Bank of New Zealand Art Collection, September 2022

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King’s is opportunity

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DESIGN HIGHLIGHT

Leda Armchair-Sculpture © Salvador Dalí, Fundació Gala-Salvador Dalí, Barcelona Depicted in Dali’s painting “Femme à Tête de Roses (1935)” this furniture sculpture was recreated as a three dimensional piece, 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 indeed sit on the Leda, but due to the fact that it has only three high heeled legs and that the chair, being made of solid brass, is heavy, it is more a work of art than a functional piece of furniture. Available to order at Matisse, POA. Auckland 99 The Strand, Parnell +64 9 302 2284 Christchurch 27 Papanui Rd, Merivale +64 3 366 0623 Queenstown 179a Glenda Drive +64 21 246 9980

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Lalique: Single-vendor Sale Shatters Records

Ben Erren Director of Decorative Arts ben@webbs.co.nz +64 21 191 9660 Leah Morris Specialist, Decorative Arts leah@webbs.co.nz +64 22 574 5699

Webb's

From historical material culture to earlyEuropean antiques, mid-20th century modernist design to the all-encompassing variety of popculture pieces, the Webb’s Decorative Arts department hosts an array of auctions brimming with eclectic and highly-specified items.

At Webb's, we are seeing the market for decorative arts continue to grow with no signs of slowing down with the consistent achievement of excellent results for our diverse auctions.

High returns are seen across our department as clients and both seasoned and emerging collectors look to the secondary market to sell and acquire unique pieces. This was particularly evident in the exceptionally successful à la poursuite de la beauté: The Jack C. Richards Collection of Lalique Glass. The single-vendor live sale saw glass works by French Art Nouveau designer René Lalique reach new heights with new records set for individual pieces. One such, Palestre (Palaestra), with the high estimate of $35,000, reached the unfathomable height

2022

of $73,455. The sale was the finest singleowner decorative arts auction ever offered in New Zealand. Fervent international interest and sensational figures attest to this; at over $1 million, the sale total surpassed its estimated value by 170%. À la poursuite de la beauté: The Jack C. Richards Collection of Lalique Glass now holds the Australasian record for a Lalique collection.

Earlier in the year, we saw success for niche items such as a complete set of the three official publications of Cook’s Voyages in First Editions that sold for a breath-taking total of $133,403 and the sale of Campana Brothers 'Celia' Dining Suite achieving $28,440.

Our team of Decorative Arts specialists has a breadth of knowledge and sector experience, including handling estates, sourcing and selling vintage, antique and specialty pieces such as ceramics, artefacts and taonga. If you are considering bringing your decorative arts items to market, please contact our specialist team.

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Acceleration of Collectors’ Cars

Webb’s held its first Collectors' Cars auction in November 1990. In the decades since, our Collectors' Cars department has evolved into a mainstay of the secondary market for luxury and collectible vehicles. All areas of our business outperform the market, though our Collectors' Cars department is truly peerless. We source, market, and sell the finest vehicles in New Zealand with a level of expertise and marketing flair that none can match. With unparalleled industry knowledge, we are here to offer our services.

The market for collectors' cars has surged recently, with top prices paid for rare examples in good condition. The market growth is evident in the success of our auctions. Recent highlights include contemporary and classic collectors’ cars such as the 2002 Ferrari 550 Barchetta, which realised a price of $430,500,

the 1998 Aston Martin Vantage V600 achieving $454,725, the 1960 Jaguar XK150, which sold for $278,750, and the 1973 Porsche 911S Targa 2.4S reaching $328,500.

We are interested in consigning quality collectible vehicles from reputable European marques including, but not limited to, Jaguar, Porsche, Ferrari, Mercedes, Maserati and RollsRoyce. We also seek American, Australian and British classics, Mustang, Cadillac, Ford, MG and Land Rover.

Our experience and expertise in classic car auctions are unsurpassed in New Zealand.

The Collectors' Cars team of professionals are available for complimentary auction appraisals of classic, collectable, and vintage motors.

Should you wish to discuss selling your vehicle, please contact our specialist team.

Caolán McAleer Head of Collectors’ Cars, Motorcycles & Single Owner Collections caolan@webbs.co.nz +64 27 929 5603 Ian Nott Specialist, Cars, Motorcycles & Automobilia ian@webbs.co.nz +64 21 610 911

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SHOWROOM 5 NEWTON ROAD, GREY LYNN

M E A D O W L A R K . C O. NZ

Webb's Wellington: Making Waves in the Capital

à la poursuite de la beauté: The Jack C. Richards Collection of Lalique Glass, installation view in Wellington.

Centred in the thriving artistic and cultural environment of Wellington’s central city, Webb’s Wellington gallery is open six days a week. Located at 23 Marion Street, the premises features a 450 square metre state-of-the-art gallery space, private meeting and viewing rooms, and secure storage facilities. This magnificent space has been designed by award–winning interior designer Rufus Knight.

The Wellington gallery offers an extension of Webb’s services as well as a collaborative space for the company to engage with the capital's arts and culture community. Earlier in the year, Webb’s worked with art writer and curator Robert Leonard to present his curated project, John Lethbridge: Divination Performance Photographs 1978-82.

The space is an excellent exhibition platform allowing Webb’s to showcase the latest auction catalogues to its nation-wide client base. In June, Webb’s launched Goods and Services: Modern and Contemporary Art from a Private Collection to celebrate the sites grand opening. With this event, the space came into its own as a premier Wellington venue for showcasing modern and contemporary art. Goods and Services presented a single-vendor collection of notable artworks from some of

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New Zealand’s most distinguished artists.

In July, the company continued its trend of championing single-vendor collections by previewing and exhibiting highlights from à la poursuite de la beauté: The Jack C. Richards Collection of Lalique Glass. The catalogue presented a range of the finest glassware by leading Art Nouveau designer, René Lalique. The remarkable 20th century glassware on display featured varied design motifs; many inspired by antiquity and Japonisme, and adorned with intricate impressions of flora and fauna. Over many decades, this exquisite selection was collected by world–renowned educator and linguist Dr. Jack C. Richards. By selecting pieces from around the world, Richards assembled one of the finest Lalique collections in the world.

Looking forward, the Wellington gallery is primed and ready to exhibit showstopping pieces from upcoming auctions, including those from this catalogue and the Bank of New Zealand Art Collection catalogue. Come by and visit to see the latest exhibitions. Webb’s offer obligationfree appraisal services in Wellington across all aspects of the business. Our Wellington team would love to hear from you.

wellington Mark Hutchins-Pond Specialist, Art mark@webbs.co.nz +64 4 555 6001 Karen Rigby Business Manager karen@webbs.co.nz +64 22 344 5610

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The Cellar: Home to the Finest Champagne

The Cellar contains an incredible selection of world–leading fine wines and speciality spirits. Nestled in Webb’s Mount Eden gallery, this in–house retail store presents some of the best Champagne in the world. From our strong relationships with producing houses, distributors, and private consignors, we have sourced a curated selection of the rarest vintages ready for you to take home and enjoy. At The Cellar, our recently appointed Head of Champagne & Retail Rémy Jaboulet is here to help, offering his recommendations and expertise.

Rémy brings an extraordinary international pedigree to the Webb’s team. Born in France’s Rhône Valley and raised in the majestic region of Bordeaux, viticulture is in his DNA. Along with his international appointments, Rémy has proudly served as the Champagne & Cognac ambassador for GH Mumm, Perrier– Jouët, and Martell in New Zealand. He was also the face of Mumm Champagne for the 36th America’s Cup in Auckland in 2021.

At The Cellar, we provide the elite service of sourcing the highest quality Champagnes in the world. We have reliable classics such as Bollinger and Dom Perignon available. Additionally, to

satiate your desire for discovery, Rémy recommends our excellent grower’s Champagnes, such as the Maison André Clouet. Their ‘Grande Réserve’ or the ‘V6’ are all Blanc de Noirs from the Grand Cru of Bouzy, with a low dosage and aged respectively for three to six years. In Rémy’s opinion, it is the most authentic expression of its terroir.

Alongside these offerings, The Cellar brings you the oncein-a-lifetime opportunity to purchase what we believe to be the last Magnum of 2002 Krug Clos d’Ambonnay for sale in New Zealand.

Rémy tells us that scarce quantities of the very best vintage of this century were produced, especially in large format. This Magnum of Krug Clos d’Ambonnay is almost impossible to find globally today.

You can be one of the very few owners in the world for $10,000.

Come by and visit Rémy at 33a Normanby Road. He is available from 9am – 5.30pm, Monday to Friday, to assist with any sales inquiries. The Cellar is your home of beverage indulgence and experience. With seasonal tasting events and expert assistance, look no further for the most exquisite fine wines and speciality spirits.

Rémy Jaboulet Head of Champagne & Retail remy@webbs.co.nz +64 22 539 7613

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Webb’s Contributes to Conservation at Te Papa

Earlier this year, Webb’s collaborated with the Te Papa Foundation to enable a key equipment purchase. Thanks to a donation of $50,000 by Webb’s, the foundation was able to acquire a new stereo-microscope and specialist camera attachment for Te Papa Tongarewa.

The foundation had a long set fundraising goal to make this acquisition, and this contribution

by Webb’s made it possible.

The acquisition has been exciting for the team at Webb’s, allowing us to directly engage with the preservation of art and the wider community. According to Webb’s Managing Director, Paul Evans, this is core to Webb’s corporate practice. “This acquisition aligns well with Webb’s company values and philanthropic goals,” he said.

The stereo-microscope is the main tool for analysing the paintings in Te Papa’s national collection of art. With this microscope, Te Papa’s art conservators are able to discern individual layers that are not visible to the eye. This allows insight into the paints that were used during the painting process, where the artist changed subject matter, and how the painting has been previously affected by its environment. The microscope will allow Te Papa’s art conservators to selectively tailor conservation treatments to each layer in every painting. The enduring impact of the microscope is that it will extend the reach of Te Papa’s wider conservation team’s work, enabling them to record and share observations of works of art with the wider community.

The imaging capability of the new microscope will allow Te Papa’s significant collection to be shared in new ways with colleagues, historians, academics, artists and those curious members of the public who look at a work of art and wish they knew more. The microscope will enable an excellent step forward in art conservation at Te Papa, which we are proud to support. We look forward to continuing to work with our national museum in the future.

