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Consign Now

Sale 367 Preview 27 March 2014


2013 Year in review

Important Paintings & Contemporary Art March 27 Entries close 26 February

consign Now

Webb’s Auction House record year in review


Important Paintings and Contemporary Art

Entries are now invited for Webb’s first sale of Important Paintings & Contemporary Art for the 2014 season. A record performance in 2013 saw Webb’s lead the New Zealand market, having transacted in excess of $7.6 million in fine art sales at auction. We encourage you to make contact for a no-obligation appraisal and to experience the scholarly, wellreferenced approach that delivers New Zealand’s highest prices.

2014 Important Paintings & Contemporary Art 25 March 2014 Entries close 26 February

Consign now

Important Paintings and Contemporary Art

The upcoming sale includes a nucleus of extremely rare, early consignments that, in each case, are of a quality surpassing any previous examples released to the auction market. The sale will be the focus of serious collectors this season. Collectors of modern New Zealand practice will gravitate towards our selection from this period, which is spearheaded by an iconic body of works surveying the practice of the cornerstone figure, Colin McCahon; in years to come, these pieces will be remembered as among the finest works by the artist ever to be sold at auction. Kauri Trees, Titirangi, completed between 1955 and 1957, is widely celebrated as a triumph from this period in the artist’s career and is the most well-resolved example in existence. Moby Dick is Sighted off Muriwai Beach belongs to a small series of works which relate to the Necessary Protection paintings, most of which are held in museum collections. The work is the first of its kind ever to be offered to the market and, until 2007, it was owned by a member of the McCahon family. The March event includes a large-scale installation by Lillian Budd (et al.), entitled Modern World, which was included in the seminal 1991 exhibition Headlands at the Museum of Contemporary Art, Sydney.

Contact: Sophie Coupland Head of Fine Art Department Mobile: +64 21 510 876 DDI: +64 9 529 5603

The work is unquestionably the most important piece by this historically significant, contemporary New Zealand artist ever to be offered at auction and will undoubtedly see Webb’s continue to break new ground in this burgeoning sector of the market. Also included in the sale is Garth Tapper’s monumental Black Gold, the most important work that the artist ever produced and certainly the most impressive example of his practice ever to be made available to the open market. This forthcoming sale of Important Paintings & Contemporary Art will attract an audience of New Zealand’s foremost private collectors and institutions who are seeking to acquire outstanding works from New Zealand’s arthistorical canon. Through both the rigour of our connoisseurship and the implementation of bespoke marketing strategies, Webb’s consistently achieve sales at the top end of the market and surpasses vendor expectations with prices exceeding reserves.

Contact: Charles Ninow Fine Art Specialist Mobile: +64 29 770 4767 DDI: +64 9 529 5601

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COLIN McCAHON The Cubist-inspired treatment of ‘Kauri Trees, Titirangi’ resonates with the reduced colours and density of pristine New Zealand bush and can be seen as an attempt by McCahon to ‘nationalise’ the Cubist movement.

In relation to New Zealand’s art history, the Kauri series, executed during McCahon’s early Cubist period while residing at French Bay, Titirangi, from 1953 to 1959, is widely regarded to be pivotal in the formation of a nationally specific cultural identity. These years were enormously productive for McCahon and, arguably, one of the most crucial periods of his artistic oeuvre. The Kauri series is the most recognised embodiment of McCahon’s early practice and a watershed of his career, and this kauriscape is one of the finest, most well-resolved examples from the series. McCahon was stimulated by the novelty of living surrounded by dense native bush, with its distinctive quality of light and terrain, and created work that engaged with the ‘domestic landscape’, depicting scenes framed by the windows of McCahon’s house, through which landscape was glimpsed, or viewed during walks around his neighbourhood. With its tension between representation and abstraction, Kauri Trees, Titirangi is an example of McCahon’s resolve to work through technical issues arising from his study of Cubism and to find new ways of organising space within a painting. In Kauri Trees, Titirangi, there is no clear horizon, rather a sense of enclosure and subdued light falling on foliage with kauri trunks stretching dynamically from top to bottom of the picture plane and occupying a shallow, non-perspectival space. It utilises a predominant diagonal grid which extends over the surface of the work, integrating the land and sky. This faceting or fragmentation, typical of the Titirangi period, is a device by which McCahon avoids an overly ‘descriptive’ interpretation of landscape. McCahon himself commented on this turn towards abstraction: “In 1957 too, a great change in attitude to the Titirangi landscape… I came to grips with the kauri and turned him in all his splendour into a symbol”.

