The Becroft Collection, October 2024

25.10.24—04.11.24 The Becroft Collection

0704 Online Auction Catalogue October 2024

Lot 40 Pat Hanly Doing It

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Colophon

Head Office

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

Advertising

Karen Rigby Business Manager karen@webbs.co.nz +64 22 344 5610

Mark Hutchins-Pond Senior Specialist, Art mark@webbs.co.nz +64 22 095 5610

Press

Caolán McAleer Head of Marketing caolan@webbs.co.nz +64 27 929 5603

Stephanie AuYeung Manager, Art stephanie@webbs.co.nz +64 22 301 8259

Elizabeth Boadicea Snow Marketing Manager elizabeth@webbs.co.nz +64 22 029 5611

Georgina Brett Specialist, Art georgina@webbs.co.nz +64 27 929 5609

Olivia Woodgate Creative Director design@webbs.co.nz +64 22 323 4919

Sean Duxfield Specialist, Art sean@webbs.co.nz +64 21 053 6504

Centurion Print

Jo Bragg Logistics & Inventory Coordinator, Art jo@webbs.co.nz +64 21 113 5001

Design

Printer

Art

Edition of 1850 Offset Printed, 60 pages 300gsm Matt Art 113gsm Matt Art

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Freely distributed to subscribers or available at select public art spaces and hospitality venues.

33a Normanby Road Mount Eden Auckland, 1024 23 Marion Street Te Aro Wellington, 6011 webbs.co.nz

Tasha Jenkins Head of Art tasha@webbs.co.nz +64 22 595 5610

Georgia Clapshaw Administrator, Art art@webbs.co.nz +64 9 529 5609 Valuations

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

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Contents

Programme 4 Plates 5 Introduction 6 Terms & Conditions

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Index of Artists

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Programme

Auckland Viewing Times Wednesday 30 October

10am — 4pm

Thursday 31 October

10am — 4pm

Friday 1 November

10am — 4pm

Saturday 2 November

10am — 4pm

Sunday 3 November

10am — 4pm

Monday 4 November

10am — 4pm

Online Auction Friday 25 October — Monday 4 November Viewing Location 9 Lake View Road, Takapuna, Auckland, 0622

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Plates

87 Lots

Specialist Enquiries

Condition Reports

AUCKLAND

Hannah Owen Registrar, Art hannah@webbs.co.nz +64 22 068 4932

Tasha Jenkins Head of Art tasha@webbs.co.nz +64 22 595 5610 Stephanie AuYeung Manager, Art stephanie@webbs.co.nz +64 22 301 8259 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 21 053 6504

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Introduction It is a great privilege to introduce The Becroft Collection. The Becrofts are legendary among the North Shore art community, and we are delighted to commemorate and celebrate their legacy and to share this amazing collection with their community and the wider public.

Tasha Jenkins Head of Art

Pupuke, in Takapuna. The spark of this mission came while living in the US, where David was working as a paediatric pathologist at the time. While in Cincinnati, Genevieve saw an old building being restored and converted into a theatre, and consequently – upon later learning that the derelict PumpHouse building was set to be demolished One of the most special aspects – was inspired to rally a group of being entrusted with a personal of equally concerned locals into collection is seeing a life story advocating for it to be saved and mapped out in objects. In the case converted into an arts centre. In of The Becroft Collection the story 1969 the council voted to save the told is one of community, family, building, and after nearly a decade and the significant impact that of fundraising, advocacy and hard patronage and connection has work, The PumpHouse Theatre within the arts. This collection is opened for performances in 1977. not just a remarkable acquisition Later, the Becrofts’ passion for of artworks and objects, but community support went further a reflection of the revered with the creation of the Genevieve relationships and generosity of and David Becroft Foundation.

Genevieve and David Becroft over Through this they fundraised and many years. Their patronage was donated life-changing sums to crucial to the success of various artists and architects, as well as arts institutions and events many organisations, including around Tāmaki Makaurau and Starship, Riding for the Disabled, particularly their beloved North and the Gift-a-Seat programme, Shore, including NZ Sculpture which each year enabled hundreds OnShore, The PumpHouse Theatre of children at low-decile schools and the Lake House Arts Centre. to attend theatre performances.