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Rita Angus, Central Otago, 195356/1969, oil on canvas, 523 × 635mm.

Collection of Te Papa Tongarewa

Paul Evans Managing Director paul@webbs.co.nz +64 21 866 000 Charles Ninow Director of Art charles@webbs.co.nz +64 21 053 6504

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MAKING ROOM FOR FRESH VOICES, UNTOLD NARRATIVES AND DISRUPTIVE IDEAS. Image: Louisa Afoa Blue Clam (detail) 2018. Photograph. Collection of Christchurch Art Gallery Te Puna o Waiwhetū, purchased 2021

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By the river Long regarded as one of the world’s most revered and inspirational luxury retreats, Huka Lodge is set along the banks of the Waikato River in the heart of New Zealand’s North Island.

By day, tee off on world-class golf courses, fish gin-clear waters for wild trout, cruise sparkling Lake Taupō or wander to nearby Huka Falls. Back at the lodge there’s time to cocoon in suites layered with luxury, to dine on exceptional cuisine and to revel in service fit for a queen. +64 7 378 5791 | hukalodge.com | @hukalodge

Webb's Valuations

Established in 1976, Webb’s has a long and rich history of valuing New Zealand’s finest art and luxury collectibles. Valuations have been a core aspect of our business from the beginning, and over the decades Webb’s has successfwully completed valuations for countless astute collectors and public institutions.

Collectors, institutions, and insurers trust Webb’s valuations because we are independent and highly experienced.

Webb’s has a range of departments, and the specialist experience to value all manner of objects. Webb’s departments include Art, Decorative & Asian Arts, Fine Wines & Whiskies, Fine Jewels, Watches & Luxury Accessories, and Collectors’ Cars, Motorcycles & Automobilia.

As you may be aware, the past two years have seen significant increases in the value of cultural assets across the board. This boom has swiftly altered the value of artworks. Right now, more than ever, it is important update your valuation.

Our goal is to make it easier for you to place an accurate value on your specialist assets in order to accurately manage risk.

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

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Selected Highlights from This Year

Robin White Michael at Julie's Place watercolour on paper 650 x 500mm price realised $116,304

Rita Angus Lake Wanaka watercolour on paper 230 x 290mm price realised $116,304

Bill Hammond And the Seven Seas acrylic on canvas 910 x 1510mm price realised $485,100

Colin McCahon Small Landscape oil on board 535 x 410mm price realised $159,153

Michael Smither Rockpools oil on board 890 x 675mm price realised $145,530

Frances Hodgkins Pansies in a Vase watercolour on paper 229 x 279mm price realised $72,765

Philip Clarimont Country Carnival Carnivore oil on jute 1445 x 915mm price realised $224,359

Gretchen Albrecht Threefold acrylic on canvas 1820 x 1210mm price realised $127,339

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The Intrepid Hotel

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Top Shelf: Fine Wines & Specialty Spirits

Webb's Fine Wines & Whiskies department has led the New Zealand auction market since the early 1980s. We offer clients the opportunity to buy and sell a wide range of wines and speciality spirits through our live, online, buy now and retail platforms. We also provide advice on cellar management and recommendations on wines and speciality spirits for building and maintaining a collection.

The demand for fine wines has increased substantially in the last 18 months, with prices soaring for rare bottles and vintages. Our recent sale of an original wooden case of 1996 Penfolds Grange achieved the price of $11,376, exceeding its high estimate of $800 per bottle.

This is no different for whiskies with Laphroaig as a star that shone brightly in the sale of a 1940s bottle of Single Malt Whisky that realised a total of $42,660.

Our Fine Wines & Whiskies department is seeking consignments of notable labels and rare vintages. Ever-popular wines include those from Bordeaux, Burgundy, Champagne, Rhone, and iconic wines from New Zealand, Australia, Italy and Spain. Whiskies and rare spirits from Scotland and Japan are sought-after such as the Macallan, Springbank and Hibiki.

For our consignors, we will maximise the value of your wine and whiskies through private sales or at auction. Once consigned, we can ship your wine to our temperature-controlled cellar, where it will be complimentarily stored.

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Webb’s takes pride in providing our purchasers with the highest quality products and services.

All wines offered are carefully inspected by our experienced specialists, enabling us to provide information on condition and provenance.

Our specialist team offer free and confidential valuations for everything from a single bottle to an entire cellar. Contact our specialist team for advice on selling, buying or valuing your wine and spirits.

Marcus Atkinson DipWSET Head of Fine Wines & Whiskies marcus@webbs.co.nz +64 27 929 5601 Marshell Wan Specialist, Fine Wines & Whiskies marshell@webbs.co.nz +64 22 061 5612

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Coveted Adornments: Fine Jewels, Watches & Luxury Accessories

Webb’s is at the forefront of the auction market as demand for luxury items increases. Whether through live auction or private sales, Webb’s offers a unique and effective method of buying and selling jewellery, watches and luxury accessories at a range of price points to suit the needs of every collector and enthusiast.

Across the market, we are seeing dazzling adornments continue to climb in popularity and price. This was exemplified in the sale of the 18ct Chopard Happy Diamonds Collier that achieved $14,998 and the 18ct Cartier Love Ring selling for $3,061 - above its high estimate of $2,000.

However, the Omega Speedmaster Cal. 321 Ultraman wristwatch steals the spotlight of an excellent price released for a luxury accessory.

A classic from 1968, the Speedmaster sold for the spectacular price of $77,617.

Demand for high quality leather pieces is steadily growing on the secondary market, as we have seen with the sale of a Hermès Birkin 30 bag in Rose Togo leather selling for a deserving but staggering total of $29,995.

Webb’s Fine Jewels, Watches & Luxury Accessories are always seeking items like the Birkin and luxury accessories in all wonderous forms from international Maisons Louis Vuitton, Givenchy, Bulgari, Cartier, Prada, Gucci, Burberry, Chanel, and Christian Dior. All are tremendously desired.

With a team of refined expertise in gemology and fine watches, Webb’s Fine Jewels Watches & Luxury Accessories department is here to help you buy and sell your luxury items.

If you are considering bringing your pieces to market, please contact our specialist team.

Christine Power AJP (GIA) Head of Fine Jewels, Watches & Luxury Accessories christinep@webbs.co.nz +64 27 929 5607

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Coming soon Register your interest at shellybaytaikuru.co.nz

Webb's is delighted to announce that The Bank of New Zealand Art Collection catalogue is now available to order.

Co-edited by Hamish Coney, Robert Leonard and Julian McKinnon, this sumptuous, hardcover publication features stunning photographs and rich editorial content from leading New Zealand art writers, curators and art historians, including Peter Simpson, Jill Trevelyan, Tina Barton, Ian Wedde, Linda Tyler, Martin Edmond, Paula Morris and Leonard Bell.

It contains the full catalogue of artworks to be auctioned by Webb’s in partnership with BNZ. At 214 x 279mm, with a spine over 26mm, it contains more than 350 pages of bespoke content, including stunning photographic material that captures works from the collection at their finest. Printed on superior paper stocks, this is a limited edition publication that will enhance the bookshelf of art lovers across the nation.

Order Now $65 webbsboutique.com

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Colophon

Publishing Details printer Crucial Colour 24 Fairfax Avenue Penrose Auckland 1061

Edition of 6,000 Offset printed, 128 pages 120gsm Laser Uncoated 150gsm Matt Art

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

Publishing Contacts head office Paul Evans Managing Director paul@webbs.co.nz +64 21 866 000

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

advertising + pr

creative direction

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

Olivia Woodgate Head of Creative design@webbs.co.nz +64 9 529 5604

Harry Goldie Design & Marketing Assistant marketing@webbs.co.nz +64 9 529 5604

Art Department auckland

wellington

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

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

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

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

Mark Hutchins-Pond Specialist, Art mark@webbs.co.nz +64 4 555 6001

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

Lucinda Brown Cataloguer, Art lucinda@webbs.co.nz +64 9 529 5609

Hannah Crichton Registrar, Art registrar@webbs.co.nz +64 9 529 5609

Olivia Taylor Editor & Copywriter editor@webbs.co.nz +64 9 529 5600

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

Connie Dwyer Registrar, Art connie@webbs.co.nz +64 9 529 5609

Jo Bragg Administrator, Art art@webbs.co.nz +64 9 529 5609

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Contents

Programme 60 Introduction 62 Plates 73 Catalogue 105

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Part I

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Part II

110

Terms & Conditions

121

Index of Artists

125

Absentee Bid Form

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Part I

christchurch preview Wednesday 17 August

6pm – 8pm

christchurch viewing Thursday 18 – Friday 19 August Saturday 20 – Sunday 21 August

10am – 5pm 10am – 4pm

wellington preview Thursday 25 August

6pm – 8pm

wellington viewing Friday 26 August Saturday 27 – Sunday 28 August Monday 29 August – Friday 2 September Saturday 3 September

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

auckland preview Wednesday 7 September

6pm – 8pm

auckland viewing Thursday 8 – Friday 9 September Saturday 10 – Sunday 11 September Monday 12 – Friday 16 September Saturday 17 September

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

auckland viewing on request Sunday 18 September

10am – 1pm

auction Sunday 18 September

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Part I

wellington preview Thursday 8 September

6pm – 8pm

wellington viewing Friday 9 September Saturday 10 – Sunday 11 September Monday 12 – Friday 16 September Saturday 17 September

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

auckland preview Wednesday 21 September

6pm – 8pm

auckland viewing Thursday 22 – Friday 23 September Saturday 24 – Sunday 25 September Monday 26 September

10am – 5pm 10am – 4pm 10am – 5pm

auckland viewing on request Tuesday 27 September

10am – 5pm

auction Tuesday 27 September

6.30pm

auckland 33a Normanby Rd Mount Eden Auckland 1024 wellington 23 Marion Street Te Aro Wellington 6011 christchurch viewing location CoCA 66 Gloucester St Christchurch Central City Christchurch 8013

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Introduction

The collection in situ: Ian Scott, Fly-Away Girl, 1969–70, from the BNZ Archive.

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The Bank of New Zealand Art Collection has a long history as one of New Zealand’s most significant corporate art collections.