Important Paintings and Contemporary Art

Colin McCahon Kauri Trees, Titirangi oil on canvas signed McCahon and dated ’55, ’6, ’7 in brushpoint lower left 880mm x 775mm

PROVENANCE From the Molly Macalister Family Collection Estimate $270,000 – $320,000

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Bill Hammond ‘Cave Painting 5’ discusses the Darwinian principle of ‘survival of the fittest’ and, appearing almost as a religious tapestry, it prompts the viewer to consider the influence of that principle on the organisational structures of advanced civilisations.

Bill Hammond’s Cave Painting 5 is a masterfully executed work belonging to a broader body of paintings made between 2007 and 2012, in which the artist uses human life and custom from the Paleolithic era to build an allegory for the political and social structures of the modern world. Cave Painting 5 is a particularly rare example in that, unlike most smaller, domestic-scale examples from the series – each of which often features a single, dominant figure – it pictures an expansive landscape and a vast array of figures, and conjures the same deep intensity as do Hammond’s largest works from this period. There is something intensely dark and compelling about this foreboding environment with cavernous interiors, sparsely distributed vegetation and smouldering, active volcanoes. The painting is rendered in inky, velveteen blue and thick, luminescent gold, which emanates across the canvas shedding light on the world outside of the cave, and Hammond’s technique and material choices imbue his subject matter with a ceremonial appearance. The potency of the gold is such that, in parts, it reflects from beneath the layer of blue, yielding an effect of stunning translucency. The manner in which the washes of gold lap against one another in the background recalls the slub of silk, while the cascading drips of pooling blue pigment bring to mind the sharp, strongly vertical structure of gothic architecture. The form of the winged, avian figures which populate the foreground is based on that of the native Haast’s eagle, which was hunted to extinction by humans. Prior to this, the species was the natural predator of the giant moa and, by posing the central figure with a curled bicep and placing a stack of large bones in the lower right corner of the image, Hammond alludes to the species’ dominant role in ancient New Zealand. The work discusses the Darwinian principle of survival of the fittest and, appearing almost as a religious tapestry, it prompts the viewer to consider the influence of that principle on the organisational structures of advanced civilisations.

Important Paintings and Contemporary Art

Bill Hammond Cave Painting 5 acrylic on board in original artist-selected frame signed W.D. Hammond, dated 2008 and inscribed Cave Painting 5 in brushpoint upper edge 345mm x 480mm

PROVENANCE Purchased from Cave Paintings, Ivan Anthony Gallery, 2008. Estimate $60,000 – $80,000

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COLIN McCAHON ‘Moby Dick is Sighted off Muriwai Beach’ is one of only five paintings on canvas from an important body of work which was a precursor for the open-ended ‘Necessary Protection’ series.

This series heralded the introduction of the simplified representations of cliff forms and some of the more intimate and controlled themes that would form the basis of the artist’s later-life practice. In this work, it is evident that McCahon has visually articulated both his environmental concerns and his religious convictions with exceptional clarity. Containing both the stylistic tendencies seen in the artist’s practice of 1960–1970 and the oblique representations of the artist’s output until the time of his death, the Moby Dick series bears witness to the artist at a turning point in his career. It is also a testament to the way in which his love for a particular place lifts the work above the function of symbolic illustration. In late 1971, McCahon began using imagery with an association with a specific location – the cliffs above Otakamiro Point, Muriwai – with a view that became the key to the Necessary Protection theme. He was quoted in 1972 as saying: “My painting is almost entirely autobiographical – it tells you where I am at any given time, where I am living and the direction I am pointing”. In February 1972, McCahon produced this work and three other paintings, all titled Moby Dick is Sighted off Muriwai Beach, leaving no question about where he had located himself. This site gave greater reality to the view from the cliff top by including the small offshore island of Oaia. In these paintings, the island has been transformed into Moby Dick, the great white whale from Herman Melville’s classic 1851 novel. The metaphoric linking of Oaia Island and Moby Dick worked on many different levels. The image of the whale allowed McCahon to reference the symbol of the devil of early Christianity whilst recalling the salvation of Jonah from the whale, thereby reflecting his conflicted view of the Church, his despair at what was happening to the Muriwai environment and his desire to protect it. Similarly, the island represents the source of faith and Christ’s teachings and, on a metaphysical level, the title of the series, Necessary Protection, alludes to the protection of humanity by a spiritual being.

Important Paintings and Contemporary Art

Colin McCahon Moby Dick is Sighted off Muriwai Beach synthetic polymer paint on canvas signed McCahon and dated ‘72 in brushpoint lower right; inscribed MOBY DICK IS SIGHTED OFF MURIWAI BEACH in brushpoint lower left 765mm x 918mm

PROVENANCE Gifted by the artist to his sister and passed, upon her death, to her husband who was the previous owner of the work.