In 2001 Genevieve received a In the 1960s Genevieve Becroft was Queen’s Service Medal for her integral to the successful campaign services to the community. to save the iconic PumpHouse building on the shore of Lake 6

David and Genevieve Becroft.

Genevieve Becroft at the Lake House Arts Centre.

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Gil Hanly, Margaret Lawlor-Bartlett, Genevieve Becroft and Pat Hanly.

1998 newspaper article featuring Genevieve and David in their garden for NZ Sculpture OnShore.

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Another hugely influential initiative Genevieve is known for is of course NZ Sculpture OnShore, which she co-founded along with Lenore Sumpter in 1996. In 1995 Genevieve joined the Friends of Women’s Refuge Trust to support its North Shore branch, which held a fundraiser art exhibition that raised $23,000. The following year, Genevieve opened her own home and beautiful garden on the shore of Lake Pupuke as the venue for the inaugural NZ Sculpture OnShore. The biennial exhibitions feature sculptures of all kinds from contemporary New Zealand artists, and all proceeds are donated to Women’s Refuge New Zealand, to date raising over $2.2 million.

The evidence of this iconic event being held in the Becrofts’ garden is obvious when looking at this fantastic collection of works, which features some 30 outdoor sculptures by artists including Dave McCracken, Greer Twiss, Bronwynne Cornish, Barry Brickell, John Edgar and many more.

After each exhibition, Genevieve often acquired one or two of the sculptures herself, and it is fantastic to witness the works in this incredible garden where they were likely first exhibited.

When moving inside to see the rest of the collection, one cannot help but delight in the vibrancy and variety of works. Indicative of the time that many were acquired, the late 1980s and early 1990s, we can see bold and colourful works

by Alan Taylor and Michel Tuffery, Robert Ellis’s strong palette of blues and purples, and the bright floral painting by Teuane Tibbo.

In a slightly softer palette are abstracted or stylised depictions of nature by Betty Curnow, Louise Henderson, Minnie White and Don Binney. The most striking and obvious artistic presence within the collection is of course Pat Hanly, who is represented by nine works in this offering. From drawings and prints to an early selfportrait to energetic 1980s enamel paintings, the works offered show Hanly’s diverse style and range of treatments, while all staying true to his consistent, bold joyfulness.

The large-scale painting Doing It is quintessential late-80s Hanly, and it is a true pleasure to be able to present it here.

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For this special collection we are pleased to showcase the works within the spectacular home and garden that Genevieve, David and their four children lived in for so many years. The Becroft House, designed by Harry Turbott and Peter Middleton in the 1960s, is architecturally significant in its own right and won the 25-Year Award at the 1994 New Zealand Institute of Architects Awards. At a more intimate level, the home emboldened Genevieve Becroft to pursue her love of art to its fullest expression, as she told the New Zealand Herald in 2003: When I moved in I was too afraid to hang my pictures, the place was so pristine, but in the end this house gave me the freedom, it encouraged me to be an arty person, it liberated my thinking.

It is an honour to not only be granted access to this magical space, but to facilitate a full circle moment that enables the local community to once again connect with The Becroft House and the artworks within one last time.

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It has been very special working with the Becroft family on this catalogue and I am truly grateful for their trust and cooperation. I have thoroughly enjoyed hearing memories of growing up in the iconic Becroft House and making kites with Pat Hanly. I hope to have captured some of the rich legacy of Genevieve and David within this small introduction but I am sure many of you will have your own stories of the Becrofts to cherish.

The full catalogue is available online for bidding, and works will be on view in the Becroft House from 10am to 4pm, Wednesday 30 October to Monday 4 November.

We invite you to come along and see these treasures together one final time. If you have any questions, please reach out to our specialist team.

The Becroft House in 1966.