Established in 1982, it was developed under the stewardship of legendary art dealer, Peter McLeavey. This collection is a storehouse of artistic treasures; it contains works that are among the most important ever created in this country, by many of the nation’s most revered artists including Colin McCahon, Rita Angus, Robin White, and Gordon Walters. Ensuring that these works pass into the hands of their new caretakers smoothly is a duty that requires considerable care. This is a responsibility that we have taken very seriously at every step here at Webb’s. We have taken every measure to ensure that these artworks are catalogued, transported, and exhibited with great care, as they make their way around New Zealand. By touring the collection to three centres, and releasing a wide range of video content exploring the artworks, we will ensure that it is available to the broadest possible audience throughout the country.

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One of the remarkable things about this collection is its depth. Along with key works by high profile artists, there is a mesmerising variety of high-quality art from across the spectrum of practice: the New Zealand landscape is captured in works by Leo Bensemann, Toss Woollaston, Brent Wong, Laurence Aberhart and many others; the international language of abstraction is spoken in works by Gretchen Albrecht, Milan Mrkusich, Geoff Thornley and Stephen Bambury; there is an extraordinary range of photographs of diverse subject matter by many of the nation’s finest photographers. Something that stands out on this last point is the inclusion of works by younger artists, for instance Fiona Pardington – who was in her twenties at the time the collection was assembled.

The Bank of New Zealand hired Peter McLeavey as its art advisor in 1982.

Under his advice, the bank then went about assembling the finest corporate art collection in this country’s history. Between 1982 and 1988, McLeavey purchased over five hundred works on behalf of the bank, most of which were works by modern and contemporary New Zealand artists. The collection included paintings, sculptures, artist’s prints, photographs, ceramics, weaving, and a small number of historical works. Until 1984, when the BNZ Centre opened, McLeavey was not acquiring works with a specific location in mind. But, from 1984 onward, he was able to match acquisitions with particular sites in the newly completed BNZ Centre on Willis St in Wellington’s CBD. The most important works were displayed Webb's

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The collection in situ: Colin McCahon, Is There Anything of Which One Can Say Look This Is New?, 1982, from the BNZ Archive.

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Peter Webb brings down the hammer on a Goldie, c1980, from the Webb's Archive.

Overleaf: Michael Smither, Sarah Cleaning Knives and Forks, 1969, from the BNZ Archive.

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on the top two levels of the tower, in the boardroom and senior executives’ offices.

But other areas of the building were not neglected. McLeavey wanted the collection to enhance the working environment of the bank’s employees and he relished installing contemporary works in spaces to arouse comment and discussion. This approach proved effective, winning over many of the office workers.

One guiding principle established

by McLeavey at the outset was that the collection should reflect New Zealand identity and contain works by a broad range of New Zealand artists. In acquiring works by young and emerging artists, the Bank of New Zealand Art Collection bolstered the local art community while amassing a collection of historical weight. Alongside astute acquisition of contemporary works, the collection also grew to represent earlier developments in New Zealand art. Works by figures such as Charles Tole and Evelyn Page were added. McLeavey explained his desire to explore the Bank's historical roots, reflected in the acquisition of mid-late nineteenth-century paintings of the New Zealand landscape by Nicholas Chevalier and Charles Blomfield. Though these paintings differ visually and contextually from the majority of the collection, they represent the dawn of New Zealand art history. In this, one can appreciate the scope, ambition and vision of a collection like no other.

McLeavey compiled a comprehensive collection that reflected the full spectrum of art practice in New Zealand at the time – even including works that sat outside of his own preferences and tastes. Acquisitions 66

were made from many sources, though many of the works were purchased from Webb’s, including Colin McCahon’s Kauri, Tony Fomison’s Icon of Fra Angelico No. 1, and Philip Clairmont’s Kidney Table. BNZ have been distinguished stewards of these works and have now created the opportunity for the next generation of custodians to take up the mantle of preserving and enjoying them.

There is so much about this collection that is fascinating. For one thing, it captures a unique window in time, offering a glimpse of the New Zealand art scene in the 1980s. This is a theme that many viewers of the work will interpret through their own memories. An intriguing fact about McCahon’s Kauri stands out.

The bank bought this work at auction at Webb’s – it was lot 1 of an auction that took place on May 30, 1984 – and the hammer came down at around $40,000.

This was a heavyweight price for that era, and it demonstrates that the bank were seriously investing in the collection, picking up important works with historic value.The fact of that acquisition, and a few others like it, helps demonstrate the bank’s rationale for building this collection.

It wasn’t a furnishing collection, nor was it assembled in the interests of speculative investment. This was a collection built with the intention of engaging with art of historic significance and enriching our cultural discourse. In that sense, it was an extraordinarily ambitious project, taken on by a banking institution that took its role in society seriously. This role is echoed in BNZ’s intended use of proceeds from the auction – to continue to support New Zealand communities.

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1 Letter to Peter McLeavey from Hamish McKenzie, Manager Change Management, 27 June 1997, Alexander Turnbull Library, Peter McLeavey Gallery Records, MS-Papers 12553-136.

2 Letter from Peter McLeavey to Hamish McKenzie, Manager Change Management, 25 July 1997, Alexander Turnbull Library, Peter McLeavey Gallery Records, MS-Papers 12553-136.

Marti Friedlander, Gordon Walters, Christchurch, 1978, image courtesy of Gerrard and Marti Friedlander Trust.

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September

It is fitting that these works have come full circle and returned to Webb’s. In June 1997, McLeavey received a letter from BNZ seeking his advice on the possible sale of the collection.1 McLeavey recommended its sale by auction. “I feel that the collection is best disposed of by auction,” he wrote.

“The Peter Webb Galleries, Auckland, would be my recommendation. They have the taste and organisation to mount a twoday sale with the required high quality catalogue.”2 The sale didn’t proceed then, though McLeavey’s recommendation now seems prophetic. These works will take on new meanings as they are added to public and private collections throughout the country – though the significance of their inclusion in the Bank of New Zealand Art Collection will be with them forever.

Bringing this collection to market is an extraordinary opportunity for Webb’s, and it has required an equally extraordinary effort. It has taken countless hours of work from a dedicated team of art handlers, registrars, logistics managers and technicians. This effort has been ably led by Webb’s talented art team, who have seen to it that this complex process has run like a dream. Webb’s wider team have also done an excellent job of bringing the campaign together. Their efforts have been vital to the realisation of this project.

Bringing the Bank of New Zealand Art Collection to auction is a crowning moment in the development of Webb’s.

It sits right up there with the most important milestones in the company’s history. This event has presented the company with a rare opportunity to reflect on who we 70

are and where we have come from – just as the works in the collection offer compelling insight into the development of art in this country.

Without doubt, this is a watershed moment for Webb’s and the New Zealand art market, and it is a pleasure to present art collectors with the extraordinarily rich offerings this collection contains.

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

Marti Friedlander, Rita Angus, 1970, image courtesy of the Gerrard and Marti Friedlander Charitable Trust.

Marti Friedlander, Allen Maddox and Philip Clairmont, Painters, Auckland, 1978, image courtesy of Gerrard and Marti Friedlander Trust.

Order the BNZ Book Now $65 webbsboutique.com

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Plates

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

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

wellington office Mark Hutchins-Pond Specialist, Art mark@webbs.co.nz +64 4 555 6001

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

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

Webb's

2022

Lucinda Brown Cataloguer, Art lucinda@webbs.co.nz +64 9 529 5609

73

Charles Tole, Kaisei Maru, 1967–75, oil on board, 460 × 580mm (lot 2).

Overleaf: Michael Smither, Sarah Cleaning Knives and Forks, 1969, oil on board, 890 × 600mm (lot 21).

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75

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76

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78

Gordon Walters, Makora, 1979, acrylic on canvas, 1530 × 1140mm (lot 43).

Overleaf: Gordon Walters, Black White Ochre No.1., 1985, gouache on paper, 755 × 570mm (lot 29); Gordon Walters, Makora, 1979, acrylic on canvas, 1530 × 1140mm (lot 43).

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79

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80

Webb's

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81

Gordon Walters, untitled, 1979, acrylic on canvas, 915 × 740mm (lot 30).

Overleaf: Ian Scott, Fly-Away Girl, 1969–70, oil on board, 1280 × 1690mm (lot 8); Brent Wong, Town Boundary, 1969, acrylic on board, 975 × 1220mm (lot 14)

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82

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83

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84

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85

Julian Dashper, Russian Cruise Ship, Princes Wharf, 1987, oil on canvas, 1470 × 1800mm (lot 17).

Overleaf: Philip Clairmont, Kidney Table, 1979, oil on jute, 1810 × 930mm (lot 24).

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86

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88

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89

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90

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Previous: Philip Clairmont, Still Life, 1982, acrylic, 1200 × 790mm (lot 48) Tony Fomison, The Fugitive, 1982–83, oil on jute on board, 1230 × 1830mm (lot 38).

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92

Milan Mrkusich, Painting Grey, 1976, acrylic on canvas, 1800 × 1727mm, (lot 32).

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94

Webb's

2022

95

Milan Mrkusich, Golden Centre with Two Elements, 1965–72, oil on canvas, 1170 × 1770mm, (lot 34).

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96

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97

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98

Milan Mrkusich, Painting 61 No 8, 1961, oil on canvas, 800 × 851mm, (lot 33).

Overleaf: Colin McCahon, O Let Us Weep, 1969, acrylic on board, 627 × 627mm (each panel), (lot 45); Colin McCahon, Is There Anything of Which One Can Say Look This is New?, 1982, acrylic on canvas, 1940 × 1780mm, (lot 44); Colin McCahon, Kauri, 1953, oil on card, 870 × 1180mm, (lot 16).

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100

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102

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Catalogue

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

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

wellington office Mark Hutchins-Pond Specialist, Art mark@webbs.co.nz +64 4 555 6001

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

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

Webb's

2022

Lucinda Brown Cataloguer, Art lucinda@webbs.co.nz +64 9 529 5609

105

Part I

1.

Dennis Knight Turner Abstract Painting with Polynesian Motifs 1953 oil on board signed Knight and dated 1953 in brushpoint lower edge 300 × 400mm est

2.

Charles Tole Kaisei Maru 1967–75 oil on board signed CHARLES TOLE in brushpoint lower left 460 × 580mm

3.

Rita Angus Orchid c1948 watercolour on paper signed Rita Angus in brushpoint lower right 380 × 265mm

est

est

$40,000 – $70,000

4.

