles use symbols and cultural references that speak for him. The smaller scale of Fly allows us to focus on each element and pay attention to the thoughtful way this single creature traverses the mythical landscape.

MA R C H 20 19

57 Peter McIntyre Venice

watercolour signed PETER McINTYRE in brushpoint lower right 740mm x 555mm $5,000 – $8,000

58 Claire Perilli Field of Poppies

merino and corriedale wood felted picture inscribed Claire Perilli; “Field of Poppies” Merino and Corriedale wood felted picture on artist label affixed verso 340mm x 265mm $500 – $800

59 Ian Kingstone Romeo’s Pal Mercutio

acrylic on canvas signed I KINGSTONE in brushpoint lower right; inscribed ROMEO’S PAL MERCUTIO and signed IAN KINGSTONE in brushpoint verso 455mm x 455mm $1,000 – $1,500

W EBB’S

M AR CH 2 01 9

70

60 Charles Decimus Barraud Mount Egmont

watercolour on paper signed C.D. Barraud and dated 1889 in brushpoint lower right 420mm x 665mm $4,000 – $7,000

61 Doris Lusk Band Rotunda, Hagley Park

oil on canvas signed D. LUSK, dated ‘41 in graphite lower right; inscribed “BANDSTAND HAGLEY PARK,” CHCH. DORIS LUSK, 1941 in brushpoint verso 400mm x 350mm $8,000 – $12,000

71

MA R C H 20 19

62 Grahame Sydney Sutton 1

63 Grahame Sydney Joanna, Pregnant

pencil on paper signed Grahame Sydney, inscribed Sutton and dated 9 Sept ‘82 and 14 May ‘86 in graphite lower left 455mm x 702mm $1,000 – $2,000

etching signed Grahame Sydney, inscribed “Joanna, Pregnant”, dated Sept. 1982 and editioned A/P in graphite lower edge 280mm x 280mm $900 – $1,200

64 Edward Bullmore Figure Study

65 John Weeks Hilltop town

pencil on paper 535mm x 365mm $800 – $1,200

W EBB’S

watercolour signed J. Weeks in graphite lower right 440mm x 285mm $1,500 – $2,500

M AR CH 2 01 9

72

66 Richard Killeen Naming of Parts

Richard Killeen’s Naming of Parts makes a graphic statement that embraces both digital technology and analogue painting.

Known for his cut-out works, Killeen started to experiment with cut outs, a lack of frame, and cropping in 1978. In the late 1990s and early 2000s he began to use digital technology to produce his works, which he now uses exclusively.

Naming of Parts, made in 1990, expertly utilises both methods to its advantage.

The textural printed and painted icons (a strange assortment of objects that prompt the viewer to insert their own narrative to connect them) come together to create a complex, illusionary three-dimensional space that immerses the viewer.

acrylic and collage on custom wood signed Killeen, inscribed Naming of Parts and dated April 26 1990 in ink right edge 1770mm x 1920mm $30,000 – $40,000

73

MA R C H 20 19

67 Niagara Get Outa My Line of Fire screenprint signed Niagara and editioned 95/200 in graphite lower edge 535mm x 610mm $800 – $1,200

68 Hye Rim Lee TOKI and Dragon, black, 2012

c-type print, face mounted with perspex 1000mm x 1000mm $5,000 – $6,000 Note This work was printed at Laumont Photographics, New York.

W EBB’S

M AR CH 2 01 9

74

69 Agnes Martin Untitled #3 1990

70 Agnes Martin Untitled #10 1990

offset lithograph on transparent vellum edition of 2500 305mm x 305mm $800 – $1,200

offset lithograph on transparent vellum edition of 2500 305mm x 305mm $800 – $1,200

71 Hye Rim Lee Bunny Luv 2, white 2010 c-type print, face mounted with perspex 600mm x 600mm $3,000 – $3,500

75

MA R C H 20 19

72 Dick Frizzell Good News

screenprint signed Frizzell, inscribed Good News, dated 2007 and editioned P/P in graphite lower edge 795mm x 595mm $1,000 – $2,000

73 Karl Maughan Kimbolton

screenprint signed Karl Maughan, inscribed Kimbolton, editioned A.P in graphite lower edge 800mm x 1170mm $2,500 – $3,000