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1 PAT HANLY Summer Bride and Groom 1990 screenprint on paper, 3/19 signed, dated and title inscribed 530 × 650mm EST $3,000 — $5,000

2 GRETCHEN ALBRECHT Pounamu 2002 lithograph on paper, 50/100 signed, dated and title inscribed 560 × 750mm EST $2,000 — $4,000

3 PAT HANLY Life Goes On 1981 screenprint on paper, 31/50 signed, dated and title inscribed 510 × 570mm EST $3,000 — $5,000 12

4 DON BINNEY untitled 1999 acrylic on paper signed and dated 540 × 710mm EST $18,000 — $24,000

5 MICHEL TUFFERY untitled corned beef tin cans and steel 480 × 690 × 243mm (widest points) EST $4,000 — $8,000 13

6 ROBERT ELLIS Natura Morta 1993 watercolour and pastel on paper signed, dated and title inscribed 990 × 690mm EST $5,000 — $8,000 14

7 ROBERT ELLIS Maungawhau/Mt Eden 1998 acrylic, ink and pastel on paper signed, dated and title inscribed 280 × 250mm EST $2,000 — $4,000

9 ALEXIS HUNTER untitled (Chimera) 1996 acrylic on paper signed and dated 345 × 400mm EST $2,000 — $4,000

8 CHRISTINE SMITH Still Life with Cups III acrylic on board signed 900 × 900mm EST $1,000 — $2,500

10 PAT HANLY Sleep 1982 acrylic on paper signed, dated and title inscribed 580 × 580mm EST $4,500 — $6,500 15

11 BETTY CURNOW Near Albany, Auckland 1982 oil and acrylic on canvasboard signed, dated and title inscribed 290 × 290mm EST $800 — $1,200

12 BETTY CURNOW Evening Near Waimate 1984 oil and acrylic on canvasboard signed, dated and title inscribed 290 × 290mm EST $800 — $1,200

13 BETTY CURNOW Ploughed Fields Near Geraldine 1984 oil and acrylic on canvasboard signed, dated and title inscribed 290 × 290mm EST $800 — $1,200

14 BETTY CURNOW Lindis Pass, Otago 1984 oil and acrylic on canvasboard signed, dated and title inscribed 290 × 290mm EST $800 — $1,200

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15 LOUISE HENDERSON Roses 1982 oil on canvas signed and dated 900 × 900mm EST $25,000 — $35,000

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16 TEUANE TIBBO untitled 1972 signed and dated 600 × 910mm EST $18,000 — $26,000

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17 ALAN TAYLOR In My Dreaming I saw Te Ika a Maui 1989 acrylic on board signed, dated and title inscribed 550 × 550mm EST $800 — $1,200

18 ALAN TAYLOR Fomison on the Manukau Harbour 1993 acrylic on canvasboard signed 495 × 650mm EST $500 — $1,500

19 PAT HANLY Pacific Hope 1984 screenprint on paper, 19/40 signed and dated 480 × 540mm EST $3,000 — $5,000

20 PAT HANLY Touches 1985 screenprint on paper, 20/25 signed, dated and title inscribed 490 × 670mm EST $3,000 — $5,000 19

21 BARRY BRICKELL untitled earthenware 550 × 440 × 320mm (widest points) EST $800 — $1,200

22 LEN CASTLE Branch Vase stoneware signed 330 × 260 × 110mm (widest points) EST $2,500 — $5,000

23 BRIAR GARDENER Wheku Head Vessel ceramic signed 140 × 220 × 220mm (widest points) EST $600 — $1,200 20

24 TREVOR MOFFITT Podding Peas 1981 oil on board signed and dated 560 × 580mm EST $10,000 — $15,000

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25 JEFF THOMSON untitled (Kete) corrugated iron 410 × 400 × 80mm (widest points) EST $1,000 — $2,000 26 KAWAI TAKEICHI Slab Vase stoneware 160 × 100 × 60mm (widest points) EST $800 — $1,400 27 LEN CASTLE Winged Hanging Vessel earthenware signed 230 × 285 × 750mm (widest points) EST $400 — $600 28 ROBYN STEWART Incised Vessel ceramic 370 × 350 × 350mm (widest points) EST $500 — $1,000

29 DONALD JACK Carved Blanket Box native timber 270 × 980 × 450mm EST $2,000 — $4,000 22

30 DONALD JACK Carved Trinket Box marine bone 420 × 120 × 80mm (widest points) EST $2,000 — $4,000

31 DONALD JACK Carved Trinket Box native timber 580 × 150 × 80mm (widest points) EST $2,000 — $4,000 23

33 LEN CASTLE Rectangular Dish stoneware signed 420 × 330 × 60mm EST $1,000 — $1,500 34 LEN CASTLE Circular Dish stoneware signed 420 × 420 × 100mm (widest points) EST $1,000 — $1,500 35 LEN CASTLE Vessel earthenware signed 951 × 100 × 100mm (widest points) EST $500 — $1,000 32 NIGEL BROWN Human Bridge 1985-86 oil on board signed, dated and title inscribed 1200 × 900mm EST $15,000 — $20,000