Helen Stewart Stable and Woolshed c1970 oil on board signed HELEN STEWART in brushpoint lower right 730 × 910mm

5.

Helen Stewart Hanmer Riverbed c1970 oil on board signed HELEN STEWART in brushpoint lower right 750 × 920mm

6.

Helen Stewart The Horse Paddock c1980 oil on board signed HELEN STEWART in brushpoint lower right 750 × 920mm

est

est $5,000 – $8,000

est $5,000 – $8,000

8.

Ian Scott Fly-Away Girl 1969–70 oil on board signed Ian Scott, dated 1969–70 and inscribed FLY–AWAY GIRL in ink verso 1280 × 1690mm

9.

Colin McCahon Small Bush Covered Hillside 1966 acrylic and sand on board signed McCahon and dated Jan, Oct ‘66 in brushpoint upper left; signed Colin McCahon, dated Jan–oct. 1966 and inscribed Small bush covered hillside in brushpoint verso 315 × 315mm

$5,000 – $8,000

7.

A. Lois White Design c1944 watercolour on card signed A. Lois in graphite verso 349 × 290mm est

$40,000 – $70,000

est

$80,000 – $160,000

est

Webb's

September

$45,000 – $65,000

$15,000 – $25,000

$60,000 – $90,000

106

10.

Leo Bensemann Takaka Stonehenge 1983 oil on board signed LEO BENSEMANN and dated 83 in brushpoint lower right 630 × 775mm

11.

Don Binney VRI/Tokatoka 1981–83 oil on board signed DON BINNEY and dated 1981–83 in ink upper right 570 × 945mm

12.

Charles Blomfield The Pink Terraces 1889 oil on canvas signed C. BLOMFIELD and dated 1889 in brushpoint lower left 410 × 555mm

13.

Charles Blomfield The White Terraces 1889 oil on canvas signed C. BLOMFIELD and dated 1889 in brushpoint lower left 400 × 555mm

est

est

est

est

$30,000 – $60,000

16.

Colin McCahon Kauri 1953 oil on card signed McCahon, dated Nov ‘53 and inscribed KAURI in brushpoint lower left 870 × 1180mm

$40,000 – $60,000

17.

Julian Dashper Russian Cruise Ship, Princes Wharf 1987 oil on canvas 1470 × 1800mm est

$60,000 – $90,000

$40,000 – $70,000

18.

Allen Maddox untitled 1977 oil on canvas 1700 × 2650mm est

$80,000 – $160,000

est $350,000 – $550,000

19.

Dick Frizzell On the Forest Road to the Headwaters of the Tarawera River 1987 oil on board signed FRIZZELL, dated 16/2/87, and inscribed ON THE FOREST ROAD TO THE HEADWATERS OF THE TARAWERA RIVER in brushpoint upper left 1200 × 1170mm est

22.

Michael Illingworth Self Portrait 1962 oil on canvas signed MHI and dated 62 in brushpoint lower left 560mm × 805mm

23.

Evelyn Page Girl at a Coffee Bar 1971 oil on canvas signed EVELYN PAGE in brushpoint lower edge 880 × 685mm

est

est $200,000 – $400,000

$80,000 – $160,000

24.

Philip Clairmont Kidney Table 1979 oil on jute signed P. CLAIRMONT, dated 1979 and inscribed K. Table in brushpoint lower right 1810 × 930mm est $200,000 – $400,000

$40,000 – $70,000

14.

Brent Wong Town Boundary 1969 acrylic on board signed BRENT WONG and dated 69 in brushpoint lower left; signed Brent Wong, dated 1969 and inscribed "Town Boundary" "48 × 38 1/8" copyright Brent Wong 1969 in brushpoint verso 975 × 1220mm

15.

Bill Hammond It's the Lay of the Land My Son 1985 acrylic and graphite on board signed w. hammond in brushpoint lower left; dated 1985 and inscribed IT'S THE LAY OF THE LAND MY SON in brushpoint upper left 1200 × 1600mm

est $120,000 – $220,000

est

20.

Richard Killeen House Trap 1987 oil and collage on polystyrene 900 × 1210 × 45mm (widest points)

21.

Michael Smither Sarah Cleaning Knives and Forks 1969 oil on board signed M D Smither and dated 67 in bushpoint left edge 890 × 600mm

est

$16,000 – $22,000

$80,000 – $160,000

est $120,000 – $220,000

$35,000 – $65,000

25.

Ralph Hotere Towards Aramoana (Black Window) 1981–82 oil on board signed Hotere, dated ‘81–82 and inscribed BLACK WINDOW Towards Aramoana ‘81–82 Port Chalmers in brushpoint lower edge 995 × 1010mm

26.

Gordon Walters Onepu 1981–82 acrylic on canvas signed Gordon Walters, dated 81/82 and inscribed 'ONEPU' in ink verso 1210 × 980mm

27.

Theo Schoon Basic Arawa Pattern and Bird Motif 1957 oil on board signed Theo Schoon in brushpoint verso 1210 × 1490 mm

est $350,000 – $550,000

est $220,000 – $320,000

est $150,000 – $250,000

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107

28.

Gordon Walters untitled 1955 acrylic on paper signed Gordon Walters and dated '55 in graphite lower right 220 × 290mm est

$35,000 – $45,000

29.

Gordon Walters Black White Ochre No.1.

1985 gouache on paper signed Gordon Walters, dated 85 and inscribed Black White Ochre No.1 in graphite lower edge; inscribed 29.5.85 in graphite upper right 755 × 570mm est

34.

Milan Mrkusich Golden Centre with Two Elements 1965–72 oil on canvas signed m. mrkusich, dated 1965 and inscribed GOLDEN CENTER WITH TWO ELEMENTS/MRKUSICH 1965/Retouched and worked over 1972 in brushpoint verso 1170 × 1770mm

est

$60,000 – $80,000

31.

Milan Mrkusich Segmented Arc on Dark Grey 1982 acrylic, coloured pencil and crayon on board signed Mrkusich and dated 82 in ink verso 1550 × 1230mm est

32.

Milan Mrkusich Painting Grey 1976 acrylic on canvas 1800 × 1727mm est $120,000 – $180,000

33.

Milan Mrkusich Painting 61 No 8 1961 oil on canvas signed MRKUSICH, dated '61 and inscribed No 61 in brushpoint lower right 800 × 851mm est

$45,000 – $65,000

$70,000 – $140,000

$30,000 – $60,000

35.

Don Peebles Untitled Canvas Relief No 17 c1986 oil on canvas 1240 × 1680mm (widest points) est

30.

Gordon Walters untitled 1979 acrylic on canvas signed Gordon Walters and dated 79 in ink verso 915 × 740mm

$14,000 – $26,000

36.

Bill Hammond Making a Move for the Good of the Soul 1982 acrylic on board signed W.D Hammond, dated 1892 and inscribed Making a Move for the Good of the Soul in ink verso 355 × 325mm est

37.

Toss Woollaston Taramakau 1965 oil on board signed Woollaston in brushpoint lower right 9050 × 1220mm est

38.

Tony Fomison The Fugitive 1982–83 oil on jute on board 1230 × 1830mm est $600,000 – $900,000

$65,000 – $95,000

39.

Robin White Glenda at Tahakopa 1978 oil on canvas on board signed Robin White and dated 1978 in brushpoint lower left 1180 × 1180mm est $250,000 – $350,000

$20,000 – $30,000

est $180,000 – $320,000

40.

Tony Fomison Christ in the Desert: Crossing the Pass 1982 oil on jute on board signed Fomison, dated 1982 and inscribed "Christ in the Desert Crossing the Pass" in ink verso 380 × 500mm est

41.

Leo Bensemann Figures in a Vineyard, Bacharach 1980 oil on canvasboard signed LEO BENSEMANN and dated ‘80 in brushpoint lower left 860 × 600mm est

$70,000 – $140,000

Webb's

September

$40,000 – $80,000

42.

Tony Fomison Icon by Fra Angelico No. 1 c1970 oil on jute on board 460 × 460mm est $100,000 – $200,000

43.

Gordon Walters Makora 1979 acrylic on canvas signed Gordon Walters and dated 1979 in ink verso 1530 × 1140mm est $600,000 – $850,000

44.

Colin McCahon Is There Anything of Which One Can Say Look This is New? 1982 acrylic on canvas signed C.McC and dated '82 in brushpoint lower right 1940 × 1780mm est $2,500,000

$1,500,000 –

108

45.

Colin McCahon O Let Us Weep 1969 acrylic on board signed McCahon and dated April '69 in brushpoint lower left, inscribed O LET US WEEP. I. in brushpoint upper left; signed Colin McCahon, dated 1969 and inscribed The April Paintings/

47.

Pat Hanly Shining Garden 1983 watercolour on paper signed Hanly, dated '83 and inscribed Shining garden in graphite lower edge 580 × 620mm est

Webb's

$12,000 – $18,000

No. 1 of a series of 4 in brushpoint verso; signed McCahon and dated April '69 in brushpoint lower left, inscribed O LET US WEEP. II. in brushpoint upper left, signed Colin McCahon, dated 1969 and inscribed The April Paintings/No. 2 of a series of 4 in brushpoint verso; signed McCahon

and dated April '69 in brushpoint lower right, inscribed O LET US WEEP. III. in brushpoint upper left; signed Colin McCahon, dated 1969 and inscribed The April Paintings/No. 3 of a series of 4 in brushpoint verso; signed McCahon and dated April '69 in brushpoint lower right,

48.

Philip Clairmont Still Life 1982 acrylic, watercolour, graphite and pastel on paper signed CLAIRMONT and dated 1982 in ink right edge 1200 × 790mm

49.

Gavin Chilcott Memento Mori (Dead kings) 1981 acrylic on canvas signed Gavin Chilcott, dated 1981 and inscribed Memento Mori (Dead kings) in graphite verso 1380 × 1410mm

est

est

$16,000 – $24,000

2022

$2,000 – $4,000

inscribed O LET US WEEP. IV in brushpoint upper left; signed Colin McCahon, dated 1969 and inscribed The April Paintings/ No. 4 of a series of 4 in brushpoint verso 627 × 627mm (each panel)

46.