74 Anna Stichbury Restless Calm Horizon Blues

mixed media on wood signed Anna Stichbury, inscribed ‘Restless Calm’ Horizon Blues and dated 2015 in ink and graphite verso 800mm diameter $800 – $1,200

W EBB’S

M AR CH 2 01 9

76

75 Shane Cotton Rib

oil, encaustic on plywood inscribed Shane Cotton, ‘RIB’, 1992 in graphite on artists label affixed verso 2420m x 1420mm $17,000 – $20,000

77

MA R C H 20 19

76 Phillipa Durkin North Facing

77 Greer Twiss Untitled

inkjet print signed Phillipa Durkin, inscribed North facing 2008 - Hallway to laboratory and computer room in ink verso 380mm x 280mm $400 – $600

1984 - 88 ink on paper signed Twiss in ink lower right 290mm x 190mm $300 – $600

78 John Reynolds Tough Shit

oil stick on screenprint signed REYNOLDS, inscribed TOUGH SHIT, and dated 2008 in graphite lower edge 315mm x 240mm $1,200 – $1,800

Note Accompanied by artists promotional flyer affixed verso.

W EBB’S

M AR CH 2 01 9

78

79 Philip Clairmont Circus ink on paper signed Philip Clairmont, inscribed “Circus” verso 405mm x 275mm $800 – $1,200

80 Richard Lewer Untitled 2004 - 2005 ink on sandpaper 280mm x 230mm $400 – $700

79

MA R C H 20 19

Terms & Conditions [Fine Art & Fine Jewels] The terms and conditions of sale listed here contain the policies of Webb’s. They are the terms on which Webb’s and the Seller contract with the Buyer. They may be amended by printed Saleroom Notices or oral announcements made before and during the sale.

By bidding at auction you agree to be bound by these terms.

1. Background to the Terms used in these Conditions The conditions that are listed below contain terms that are used regularly and may need explanation.

They are as follows: “the Buyer” means the person with the highest bid accepted by the Auctioneer. “the Lot” means any item depicted within the sale for auction and in particular the item or items described against any lot number in the catalogue. “the Hammer price” means the amount of the highest bid accepted by the auctioneer in relation to a lot. “the Buyer’s Premium” means the charge payable by the Buyer to the auction house as a percentage of the hammer price. “the Reserve” means the lowest amount at which Webb’s has agreed with the Seller that the lot can be sold.

“Forgery” means an item constituting an imitation originally conceived and executed as a whole, with a fraudulent intention to deceive as to authorship, origin, age, period, culture or source, where the correct description as to such matters is not reflected by the description in the catalogue. Accordingly no lot shall be capable of being a forgery by reason of any damage or restoration work of any kind (Including re-painting). “the insured value” means the amount that Webb’s in its absolute discretion from time to time shall consider the value for which a lot should be covered for insurance (whether or not insurance is arranged by Webb’s). All values expressed in Webb’s Ltd catalogues (in any format) are in New Zealand Dollars (NZD$). All bids, “hammer price”, “reserves”, “Buyers Premium” and other expressions of value are understood by all parties to be in New Zealand Dollars (NZD$) unless otherwise specified.

2. Webb’s Auctions as Agent Except as otherwise stated Webb’s Ltd acts as agent for the Seller. The contract for the sale of the property is therefore made between the Seller and the Buyer.

3. Before the Sale Examination of Property Prospective Buyers are strongly advised to examine in person any property in which they are interested before the Auction takes place. Neither Webb’s nor the Seller provides any guarantee in relation to the nature of the property apart from the Limited warranty in the paragraph below. The property is otherwise sold “AS IS” Catalogue and Other Descriptions All statements by Webb’s in the catalogue entry for the property or in the condition report, or made orally or in writing elsewhere, are statements of opinion and are not to be relied upon as statements of fact. Such statements do not constitute a representation, warranty or assumption of liability by Webb’s of any kind. References in the catalogue entry to the condition report to damage or restoration are for guidance only and should be evaluated by personal inspection by the bidder or a knowledgeable representative. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. Estimates of the selling price should not be relied on as a statement that this is the price at which the item will sell or it’s 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

W EBB’S

M AR CH 2 01 9

described, all reasonable costs will be borne by the vendor.