36 LEN CASTLE Vessel earthenware signed 135 × 130 130mm (widest points) EST $500 — $1,000 37 LEN CASTLE Two Crucibles earthenware signed 30 × 70 × 70mm; 30 × 60 × 60mm (widest points) EST $500 — $1,000

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38 MARGARET LAWLOR-BARTLETT untitled 1984 graphite and collage on paper signed and dated 750 × 640mm EST $500 — $1,000 25

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“When I moved in I was too afraid to hang my pictures, the place was so pristine, but in the end this house gave me the freedom, it encouraged me to be an arty person, it liberated my thinking.”1

Genevieve Becroft quoted by Douglas LloydJenkins in a New Zealand Herald article about the Becroft House in July 2003.

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Pat Hanly Anything Could Happen In 1962, Christchurch-trained painter Pat Hanly returned to Aotearoa after four years in Europe.

The trip home was intended only as a stop-gap before immigrating to Australia, where he knew “there were lots of painters, about the same age, who were doing things.”1 However, in Tāmaki Makaurau Auckland he found an unexpectedly vibrant art scene and formed connections with figures such as Hamish Keith and Peter Tomory at Auckland City Art Gallery, as well as artists Colin McCahon, Toss Woollaston and John Drawbridge.

Hanly and his family, including his wife, acclaimed photographer Gil Hanly, ended up staying in Tāmaki until his death in 2004.

Just a few years after his return, Hanly experienced an artistic crisis that led him to destroy most of his abstract Pacific Icons series – a collection of works reminiscent of his monumental airport mural, Prelude to a Journey (1977), which has since been divided into panels and distributed to various art galleries across the country.

He then embarked on a radical experiment of painting in the dark, blacking out his Grafton studio and blindfolding himself in an 32

by Lucinda Bennett

effort to unlearn what he’d learnt at art school, to excavate a more intuitive approach to painting and reinvigorate his practice.

For a renowned colourist known for paintings infused with light – especially the celebrated Figures in Light series, created just before this period, when he had returned home and become newly attuned to the intensity of light in Aotearoa – this decision seemed paradoxical.

What energy could Hanly possibly discover in the dark?

Writing in his notebook at the time, Hanly described the experience: Eventually, intuitive actions with pencil and paints etc. began to happen in amongst the traditional jungle that had a natural rightness. And these marks continued creeping into the darkness, into the suggested void which I now knew as existing in huge vastness where anything could happen, and where it could only happen. 2 Back in the light, Hanly’s practice bloomed anew. In conversation with Hamish Keith, he explained how, after the darkness, everything

39 PAT HANLY untitled (Self Portrait) 1973 enamel board signed and dated 370 × 340mm EST $40,000 — $60,000

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he painted was connected, part of the same expansive project, the same swirl of experience. Gardens, flowers, tamarillos, the sun, the sea, boats, kites, stars, figures alone, figures embracing; there was no hierarchy among these objects, “everything had its own importance, its own incredible and meaningful reality, so anything you turned to, that whetted your visual appetite, you could develop. There was no image at the end.

It was a continuing process, an expanding one, always opening out.”3 The works made in the ensuing decades, including the Golden Age and Torso series (from which Doing It [1988] and White Model Torso [1978] originate), are among Hanly’s most iconic, their apparent joyfulness and spontaneity belying their origins in a darkened Grafton studio. * At the centre of Doing It (1988) is the silhouette of a woman, her edges glowing white, hair streaming behind her as though caught in a strong wind. She is in motion, one foot off the ground, one arm swinging out behind her while the other reaches forward and upward, fingers splayed as though reaching – but what for? While her form is opaque black, some parts of her body have been painted over in vibrant hues: her arms, down to the fingertips, are fiery orange, as are her legs right down the centre, into each toe of her uplifted foot. Green paint, the colour of bronze patina, clings to her abdomen. Up close, you can glimpse orange, yellow and white through the black and white claw of her windblown hair. Abstract forms bloom in the twilight space around her; a diaphanous yellow miasma spreads like wings behind her shoulders; a splattered, blueringed island floats around her belly and lower back. A vaguely ominous dark-green shape almost touches her. It is hard to say whether these shapes emanate from or float around her body – does she share space with these abstract forms, is she one of them? Her lips are pursed with purpose, her posture controlled. Even the childlike scratch of her single eye seems narrowed in concentration. Whatever ‘it’ is, she is doing it.