Colin McCahon Grey Sky, Red Earth c1969 oil and sand on board signed McCahon in brushpoint lower right 760 × 610mm est

$80,000 – $120,000

est $800,000 – $1,600,000

50.

Gavin Chilcott I'm Yours Alone 1982 acrylic on canvas signed Gavin Chilcott dated 1982 and inscribed I'm 'YOURS ALONE' in graphite verso 1380 × 1390mm est

$2,000 – $4,000

109

Part II

51.

Adele Younghusband Puriri Berries N.Z. 1933 linocut on paper signed Adele Younghusband, dated 1933 and inscribed Puriri berries N.Z. in graphite lower edge 235 × 180mm

52.

Adele Younghusband Tree Strawberry 1936 linocut on paper signed Adele Younghusband, dated 1936 and inscribed Tree Strawberry in graphite lower edge 265 × 220mm

est

est

$1,500 – $3,500

54.

Philip Clairmont Large Still-Life with Objects 1985 linocut on paper, 3/15 signed P Clairmont, dated 1982 and inscribed 'Large Still-life with objects' Linocut 3/15 in graphite lower edge 960 × 770mm est

Webb's

September

55.

John Drawbridge Sleeping Woman 1959. printed 1984 etching on paper, 10/50 signed John Drawbridge and dated 1959 (IMP 1984) in graphite lower edge 525 × 600mm est

$1,000 – $2,000

$6,000 – $9,000

57.

John Drawbridge The Concert (Vermeer) with Matisse 1983 mezzotint and drypoint on paper, 14/100 signed John Drawbridge, dated 1983 and inscribed THE CONCERT(VERMEER)-WITH MATISSE in graphite lower edge 270 × 180mm est

$1,500 – $3,500

58.

Roland Hipkins Deserted Homestead c1932 woodcut on paper signed Roland Hipkins and inscribed Deserted Homestead in graphite lower edge 310 × 390mm est

$300 – $600

53.

John Drawbridge Woman with Matisse II 1983 mezzotint on paper, 14/100 signed John Drawbridge, dated 1983 and inscribed WOMAN WITH MATISSE, NO II in graphite lower edge 285 × 190mm est

$1,000 – $2,000

56.

Adele Younghusband Workers 1947 linocut on paper signed Adele Younghusband, dated 1947 and inscribed Workers in graphite lower edge 185 × 250mm est

$1,500 – $3,500

59.

Adele Younghusband Kauri Stumps N.Z. 1934 linocut on paper signed Adele Younghusband, dated 1934 and inscribed Kauri Stumps N.Z. in graphite lower edge 180 × 225mm est

$1,500 – $3,500

$800 – $1,600

110

60.

Nigel Brown Sandes St, Thames 1983 woodcut on paper, 2/10 signed N R Brown, dated 1983 and inscribed 'SANDES ST THAMES' in graphite lower edge 440 × 450mm

61.

Philip Clairmont Nude 1979 linocut on paper, 9/30 signed P Clairmont, dated 1979 and inscribed 9/30 'Nude' in graphite lower edge 740 × 495mm

62.

Robin White This is Brigid 1985 woodcut on paper, 28/30 signed Robin White, dated '85 and inscribed This is Brigid in graphite lower edge 240 × 150 mm

est

est

est

$1,200 – $1,800

66.

Colin McCahon North Otago Landscape screenprint on paper 420 × 580mm est

$8,000 – $11,000

70.

Jeffrey Harris untitled 1983 oil and graphite on paper signed Jeffrey Harris and dated 1985 in graphite lower edge 1200 × 800mm est

$1,500 – $2,500

$2,500 – $4,500

67.

Philip Clairmont Black Crucifixion 1979 screenprint on paper, 5/90 signed P Clairmont, dated 1979 and inscribed 'Black Crucifixion' 5/90 in graphite lower edge 820 × 550mm

68.

Pat Hanly Life 1985 screenprint on paper, 27/30 signed Hanly, dated 85 and inscribed 'Life' in graphite upper edge 490 × 615mm

est

est

$2,000 – $4,000

71.

Philip Trusttum Blackboard 1962–79 oil, ink and graphite on board 1820 × 1210mm est

$10,000 – $18,000

$6,000 – $9,000

est

$6,000 – $9,000

$10,000 – $20,000

64.

Robin White Paekakariki Hotel II 1970 screenprint on paper, artist's proof signed Robin White, dated 1970 and inscribed Paekakariki Hotel II in graphite upper edge 445 × 315mm est

est

73.

Richard Killeen Looking is Not Seeing 1985 acrylic and watercolour on paper signed Killeen, dated 8.3.85 and inscribed Looking is not Seeing in brushpoint lower edge 905 × 705mm est

2022

est

$2,000 – $4,000

$5,000 – $8,000

$2,500 – $3,500

74.

Richard Killeen Pawns and Tools and the Politics of Difference 1984 acrylic and watercolour on paper signed Killeen, dated 21.5.84 and inscribed Pawns & Tools & the Politics of Difference in brushpoint lower right 905 × 705mm est

Webb's

$3,000 – $6,000

65.

Gretchen Albrecht N.Y.C. 1983 woodcut on paper, 1/1 signed Albrecht, dated '83 and inscribed Woodcut N.Y.C in graphite lower edge 455 × 610mm

69.

Pat Hanly Pacific Hope 1985 screenprint on paper, 23/40 signed Hanly and dated 85 in graphite lower edge 810 × 860mm

$3,000 – $6,000

72.

John Reynolds & Julian Dashper Omaha Beach No 3 oil on paper 980 × 1260 mm est

63.

Colin McCahon Kauri Tree 1954 lithograph on paper, edition of 55 signed Colin McCahon in graphite lower right 330 × 245mm

75.

Jeffrey Harris untitled 1979 pastel on paper signed Jeffrey Harris, dated 79 and inscribed for Judith in ink upper edge 630 × 890mm est

$3,000 – $6,000

$5,000 – $8,000

111

76.

Jeffrey Harris untitled 1979 pastel on paper signed Jeffrey Harris and dated 79 in ink upper edge 640 × 870mm est

$3,000 – $6,000

77.

Julian Dashper Affco Mural 1987 pastel and acrylic on paper signed JULIAN DASHPER, dated 1987 and inscribed AFFCO MURAL in ink verso 250 × 455mm est

$6,000 – $9,000

78.

Don Peebles Untitled Drawing No 6 1984 charcoal on paper signed Don Peebles, dated 1984 and inscribed Untitled Drawing No 6 in graphite verso 575 × 755mm est

$1,000 – $3,000

79.

Frank Hofmann Blind Road Auckland 1945 silver bromide print signed Hofmann and dated 1945 in graphite lower edge 290 × 375mm est

$3,000 – $6,000

80.

Laurence Aberhart Family Church, Epikauri, Herekino, Northland 5 May 1982 1982 gold and selenium toned gelatin silver print dated 1982 and inscribed Family Church, Epikauri, Herekino, Northland in ink lower edge 195 × 240mm est

82.

Patrick Reynolds The Structure of the Universe 3 1988 silver bromide print 470 × 470mm

83.

Patrick Reynolds The Structure of the Universe 2 1988 silver bromide print 470 × 470mm

est

est

$1,500 – $2,500

$1,500 – $2,500

86.

Peter Peryer Kiokio 1984 silver bromide print 280 × 205mm

87.

Peter Peryer Piupiu 1984 silver bromide print 285 × 200mm

est

est

$2,500 – $4,500

$2,500 – $4,500

85.

Peter Peryer Kawa Kawa 1984 silver bromide print 285 × 200mm

est

est

88.

Annie Baird Landscape 1 1984 watercolour on paper signed Annie Baird and dated 84 in brushpoint lower right 575 × 760mm est

Webb's

September

$1,000 – $2,000

est

$1,500 – $2,500

$3,000 – $6,000

84.

Peter Peryer Zoo Music 1983 silver bromide print, 14/20 190 × 290mm (each panel) $2,000 – $3,000

81.

Patrick Reynolds The Structure of the Universe 1 1988 silver bromide print 470 × 470mm

$2,500 – $4,500

89.

Barbara Tuck South the Tuning 1985 oil on canvas signed Barbara Tuck, dated '85 and inscribed SOUTH THE TURNING in brushpoint lower edge 1270 × 1870mm

90.

Dick Frizzell LOOK 1981 enamel on board signed FRIZZELL, dated 18 11 81, and inscribed "LOOK" in brushpoint centre 1010 × 1010mm

est

est

$2,000 — $3,000

$25,000 – $35,000

112

91.

Ralph Hotere Drawing for a Church Window at Mitimiti 1982 pastel on paper signed Hotere, dated '82 and inscribed Drawing for a church window at Mitimiti in pastel lower edge 750 × 550mm est

92.

John Drawbridge Red Sky View 1985 watercolour on paper signed John Drawbridge and dated 1985 – October in graphite lower left 740 × 560mm est

95.

Geoff Fairburn untitled 1982 dye on gourd, flax 240 × 500 × 240mm (widest points)

96.

Geoff Fairburn untitled 1982 dye on gourd, flax 190 × 460 × 190mm (widest points)

est

est

est

est

$1,000 – $2,000

$1,000 – $2,000

$1,000 – $2,000

$1,000 – $2,000

$15,000 – $25,000

98.

Gordon Walters Kura 1972 screenprint on paper, artist's proof signed Gordon Walters, dated 1972 and inscribed "Kura" in graphite lower edge 585 × 465 mm

est

est

$15,000 – $25,000

103.

Geoff Thornley Study for the Alba Group 1984 gouache on paper 335 × 265 mm $3,000 – $6,000

$15,000 – $25,000

104.

Gretchen Albrecht Indian Pairing 1981 oil on paper signed Albrecht, dated '81 and inscribed Indian Pairing in graphite lower edge 1120 × 700mm est

Webb's

94.

Geoff Fairburn untitled 1982 dye on gourd, flax 210 × 590 × 210mm (widest points)

$4,000 – $8,000

97.

Gordon Walters Arahura 1982 screenprint on paper, 112/125 signed Gordon Walters, dated 1982 and inscribed Arahura in graphite lower edge 560 × 760mm

est

93.

Geoff Fairburn untitled 1982 dye on gourd 220 × 400 × 200mm (widest points)

$8,000 – $16,000

2022

99.