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 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.

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.

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.

International Registrations All International clients not known to Webb’s will be required to scan 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.

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.

Telephone Bids Priority will be given to overseas and bidders from other regions. 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. 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.

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.

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.

Minimum Price Guarantee The seller of lots designated with the symbol * has been guaranteed a minimum price financed solely by Webb’s. Where the guarantee is provided by a third party or jointly by Webb’s and a third party, the Lot will be denoted with the symbols **. When Webb’s has solely guaranteed the minimum price, Webb’s will bear the risk that the lot will not be sold or will sell below the guaranteed minimum price in which case Webb’s will bear a financial loss. Webb’s may bid at the auction, and this will be disclosed, but only until the guaranteed minimum price. When a third party has financed all or part of our financial interest in a lot, it assumes all or part of the risk that the lot will not be sold and will be remunerated accordingly. The compensation will be a fixed fee, a percentage of the hammer price or the buyer’s premium or some combination of the foregoing.

The third party may bid on the guaranteed lot during the auction, and this will be disclosed in a saleroom announcement. If the third party is the successful bidder, the remuneration may be netted against the hammer price. If the lot is not sold, the third party may incur a loss. The Minimum Price Guarantee amount will not be disclosed to the public. Where Webb’s has guaranteed a minimum price on every lot in the catalogue, Webb’s will not designate each lot with the symbol(s) for the guaranteed lots but will state our financial interest at the front of the catalogue.

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

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.

Indicative Bidding Steps, etc.

Webb’s reserves the right to refuse any bid, withdraw any lot from sale, to place a reserve on any lot and to advance the bidding according to the following indicative steps:

Increment Amount

Dollar Range

$20

$0–$500

$50

$500–$1,000

$100

$1,000–$2,000

$200

$2,000–$5,000

$500

$5,000–$10,000

$1,000

$10,000–$20,000

$2,000

$20,000–$50,000

$5,000

$50,000 – $100,000

$10,000

$100,000–$200,000

$20,000

$200,000–$500,000

$50,000

$500,000–$1,000,000

Absentee bids must follow these increments and any bids that don’t follow the steps will be rounded up to the nearest acceptable bid.

80

5. After the Sale 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 17.5% of the hammer price plus GST. (Goods and Services Tax) where applicable.

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 5 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$10,000, if wishing to pay more than NZD$10,000 then this must be deposited directly into a Bank of New Zealand branch and bank receipt supplied) and EFTPOS (please check the daily limit). Payments can also be made by credit card in person with a 2.2% merchant fee for Visa and Mastercard and 3.3% for American Express. Invoices that are in excess of $5,000 and where the card holder is not present, cannot be charged to a credit card without prior arrangement. Personal cheques are accepted, but funds must be cleared before goods will be released. Bank cheques are subject to five days clearance. The buyer is responsible for any bank fees and charges applicable for the transfer of funds into Webb’s account.

Collection of Purchases & Insurance Webb’s is entitled to retain items sold until all amounts due to us have been received in full in good cleared funds.

Subject to this, the Buyer shall collect purchased lots within 5 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.

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.

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.

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).

• to charge interest at such a rate as we shall reasonably decide.

• 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.

• to cancel the sale.

• to resell the property publicly or privately on such terms as we see fit.

• 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.

• 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.

• 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.

• 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.

• 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.

• to take such other action as Webb’s deem necessary

81

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.

Failure to Collect Purchases Where purchases are not collected within 5 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.

Overseas buyers and buyers non-resident in New Zealand will not be charged GST on both hammer price and premiums under the following conditions: The items are exported through a Webb’s approved freight company including New Zealand Post. The items are exported within 60 days of the date of the sale The invoice supplied

by Webb’s for purchases will be regarded as a Tax invoice for GST purposes.