In White Model Torso (1978), the paint is doing it. Lines are not random or chaotic, but they are alive, gestural, recalling the dynamism of the action paintings of American abstract expressionist Jackson Pollock.

Yet unlike Pollock, Hanly delineates a form, a body suggested through a series of careful dribbles and less careful splatters; this one forms the curve of a waist, this one the angled crease of an arm. Two pale-blue splotches for nipples, four red daubs that could be red-painted nails or bloody fingerprints. Look too long or too closely and the body dissolves 34

40 PAT HANLY Doing It 1988 enamel on board signed, dated and title inscribed 1190 × 1190mm EST $200,000 — $300,000 Hamish Keith and Pat Hanly, “Patrick Hanly: A Conversation,” Art New Zealand 14, Summer 1979–80, https://artnewzealand.com/14-hanly/ 2 Ibid.

3 Ibid.

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LITERATURE

Gregory O'Brien, Pat Hanly, (Auckland: Ron Sang Publications, 2012), 225.

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into abstraction, not a pattern so much as an arrangement of shapes and colours that oscillates between resemblance and nonsense, like plasticine in a child’s hands, like clouds scudding across the sky. Throughout his career, Hanly returned repeatedly to the female form – so much so that in 1988 he mounted a survey titled Women by Hanly, although to contemporary audiences this title is something of a misnomer: as the Torso paintings suggest, Hanly’s tendency was to employ the female form as a formal device, a series of voluptuous lines loaded with symbolic potential rather than attempts to capture the essence of specific women in his life.

Next to Doing It and White Model Torso, Self Portrait (1973) may seem murky, severe and ironically less Hanly-esque, despite depicting the man himself. Hanly has painted his own profile in confident shades of red over a pale mustard ground, his head tilted slightly back to emphasise a beak-like nose that traces back to become his brow. I cannot help but think ‘Roman nose’ as I gaze at it – in ancient Rome, an aquiline nose was considered a sign of strength and nobility, with coins featuring emperors sometimes exaggerating the nose to emphasise the ruler’s power.

As a painter very much attuned to the subtleties of bodies in repose, Hanly likely emphasised his nose on purpose – yet so often people cannot really see themselves, or see past the end of their own nose. Perhaps this is why the majority of Hanly’s self-portraits are far less easily identifiable as Hanly, taking the form of anonymous silhouettes posed against various backgrounds, titled unconventionally not as selfportraits, but with different versions of the question – who am I?

41 PAT HANLY White Model Torso 1978 enamel on board signed, dated and title inscribed 710 × 550mm EST $90,000 — $120,000

Perhaps it is as Hanly wrote, that even for such an avid painter of the human condition, there is no answer to that question, no image at the end, only the continuation of a practice, of looking and seeing more, always opening out.

LITERATURE

Gregory O'Brien, Pat Hanly, (Auckland: Ron Sang Publications, 2012), 200.

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Installation of sculptures by Dave McCracken and Greer Twiss into the Becrofts' garden.

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42 BARRY LETT Bird in Flight found stones on cement; metal 450 × 1600 × 700mm (widest points, excluding pole) EST $10,000 — $16,000

43 BRONWYNNE CORNISH untitled bronze 770 × 270 × 280mm (widest points) EST $3,000 — $5,000 42

44 SOPHIA ATHENEOU untitled glass and metal 1800 × 300 × 300mm (widest points) EST $1,000 — $3,000

45 ARTIST UNKNOWN untitled steel and timber 450 × 970 × 670mm (widest points) EST $2,500 — $5,500

46 LYNDON SMITH Hurdler bronze 1100 × 900 × 500mm (widest points) EST $3,000 — $5,000

47 DAWN PEARCE untitled bronze 2000 × 1200 × 1200mm (widest points) EST $1,500 — $3,000 43

48 GREER TWISS Albatross in Flight welded aluminium 2500 × 4000 × 2000mm (widest points) EST $18,000 — $26,000

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49 GREER TWISS Three Feeders bronze 280 × 280 × 240mm (widest points) EST $3,000 — $6,000