Gordon Walters Tamaki 1983 screenprint on paper, 1/50 signed Gordon Walters, dated 1983 and inscribed "Tamaki" in graphite lower edge 755 × 565 mm

100.

Gordon Walters Karaka 1979 screenprint on paper, 5/50 signed Gordon Walters, dated 1979 and inscribed Karaka in graphite lower edge 510 × 405mm

101.

Gordon Walters Rauponga 1983 screenprint on paper, 1/50 signed Gordon Walters, dated 1983 and inscribed rauponga in graphite lower edge 560 × 755mm

est

est

est

$15,000 – $25,000

105.

Ian Scott Asymmetrical Lattice No 2 oil on canvas 1830 × 1380mm est

$30,000 – $60,000

$15,000 – $25,000

106.

Stephen Bambury No 50 1983 acrylic on canvas signed BAMBURY, dated 1983 and No 50 in brushpoint verso 925 × 1450mm est

$10,000 – $20,000

$6,000 – $9,000

102.

Gordon Walters Then 1980 screenprint on paper, 119/125 signed Walters Gordon, dated 1980 and inscribed "then" in graphite lower edge 565 × 760mm est

$6,000 – $9,000

107.

Milan Mrkusich Violet Light with Blue, Yellow and Red (Linear) 1981 acrylic and crayon on paper 500 × 404mm

108.

Milan Mrkusich Achromatic with Vermillion 1981 acrylic and crayon on paper 509 × 406mm

est

est

$8,000 – $16,000

$8,000 – $16,000

113

109.

Milan Mrkusich Achromatic with Green 1981 acrylic and crayon on paper signed Mrkusich, dated 81 and inscribed Achromatic with Green 1981 in ink verso 500 × 404mm est

$8,000 – $16,000

110.

Stephen Bambury Drawing (for a painting) c1987 pastel on paper signed BAMBURY and inscribed Drawing (for a painting) in graphite lower edge 295 × 235 mm

111.

Stephen Bambury Drawing (for a painting) 1986 pastel on paper signed BAMBURY, dated 86 and inscribed Drawing (for a painting) in graphite lower edge 290 × 225 mm

est

est

$1,200 – $1,800

115.

Jacqueline Fraser untitled 1986 fabric, ribbon, wire and string 1420 × 320mm

est

est

est

$2,000 – $4,000

$4,000 – $6,000

121.

Trevor Moffitt Stan Graham 1986 oil on board signed Moffitt and dated 86 in brushpoint lower left 600 × 600mm est

$14,000 – $22,000

September

117.

Gordon Crook Lookin up Legs 1988 screenprint on paper, 2/10 signed GC, dated '88 and inscribed 'Lookin Up Legs' in graphite lower edge 1040 × 745mm est

$5,000 – $8,000

118.

Philip Trusttum Bed c1979 oil on canvas 2440 × 1870mm

119.

Rudolf Gopas Dawn c1960 oil on canvasboard 960 × 870mm

est

est

$5,000 – $8,000

$7,000 – $16,000

$500 – $800

$500 – $800

122.

Trevor Moffitt 8th Oct 1941, Bert Cooper being Threatened by Graham 1987 oil on board signed Moffitt and dated 86 in brushpoint lower right; inscribed 8th Oct 1941, Bert Cooper being Threatened by Graham in ink verso 600 × 600mm est

Webb's

$10,000 – $20,000

$1,200 – $1,800

116.

Gordon Crook Scission on the Home Front 1984 screenprint, cotton thread and paper collage, 5/10 signed GC, dated '88 and inscribed SCISSION - ON THE HOME FRONT in graphite lower edge 1045 × 740mm est

120.

Hariata Ropata–Tangahoe Painting No.2 1987 oil on canvas signed Hariata Ropata Tangahoe and dated '87 in brushpoint lower edge 950 × 950mm

est

113.

Robert McLeod Yellow, Thin and Deadhead 1983 oil on canvas signed RM, dated 31.1.83 and inscribed 'Deadhead' in brushpoint verso 1095 × 1245mm; 190 × 1710mm; 1280 × 1280mm (widest points) est

114.

Jacqueline Fraser untitled 1988 PVC tubing and plastic rope string 1680 × 710mm $4,000 – $6,000

112.

Guy Ngan Papa 11 aluminium and wood 1045 × 520mm (each panel)

123.

Trevor Moffitt 9th Oct 1941, The Police Search Begins 1987 oil on board signed Moffitt and dated '87 in brushpoint lower right; inscribed 9th Oct 1941, The Police Search Begins in ink verso 580 × 580mm est

124.

Trevor Moffitt Eating Lunch 1980 oil on board signed Moffitt and dated 80 in brushpoint lower right 580 × 590mm est

$10,000 – $20,000

125.

Melvin Day Wellington Heads c1982 oil on board signed Day in brushpoint lower left 520 × 720mm est

$12,000 – $18,000

$14,000 – $24,000

$15,000 – $25,000

114

126.

Melvin Day untitled 1982 oil on board signed Day and dated 82 in brushpoint lower left 522 × 700mm est

$4,000 – $7,000

127.

Trevor Moffitt Rakaia River Series No 9 1982 oil on board signed Moffitt and dated 82 in brushpoint lower right 890 × 590mm est

128.

Louise Henderson Water Series c1965 oil on board 865 × 1335mm est

$20,000 – $40,000

$8,000 – $16,000

129.

Joanna Margaret Paul Stanza 7/8 1983 oil on board signed JMP, dated 83 and inscribed STANZA 7/8 in graphite verso 270 × 600mm

130.

Joanna Margaret Paul Stanza 9/10 1983 oil on board signed JMP, dated 83 and inscribed STANZA 9/10 in graphite verso 270 × 600mm

est

est

$3,000 – $6,000

$3,000 – $6,000

131.

Joanna Margaret Paul Stanza 1/3 1983 oil on board inscribed Stanza 1-3 in brushpoint lower right; signed JMP, dated 83 and inscribed STANZA 1/3 in graphite verso 270 × 600mm est

132.

Joanna Margaret Paul Stanza 11/12 1983 oil on board signed JMP and dated 83 in graphite lower edge; inscribed Stanza 11/12 final in graphite verso 225 × 465mm est

est

$3,000 – $6,000

$3,000 – $6,000

138.

Robin Morrison Ratana Church Te Kao 1980 cibachrome print 236 × 355mm est

133.

Joanna Margaret Paul Stanza 4/5/6 1983 oil on board inscribed Stanzas 4/5/6 final in graphite verso 270 × 600mm

$3,000 – $6,000

134.

Dick Frizzell Backyard Painting (Detail) 1981 oil on board signed FRIZZELL, dated 15/1/81 and inscribed BLACKYARD PAINTING (DETAIL) in brushpoint lower edge 880 × 660mm

135.

Dick Frizzell Back Yard Painting (Detail) 1981 oil on board signed FRIZZELL, dated 9/2/81 and inscribed BLACKYARD PAINTING (DETAIL) in brushpoint lower edge 850 × 635mm

est

est

$10,000 – $20,000

139.

Margaret Dawson Woman Outside the House With Flowers 1986 C-type print 1270 × 990mm

140.

Laurence Aberhart Dargaville 1982 1982 gold and selenium toned gelatin silver print 195 × 240mm

est

est

$2,000 – $4,000

$3,000 – $6,000

Webb's

2022

est

137.

Robin Morrison Higher Thought Temple 1980 cibachrome print 240 × 350mm est

$2,000 – $4,000

$6,000 – $9,000

$10,000 – $20,000

141.

Laurence Aberhart A distant view of Taranaki from the mouth of the Wanganui River at Dusk 3 February 1986 1986 gold and selenium toned gelatin silver print 195 × 240mm est

136.

Patricia France Figures in Landscape 1983 oil on board signed Patricia France in ink verso 400 × 440mm

$3,000 – $6,000

$5,000 – $8,000

142.

Frank Hofmann Portrait of Valmai Moffatt 1947 silver bromide print signed Hofmann and dated 1947 in graphite lower edge 290 × 290mm

143.

Ans Westra Auckland Community Centre 1962 silver bromide print signed A.W in graphite lower edge 470 × 255mm

est

est

$4,500 – $7,500

$3,000 – $6,000

115

144.

Ans Westra Auckland Community Centre 1962 silver bromide print signed A.W in graphite lower edge 275 × 275mm est

$3,000 – $6,000

145.

John B Turner Garden Party Guest, Kemp House, Kerikeri 1975 gelatin silver print signed J.B.Turner, dated 1975 and inscribed Garden Party Guest, Kemp House, Kerikeri in ink verso 285 × 180mm est

150.

George Chance Evening Light, Lake Taupo 1979 gelatin silver print signed Geo. Chance and inscribed Evening Light – Lake Taupo.

N.Z. in ink lower edge 220 × 280mm est

$300 – $600

est

$500 – $1,000

147.

John B Turner Symonds Building, Broderick Street Johnsonville, Christmas Eve 1966 gelatin silver print 290 × 365 mm est

$300 – $600

152.

George Chance Sunshine and Shadow, Dunedin NZ 1982 gelatin silver print signed Geo. Chance and inscribed Sunshine and Shadow – Dunedin – NZ. in ink lower edge 220 × 280mm

149.

John B Turner Turner's Living Room, Lower Hutt 1968 gelatin silver print 280 × 280mm

est

est

$500 – $1,000

$500 – $1,000

$500 – $800

est

$300 – $600

153.

Laurence Aberhart Angel over Whangape Harbour, Northland 6 May 1982 1982 gold and selenium toned gelatin silver print dated 6 May 1982 and inscribed Angel over Whangape Harbour, Northland in ink lower edge 482 × 444mm est

$5,000 – $8,000

156.

Marie Shannon Thomas Shannon, Sydney 1987 gelatin silver print signed MARIE SHANNON, dated 1987 and inscribed THOMAS SHANNON, SYDNEY in ink verso 275 × 1210mm

157.

Robert Percy Moore 80 Manners St Wellington 1925 gelatin silver print signed R P Moore, dated 22.8.1925 and inscribed 80 Manners St Wellington in ink lower edge 200 × 950mm

est

est

Webb's

148.

John B Turner Turner's Bedroom, Lower Hutt 1968 gelatin silver print 280 × 280mm

$500 – $1,000

151.