14. Jewels & Watches Gemstones Gemstones have historically been subjected to a variety of treatments to enhance their appearances. Sapphires and rubies are routinely heat treated to improve their colour and clarity, similarly emeralds are frequently treated with oils or resin for the same purpose. Other treatments such as staining and dyeing, irradiation, filling or coating may have been used on other precious and semi-precious gemstones and organic material. These treatments may be permanent, whilst others may need special care to preserve their appearance. Buyers should assume that each lot has been subject to some form of treatment and that the estimates reflect this. A number of laboratories issue certificates that give detailed descriptions of gemstones, and in the event that Webb’s has been supplied with or obtained certificates for any lot, this shall be noted in the catalogue. However, as there may not be consensus between different laboratories on the degree, or types of treatment of the gemstones Webb’s supplies these without warranty.

Pearls Pearls, like gemstones, can also be subjected to various treatments. Buyers should assume that any pearls sold by Webb’s may have been subjected to such treatments, and that the catalogue estimates reflect this.

Watches Please note: All watches sold by Webb’s are sold on an “as is” basis. Webb’s makes no representation or warranty that any watch is in working order. Many watches have been repaired over their lifetime and may contain non-original parts. The absence of any reference to the condition of a watch does not imply that the lot is in good condition and without defects, repairs or restorations. Buyers should be aware that a general service charge for battery or further repair work, for which the Buyer is solely responsible, may be necessary.

Estimated Weights If a stone has a known weight, it has been weighed out of the mount. If a stone has an estimated weight, it is an approximate weight only and has been measured by us in the mount and is a statement of opinion only. The information is given as a guide only and Buyers should satisfy themselves with regard to this information as to its accuracy.

MA R C H 20 19

Index of Artists 22, 23 Aberhart, Laurence 18 Albrecht, Gretchen 19, 29 Apple, Billy 21 Barrar, Wayne 60 Barraud, Charles Decimus 27 Binney, Don 25 Buchanan, Dean 64 Bullmore, Edward 79 Clairmont, Philip 75 Cotton, Shane 47, 48 Couper, Matthew 76 Durkin, Phillipa 36 Dwyer, Johl 13 Feu’u, Fatu 40 Fomison, Tony 3, 4, 16, 17, 30, 31, 33, 34, 51, 72 Frizzell, Dick 38, 52, 53 Gimblett, Max 42 Good, Roy 56 Hammond, Bill 44 Harris, Jeffrey 1 Hight, Michael 15 Hotere, Ralph 28 Jansen, Dieneke 26 Kavaas, Nejat 66 Killeen, Richard 59 Kingstone, Ian 68, 71 Lee, Hye Rim 80 Lewer, Richard 61 Lusk, Doris 69, 70 Martin, Agnes 73 Maughan, Karl 8 McCahon, Colin 57 McIntyre, Peter 9 Milton, Graham 20 Misrach, Richard 35 Morris, Simon 55 Nakahara, Yoshiko 67 Niagara 7 Parekowhai, Michael 6, 45 Parkes, Miranda 58 Perilli, Claire 10, 11, 12 Pule, John 78 Reynolds, John 14 Robinson, Peter 46 Selman, Martin 49 Sherman, Cindy 39 Shin, Jeena 41 Shmith, Sam 2, 5, 32, 50 Smither, Michael 37 STALLMAN (Stephen Stum & Jason Hallman) 74 Stichbury, Anna 24 Stringer, Terry 62, 63 Sydney, Grahame 43 Trusttum, Philip 77 Twiss, Greer 65 Weeks, John 54 Williams, Mervyn

Cover: Styling and design Amelia Haliday.

Model wears WORLD. Art work and Jewellery all in the upcoming Webb’s Auctions.

Photography Lucko Prawito Make-up and Hair by Madeleine Page Stylised images: Inside covers and pages (Art) - 2, 20 (Jewels) - 2, 15, 16, 18, 19, 21, 30, 41, 47, 51, 53, 57.

Styled by Amelia Haliday. Clothing in all stylised images - WORLD. Photography Lucko Prawito.

Design: Amelia Haliday, Karryn Muschamp

Printing: Crucial Colour W EBB’S

M AR CH 2 01 9

82

74 Karl Maughan Kimbolton (detail) screenprint signed Karl Maughan, inscribed Kimbolton, editioned A.P in graphite lower edge 800mm x 1170mm $2,500 – $3,000

83