50 CHRISTINE HELLYAR Garotte bronze 1240 × 530 × 640mm (widest points) EST $8,000 — $12,000

51 MARTÉ SZIRMAY Intricate Contemplation steel 500 × 500 × 500mm (widest points) EST $3,000 — $6,000 45

52 DAVE MCCRACKEN untitled stainless steel 1200 × 1200mm (widest points) 46 EST $20,000 — $30,000

53 SALLY TAGG Pollen Hybrid glass and metal 950 × 950 × 950mm (widest points) EST $1,500 — $3,500

54 PHIL NEARY untitled wood; cast metal 2550 × 1200 × 1200mm (widest points) EST $2,000 — $4,000

55 BILL HAYES untitled bronze 800 × 575 × 575mm (widest points) EST $2,000 — $4,000

56 DION HITCHENS untitled woven metal tubing 2200 × 500 × 500mm (widest points) EST $4,000 — $7,000 47

57 PAMELA HOWARD-SMITH untitled aluminium 1800 × 900 × 500mm (widest points) EST $3,000 — $5,000

58 IOSEFA LEO Mother and Child composite stone 580 × 500 × 480mm (widest points) EST $1,200 — $2,200

59 BARRY BRICKELL untitled earthenware 900 × 500 × 450mm (widest points) EST $5,000 — $8,000

60 JEFF SCHOLES untitled paua and earthenware 450 × 210 × 300mm (widest points) EST $1,500 — $2,500

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61 BARRY BRICKELL untitled earthenware 950 × 250 × 250mm (widest points) EST $5,000 — $8,000

62 JOHN EDGAR The Eel stone and marble 1500 × 350 × 350mm (widest points, base inclusive) EST $12,000 — $16,000 49

63 ARTIST UNKNOWN untitled glazed ceramic 1400 × 250 × 250mm (widest points) EST $2,000 — $4,000

64 BILL HAYES Gymnast (Handstand) bronze wire; wood 1350 × 300 × 250mm (widest points; excluding base) EST $1,000 — $2,000

65 GILLIAN ELMSLIE Flow stone 400 × 350 × 120mm (widest points) EST $300 — $500

66 PAORA TOI TE RANGIUAIA untitled bronze 490 × 520mm (widest points; each) EST $2,000 — $5,000

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67 SAM IRELAND untitled (from the Pack of Beasts series) stainless steel and recycled plastic 800 × 1500 × 300mm (widest points) EST $800 — $2,000

68 JEFF THOMSON untitled screenprint on corrugated iron 750 × 2400 × 750mm (widest points) EST $7,000 — $14,000 51

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BARRY LETT untitled acrylic on wood 1100 × 570mm (widest points) EST $3,000 — $6,000

70 ARTIST UNKNOWN Integrare bronze 1750 × 350mm (widest points) EST $1,500 — $3,000

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71 DUGALD PAGE Stravinski Firebird acrylic on timber and aluminum 650 × 650mm (widest points) EST $200 — $400

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SHEYNE TUFFERY SFM#1 2006 woodcut on paper signed, dated and title inscribed 670 × 480mm EST $400 — $800

73 BILL HAYES Torso Study NZ 2006 bronze signed, dated and title incised 480 × 290 × 255mm (widest points) EST $1,500 — $2,500 75 LYNDON SMITH Mother and Child bronze 320 × 200 × 150mm (widest points) EST $1,000 — $3,000

74 BILL HAYES untitled acrylic on bronze 200 × 200 × 100mm (widest points) EST $500 — $1,000 76 JONATHAN CAMPBELL Lot #6 2006 bronze signed, dated and title incised 205 × 390 × 515mm (widest points) EST $1,500 — $2,500 53

77 MAYLON BOUZAID Changing Tide 1989 acrylic on board signed, dated and title inscribed 890 × 780mm EST $1,000 — $2,000

80 SYLVIA SIDDELL Romertopf 1986 graphite on paper signed and dated 590 × 350mm EST $300 — $600 54

78 JOHN PAPAS Arabesque acrylic on ceramic on board signed and title inscribed 740 × 570mm (widest points) EST $700 — $1,300