George Chance The Resting Team 1982 toned gelatin silver print signed Geo. Chance and inscribed The resting team lower left 400 × 565mm est

146.

John B Turner Wellington at Night gelatin silver print 370 × 250mm

$2,500 – $4,000

September

154.

Laurence Aberhart Disused Anglican Church, Pawarenga, Whangape Harbour, Northland 10 May 1982 1982 gold and selenium toned gelatin silver print dated 1982 and inscribed Disused Anglican Church, Pawarenga, Whangape Harbour, Northland in ink lower edge 195 × 240mm est

155.

Laurence Aberhart Exterior Ripeka Tapu, Rangipoint, Hokianga Harbour 3 May 1982 1982 gold and selenium toned gelatin silver print dated 1982 and inscribed Exterior Ripeka Tapu, Rangipoint, Hokianga Harbour in ink lower edge 195 × 240mm est

$2,000 – $4,000

$2,000 – $4,000

$300 – $600

116

158.

Fiona Pardington Oracle 1987 sulphite toned silver bromide print signed Fiona Makea Pardington, dated 1987 and inscribed "ORACLE" in coloured pencil verso 490 × 415mm est

159.

Terry Stringer Head of a Young Girl 1985 coloured pencil on card signed TERRY STRINGER and dated '85 in brushpoint lower right 265 × 235mm est

160.

Colin McCahon Van Gogh – Poems by John Caselberg 1957 lithograph on paper 350 × 255mm (each panel) est

$15,000 – $25,000

$1,200 – $1,600

$3,000 – $6,000

161.

Peter McIntyre The Octagon, Dunedin c1950 watercolour on paper signed PETER MCINTYRE in brushpoint lower right 380 × 490mm

162.

Peter McIntyre Frosty Morning, Galloway c1950 oil on board signed PETER MCINTYRE in brushpoint lower right 600 × 755mm

163.

Peter McIntyre Winter Lindis Pass c1950 oil on board signed PETER MCINTYRE in brushpoint lower right 660 × 820mm

est

est

est

$6,000 – $9,000

$18,000 – $36,000

$16,000 – $24,000

164.

Wilhelmus Ruifrok Mind's Eye 1985 oil on board signed w c RuiFrok, dated 85 and inscribed minds Eye in brushpoint lower edge 695 × 1200mm est

$6,000 – $9,000

165.

Megan Jenkinson Ratio Fails to Comprehend how an Unstable Chain Reaction Corresponds with Determinism 1987 Cibachrome print signed Megan Jenkinson, dated 87 and inscribed RATIO FAILS TO COMPREHEND HOW AN UNSTABLE CHAIN RECTION CORRESPONDS WITH DETERMINISM in ink lower edge 190 × 290mm est

167.

Robert Procter untitled 1902 oil on canvas signed R. PROCTER and dated 1902 in brushpoint lower left 590 × 435mm est

$15,000 – $25,000

168.

Harry Linley Richardson The Artists' Three Children 1925 oil on canvas signed H LINLEY RICHARDSON in brushpoint lower left 1290 × 1670 mm est

$30,000 – $60,000

169.

Glenda Randerson Carole 1982 oil on canvas signed G D Randerson and dated 82 in brushpoint lower edge 1440 × 1640mm est

$8,000 – $16,000

170.

Jenny Doležel The Artist and Her Model 1985–86 pastel and acrylic on paper signed Jenny Doležel and dated 1985–6 in pastel lower edge; inscribed the artist and her model in pastel upper edge 555 × 740mm est

Webb's

2022

est

$1,000 – $3,000

$1,000 – $3,000

171.

Robert McLeod First Out 1974 oil on canvas signed RM and dated 1 oct 74 in ink verso 310 × 325mm est

166.

Megan Jenkinson Artem Weighed Down by the Cumulative Effect of his History 1987 Cibachrome print inscribed ARTEM WEIGHED DOWN in ink lower edge 190 × 290mm

$1,000 – $2,000

172.

Derek Cowie World Wide 1985 acrylic on canvas signed Derek Cowie, dated 1985 and inscribed WORLD WIDE in brushpoint verso 1920 × 1900mm est

$2,500 – $4,500

$3,000 – $6,000

117

173.

Eion Stevens The Carpenters Holiday 1981 oil on canvasboard signed E A Stevens, dated 9/81 and inscribed The Carpenter's Holiday in brushpoint verso 880 × 1750mm est

174.

Helen Stewart The Studio c1925 oil on board signed Helen Stewart in bruhspoint lower right 435 × 520mm est

$3,000 – $6,000

$2,500 – $4,500

179.

Philip Trusttum untitled 1963 oil on board 2430 × 1220mm

180.

Philip Trusttum Head and Shoulders 1964 oil on board 2425 × 1160mm

est

est

$8,000 – $16,000

$8,000 – $16,000

185.

Len Castle untitled 1979 ceramic 120 × 925mm (widest points)

186.

Llewelyn Summers Goalie c1984 wood and granite 220 × 370 × 140mm (widest points)

est

est

Webb's

$300 – $600

$2,500 – $4,500

September

175.

Gretchen Albrecht Eddy 1986 pastel on paper signed Albrecht, dated 86 and inscribed Eddy in graphite lower edge 1200 × 800mm est

$8,000 – $16,000

176.

Gretchen Albrecht Ebb and Flow 1986 pastel on paper signed Albrecht, dated 86 and inscribed Ebb and Flow in graphite lower edge 1220 × 800mm

177.

John Reynolds Touchstone for a Map 1985 oil pastel on paper signed JOHN REYNOLDS, dated 1985 and inscribed TOUCHSTONE for a MAP in pastel lower edge 1200 × 1570mm (overall)

est

est

$7,000 – $15,000

181.

Andrew Drummond View from the Woodcutter No.4 1987 wood, graphite, copper, lead, bronze on board signed ARD, dated 1987 and inscribed View from the Woodcutter No.4 in ink verso 1010 × 600 × 210mm (widest points)

182.

Andrew Drummond View from the Woodcutter No.10 1987 wood, graphite, copper, lead, bronze on board signed ARD, dated 1987 and inscribed View from the Woodcutter No.10 in ink verso 1010 × 600 × 210mm (widest points)

est

est

$3,000 – $5,000

est

$6,000 – $9,000

$6,000 – $9,000

183.

Juliet Peter Blond Horse salt glazed ceramic 390 × 310 × 120mm (widest points)

184.

Juliet Peter Black Horse salt glazed ceramic 440 × 430 × 130mm (widest points)

est

est

$1,500 – $2,500

$1,500 – $2,500

$3,000 – $5,000

187.

John Parker Ribbed Vase ceramic 240 × 115 × 115mm (widest points)

188.

John Parker Ribbed Vase ceramic 280 × 100 × 100mm (widest points)

189.

John Parker Ribbed Vase ceramic 220 × 100 × 100mm (widest points)

est

est

est

$200 – $400

178.

John Reynolds Firmament (with Wing) 1987 linoleum, acrylic, oil stick on canvas and plywood 1800 × 2390mm (overall)

$200 – $400

$200 – $400

118

190.

Barry Brickell untitled 1982 ceramic 1020 × 1520mm est

$5,000 – $8,000

191.

Roy Cowan untitled 1983 stoneware 1810 × 1780mm (widest points) est

$3,000 – $6,000

192.

Peter Black Portfolio of Foliage (i) 1985 silver bromide print 220 × 340mm

193.

Peter Black Portfolio of Foliage (h) 1985 silver bromide print 220 × 340mm

194.

Peter Black Portfolio of Foliage (q) 1985 silver bromide print 220 × 340mm

195.

Peter Black Portfolio of Foliage (b) 1985 silver bromide print 340 × 235mm

est

est

est

est

$800 – $1,600

$800 – $1,600

$800 – $1,600

$800 – $1,600

196.

Peter Black Portfolio of Foliage (k) 1985 silver bromide print 220 × 340mm

197.

Peter Black Portfolio of Foliage (e) 1985 silver bromide print 225 × 340mm

198.

Peter Black Portfolio of Foliage (g) 1985 silver bromide print 220 × 340mm

199.

Peter Black Portfolio of Foliage (m) 1985 silver bromide print 225 × 335mm

200.

Peter Black Portfolio of Foliage (f) 1985 silver bromide print 220 × 340mm

201.

Peter Black Portfolio of Foliage (c) 1985 silver bromide print 340 × 225mm

est

est

est

est

est

est

$800 – $1,600

$800 – $1,600

$800 – $1,600

$800 – $1,600

$800 – $1,600

$800 – $1,600

202.

Peter Black Portfolio of Foliage (d) 1985 silver bromide print 340 × 225mm

197.

Peter Black Portfolio of Foliage (e) 1985 silver bromide print 225 × 340mm

198.

Peter Black Portfolio of Foliage (g) 1985 silver bromide print 220 × 340mm

199.

Peter Black Portfolio of Foliage (m) 1985 silver bromide print 225 × 335mm

200.

Peter Black Portfolio of Foliage (f) 1985 silver bromide print 220 × 340mm

201.

Peter Black Portfolio of Foliage (c) 1985 silver bromide print 340 × 225mm

est

est

est

est

est

est

Webb's

$800 – $1,600

$800 – $1,600

2022

$800 – $1,600

$800 – $1,600

$800 – $1,600

$800 – $1,600

119

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

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

1.

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

“Forgery” means an item constituting an imitation originally conceived and executed as a whole, with a fraudulent intention to deceive as to authorship, origin, age, period, culture or source, where the correct description as to such matters is not reflected by the description in the catalogue. Accordingly, no lot shall be capable of being a forgery by reason of any damage or restoration work of any kind (Including re-painting). “the insured value” means the amount that Webb’s in its absolute discretion from time to time shall consider the value for which a lot should be covered for insurance (whether or not insurance is arranged by Webb’s).

All values expressed in Webb’s catalogues (in any format) are in New Zealand Dollars (NZD$). All bids, “hammer price”, “reserves”, “Buyers Premium” and other expressions of value are understood by all parties to be in New Zealand Dollars (NZD$) unless otherwise specified.

2.

Webb’s Auctions as Agent

Except as otherwise stated, Webb’s acts as agent for the Seller.

The contract for the sale of the property is therefore made between the Seller and the Buyer.

3.

Before the Sale

3.1.

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

The property is otherwise sold “AS IS” 3.2.