81 KEITH PATTERSON Gull 1960 gouache on paper signed and dated 500 × 300mm EST $400 — $600

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MAYLON BOUZAID Towards the Mokohinaus 2003 acrylic on canvas signed, dated and title inscribed 1520 × 1380mm EST $1,000 — $2,500

82 ALEXIS HUNTER Hormone 4 1998 ink on paper signed, dated and title inscribed 360 × 220mm EST $300 — $900

83 HELEN BROWN untitled watercolour and graphite on paper signed 250 × 360mm EST $400 — $600

86 PAT HANLY untitled 1974 graphite on paper signed and dated 230 × 290mm EST $3,000 — $5,000

84 MINNIE WHITE Portland Road, Remuera watercolour on paper signed 375 × 480mm EST $400 — $600

85 MINNIE WHITE untitled acrylic on board signed 400 × 500mm EST $1,200 — $3,200

87 FRANCES ELLIS untitled watercolour on paper signed 260 × 350mm EST $2,000 — $4,000 55

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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.

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arranged by Webb’s).

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2.

Webb’s Auctions as Agent

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3.

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3.1.

Examination of Property Prospective Buyers are strongly advised to examine in person any property in which they are interested before the Auction takes place. Neither Webb’s nor the Seller provides any guarantee in relation to the nature of the property apart from the Limited warranty in the paragraph below.

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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.

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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 $5,000 $50,000 – $100,000 $10,000 $100,000–$200,000 $20,000 $200,000–$500,000 $50,000 $500,000–$1,000,000 Absentee bids must follow these increments and any bids that don’t follow the steps will be rounded up to the nearest acceptable bid.

5.

After the Sale

5.1.

Buyers Premium In addition to the hammer price, the buyer agrees to pay to Webb’s the buyer’s premium. The buyer’s premium is 19.5% of the hammer price plus GST. (Goods and Services Tax) where applicable.

5.2.

Payment and Passing of Title The buyer must pay the full amount due (comprising the hammer price, buyer’s premium and any applicable taxes and GST) not later than 2 days after the auction date.

The buyer will not acquire title to the lot until Webb’s receives full payment in cleared funds, and no goods under any circumstances will be released without confirmation of cleared funds received.

This applies even if the buyer wishes to send items overseas.

Payment can be made by direct transfer, cash (not exceeding NZD$5,000, if wishing to pay more than NZD$5,000 then this must be deposited directly into

57

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.

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.

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.

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.

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.

58

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.

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.

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

59

Index

A Albrecht, Gretchen Atheneou, Sophia

I 12 43

B Binney, Don Bouzard, Maylon Brickell, Barry Brown, Helen Brown, Nigel

13 54 20, 48, 49 55 24

C Campbell, Jonathan Castle, Len Cornish, Bronwynne Curnow, Betty

53 20, 22, 25 42 16

E Edgar, John Ellis, Frances Ellis, Robert Elsmlie, Gillian

49 55 14, 15 50

G Gardener, Briar

20

H Hanly, Pat 12, 15, 19, 33, 35, 36, 55 Hayes, Bill 47, 50, 53 Hellyar, Christine 45 Henderson, Louise 17 Hitchens, Dion 47 Howard-Smith, Pamela 48 Hunter, Alexis 15, 54

60

Ireland, Sam

T 51

J Jack, Donald

22, 23

L Lawlor-Bartlett, Margaret Leo, Iosefa Lett, Barry

25 48 42, 52

M McCracken, Dave Moffitt, Trevor

46 21

47

P Page, Dugald Papas, John Patterson, Keith Pearce, Dawn

52 54 54 43

S Scholes, Jeff Siddell, Sylvia Smith, Christine Smith, Lyndon Stewart, Robyn Szirmay, Marté

48 54 15 43, 53 22 45

46 22 19 22, 51 18 50 13 52 44, 45

W White, Minnie

N Neary, Phil

Tagg, Sally Takeichi, Kawai Taylor, Alan Thomson, Jeff Tibbo, Teuane Toi Te Rangiuaia, Paora Tuffery, Michel Tuffery, Sheyne Twiss, Greer

55

33a Normanby Rd Mount Eden Auckland 1024 23 Marion St Te Aro Wellington 6011 webbs.co.nz