Catalogue and Other

Webb's

2022

Descriptions All statements by Webb’s in the catalogue entry for the property or in the condition report, or made orally or in writing elsewhere, are statements of opinion and are not to be relied upon as statements of fact. Such statements do not constitute a representation, warranty or assumption of liability by Webb’s of any kind.

References in the catalogue entry to the condition report to damage or restoration are for guidance only and should be evaluated by personal inspection by the bidder or a knowledgeable representative. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. Estimates of the selling price should not be relied on as a statement that this is the price at which the item will sell or its value for any other purpose.

Neither Webb’s nor The Seller is responsible for any errors or omissions in the catalogue or any supplemental material.

Images are measured height by width (sight size). Illustrations are provided only as a guide and should not be relied upon as a true representation of colour or condition. Images are not shown at a standard scale. Mention is rarely made of frames (which may be provided as supplementary images on the website) which do not form part of the lot as described in the printed catalogue.

An item bought “on Extension” must be 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

121

permission to subject the lot to such immersion or treatment has first been obtained in writing.

The contract for the sale of the property is therefore made between the Seller and the Buyer.

4.

3.

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.

1.

Background to the Terms used in these Conditions

Before the Sale

3.1.

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

The property is otherwise sold “AS IS”

Except as otherwise stated, Webb’s acts as agent for the Seller.

3.2.

Catalogue and Other Descriptions All statements by Webb’s in the catalogue entry for the property or in the condition report, or made orally or in writing elsewhere, are statements of opinion and are not to be relied upon as statements of fact. Such statements do not constitute a representation, warranty or assumption of liability by Webb’s of any kind.

References in the catalogue entry to the condition report to damage or restoration are for guidance only and should be evaluated by personal inspection by the bidder or a knowledgeable representative. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. Estimates of the selling price should not be relied on as a statement that this is the price at which the item will sell or its value for any other purpose.

Neither Webb’s nor The Seller is responsible for any errors or omissions in the catalogue or any supplemental material.

Images are measured height by width (sight size). Illustrations are provided only as a guide and should not be relied upon as a true representation of colour or condition. Images are not shown at a standard scale. Mention is rarely made of frames (which may be provided as supplementary images on the website) which do not form part of the lot as described in the printed catalogue.

An item bought “on Extension” must be 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,

Webb's

September

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 repainting). “the insured value” means the amount that Webb’s in its absolute discretion from time to time shall consider the value for which a lot should be covered for insurance (whether or not insurance is arranged by Webb’s).

All values expressed in Webb’s catalogues (in any format) are in New Zealand Dollars (NZD$). All bids, “hammer price”, “reserves”, “Buyers Premium” and other expressions of value are understood by all parties to be in New Zealand Dollars (NZD$) unless otherwise specified.

2.

Webb’s Auctions as Agent

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

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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 in such a manner as he/she may decide, to withdraw or divide any lot, to combine any two or more lots and, in the case or error or dispute and whether during or after the sale, to determine the successful bidder, to continue the bidding, to cancel the sale or to reoffer and resell the item in dispute. If any dispute arises after the sale, then Webb’s sale record is conclusive.

4.10. Successful Bid and Passing of Risk Subject to the auctioneer’s discretion, the highest bidder accepted by the auctioneer will be the buyer and the striking of his hammer marks the acceptance of the highest bid and the conclusion of a contract for sale between the Seller and the Buyer. Risk and responsibility for the lot (including frames or glass where relevant) passes immediately to the Buyer.

4.11. Indicative Bidding Steps, etc.

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

5.

After the Sale

5.1.

Buyers Premium In addition to the hammer price, the buyer agrees to pay to Webb’s the buyer’s premium. The buyer’s premium is 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

Webb's

full payment in cleared funds, and no goods under any circumstances will be released without confirmation of cleared funds received. This applies even if the buyer wishes to send items overseas.

Payment can be made by direct transfer, cash (not exceeding NZD$5,000, if wishing to pay more than NZD$5,000 then this must be deposited directly into a Bank of New Zealand branch and bank receipt supplied) and EFTPOS (please check the daily limit). Payments can also be made by credit card in person with a 2.2% merchant fee for Visa and Mastercard and 3.3% for American Express. Invoices that are in excess of $5,000 and where the card holder is not present, cannot be charged to a credit card without prior arrangement. Bank cheques are subject to five days clearance.

The buyer is responsible for any bank fees and charges applicable for the transfer of funds into Webb’s account.

5.3.

Collection of Purchases & Insurance Webb’s is entitled to retain items sold until all amounts due to us have been received in full in cleared funds. Subject to this, the Buyer shall collect purchased lots within 2 days from the date of the sale unless otherwise agreed in writing between Webb’s and the Buyer.

At the fall of the hammer, insurance is the responsibility of the purchaser.

5.4.

Packing, Handling and Shipping Webb’s will be able to suggest removals companies that the buyer can use but takes no responsibility whatsoever for the actions of any recommended third party. Webb’s can pack and handle goods purchased at the auction by agreement and a charge will be made for this service. All packing, shipping, insurance, postage & associated charges will be borne by the purchaser.

5.5.

Permits, Licences and Certificates Under The Protected Objects Act 1975, buyers may be required to obtain a licence for certain categories of items in a sale from the Ministry of Culture & Heritage, PO Box 5364, Wellington.

5.6.

Remedies for NonPayment 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.

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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.

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.

5.6.3. to cancel the sale.

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

5.6.5. to pay the Seller an amount up to the net proceeds payable in respect of the amount bid by the defaulting Buyer. In these circumstances the defaulting Buyer can have no claim upon Webb’s in the event that the item(s) are sold for an amount greater than the original invoiced amount.

5.6.6. to set off against any amounts which Webb’s may owe the Buyer in any other transactions, the outstanding amount remaining unpaid by the Buyer.

5.6.7. where several amounts are owed by the Buyer to us, in respect of different transactions, to apply any amount paid to discharge any amount owed in respect of any particular transaction, whether or not the Buyer so directs.

5.6.8. to reject at any future auction any bids made by or on behalf of the Buyer or to obtain a deposit from the Buyer prior to accepting any bids.

5.6.9. to exercise all the rights and remedies of a person holding security over any property in our possession owned by the Buyer whether by way of pledge, security interest or in any other way, to the fullest extent permitted by the law of the place where such property is located. The Buyer will be deemed to have been granted such security to us and we may retain such property as collateral security for said Buyer’s obligations to us.

5.6.10. to take such other action as Webb’s deem necessary or appropriate.

If we do sell the property under paragraph (4), then the defaulting Buyer shall be liable for payment of any deficiency between the total amount originally due to us and the price obtained upon reselling as well as for all costs,

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.

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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.

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 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.

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Index of Artists

A

H

Aberhart, Laurence Albrecht, Gretchen Angus, Rita

112, 115, 116 111, 113, 118 106

B Baird, Annie Bambury, Stephen Bensemann, Leo Binney, Don Black, Peter Blomfield, Charles Brickell, Barry Brown, Nigel

112 113, 114 107, 108 107 119 107 119 111

118 116 109 107, 109, 110, 111 119 117 114

D Dashper, Julian Dawson, Margaret Day, Melvin Doležel, Jenny Drawbridge, John Drummond, Andrew

107, 111, 112 115 114, 115 117 110, 113 118

113 108 115 114 107, 112, 115

G Gopas, Rudolph

Webb's

Illingworth, Michael

107

J 117

K Killeen, Richard Knight Turner, Dennis

107, 111 106

114

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Randerson, Glenda Reynolds, John Reynolds, Patrick Richardson, Harry Linley Ropata-Tangahoe, Hariata Ruifrok, Wilhelmus

Schoon, Theo Scott, Ian Shannon, Marie Smither, Michael Stevens, Eion Stewart, Helen Stringer, Terry Summers, Llewelyn

Maddox, Allen 107 McCahon, Colin 106, 107, 108,

109, 111, 117 McIntyre, Peter 117 McLeod, Robert 114, 117 Moffitt, Trevor 114, 115 Moore, Robert Percy 116 Morrison, Robin 115 Mrkusich, Milan 108, 113, 114

Thornley, Geoff Tole, Charles Trusttum, Philip Tuck, Barbara Turner, John B

114

P Page, Evelyn Pardington, Fiona Parker, John Paul, Joanna Margaret Peebles, Don Peryer, Peter

117 111, 118 112 117 114 117

S

T

Ngan, Guy

118 117

R

M

N

F Fairburn, Geoff Fomison, Tony France, Patricia Fraser, Jacqueline Frizzell, Dick

107, 108 109, 111 111, 112 115 110 112, 115 107, 113

I

Jenkinson, Megan

C Castle, Len Chance, George Chilcott, Gavin Clairmont, Philip Cowan, Roy Cowie, Derek Crook, Gordon

Hammond, Bill Hanly, Pat Harris, Jeffrey Henderson, Louise Hipkins, Roland Hofmann, Frank Hotere, Ralph

Peter, Juliet Procter, Robert

107 106, 113 116 107 118 106, 118 117 118

113 106 111, 114, 118 112 116

W Walters, Gordon Westra, Ans White, A Lois White, Robin Wong, Brent Woollaston, Toss

107, 108, 113 115, 116 106 108, 111 107 108

Y 107 117 118 115 108, 112 112

Younghusband, Adele

110

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Absentee Bid Form

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

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

Name (Please Print Clearly)

Email (Please provide for invoice purposes)

Bidder #

Address

(PO Box not sufficient)

(Office Use Only)

City Postcode

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

Telephone Number(s)

1

2

(In Order of Preference)

Lot Number (in order)

Catalogue

Maximum Bid

Description

Not including buyer’s premium or GST

I authorise Webb’s to register bids on a per lot basis up to the maximum price I have indicated for each lot.

I will not hold Webb’s responsible for any errors that occur.

I understand that if my bid is successful, the purchase price will be the sum of my final bid plus the buyer’s premium of 19.5% of the final bid price plus any GST payable on the buyers premium, as indicated in the catalogue. GST will be charged on the buyer’s premium.

I have read and accepted Webb’s terms and conditions as printed in the catalogue and online at www.webbs.co.nz.

Bids will not be processed unless this form is signed.

Signature

Date

Interactive Digital Version

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

Webb's

2022

127

Order the Book Now $65 webbsboutique.com

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