EXHIBITED Colin McCahon, Paintings from this Summer ’71 –’72: Muriwai and Kurow, Barry Lett Galleries, March 1972. Estimate: $350,000 – $400,000

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LILLIAN BUDD ‘Modern World,’ made in 1990, prior to the artist Lillian Budd’s involvement with the et al. collective, examines the physical and organisational structures that are synonymous with socalled ‘modern day’ living.

A key work in the ground-breaking exhibition Headlands – Thinking through New Zealand Art, curated for the Museum of Contemporary Art, Sydney, in 1992, Modern World was one of the most influential examples of installation produced at this formative period in New Zealand art history. This is the first time it has been presented to the market since its exhibition in Sydney and subsequent tour of major New Zealand art galleries. It is an indication of Modern World’s strength and relevance that it continues to challenge the public’s perception of artistic production with its difficult-to-navigate content and thus stands as a highly important exemplar of postmodern New Zealand art practice. Modern World is notable because, rather than focusing on didactic constructs, it uses forms that are, both conceptually and practically, typically associated with the notion of ‘enlightenment’. In addition to the words ‘Modern World’, the four wall-hanging sheets of paper display a passage of text about bookkeeping and the leveraging of debt (the activities of an advanced society) while the three-dimensional elements of the work incorporate light fittings and a copy of the book Damned Shall be Desire by Stephen Coulter. At its heart, Modern World examines the ideals and schools of thought associated with the notion of modernity and the way in which those constructs influenced contemporary society at the time of its making. While the term modern is often used to describe things that are ‘new’, it was first used to collectively describe intellectual advancements such as capitalisation, industrialisation and rationalisation. In using found, antiquated objects which have been embellished with imprecise mediums such as resin and white, commercial acrylic, Budd imbues her subject matter with a nostalgic sensibility. The work sheds light on the true vintage of modern economic and political principles often cited as pillars of societal advancement. With its title serving as a central focus, Modern World challenges the viewer to consider the implications of the phrase and, by contrasting it with objects, each of which was produced for a specific purpose and in a considered manner but is now ultimately valueless, Budd considers the merits, failings and legacy of modernity’s influence on contemporary society.

Important Paintings and Contemporary Art

Lillian Budd Modern World screenprint and acrylic polymer on four sheets of paper, two found lamps with shaped bulbs, found extension cord and resin coated copy Damned shall be desire by Stephen Coulter affixed

to found stand; National Art Gallery, Wellington, New Zealand & Museum Contemporary Art, Sydney, Australia: Touring Exhibition label attached to base of found lamp (pictured furthest left).

2400mm x 2000mm x 3000mm (overall, as installed). Estimate $50,000 - $60,000

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GARTH TAPPER ‘Black Gold,’ by Garth Tapper is a heroic painting in the modernist tradition in both scale and intent. It is arguably one of the most significant works by the artist and the most important ever offered for sale at auction.

Garth Tapper’s practice had utilitarian aims and, as a whole, his life’s work reflected on our national identity from a unique vantage. Of Tapper, art critic Hamish Keith stated in 1975, “… he is completely with the mainstream of New Zealand life and reports upon it. He is perhaps the only genuine social observer we have in New Zealand and should be cherished for that.” Tapper’s entire output shared this common conceptual focus and, accordingly, Black Gold is a monumental masterpiece from the artist’s series of paintings of blue-collar workers. The work is notable because it not only engages with the concerns of the labour force, but reflects on broader political, social and art-historical concerns. The title, Black Gold, refers to the financial gains involved in handling government construction contracts and to the notion that the awarding of such contracts is often governed by the interests of a small minority rather than by those of society as a whole. In classic Tapper form, this work summons a sophisticated political conversation while presenting a simple figurative image. Black Gold is also remarkable because it presents Tapper’s reflection upon New Zealand society’s relationship with the natural world. In a number of ways – such as the manner in which the artist painted the sky and the solid, rolling hills, and the method in which the workers’ tools are described and positioned – the work alludes to Colin McCahon’s seminal 1952 painting On Building Bridges. Both paintings reference the way in which human structures and industrial development impact on the natural world and society. On Building Bridges is regarded as a work that was central to the development of modern painting in New Zealand and, accordingly, in Black Gold, Tapper was also considering his position in relation to the overall canon of New Zealand’s modernist movement.

Important Paintings and Contemporary Art

Garth Tapper Black Gold oil on board signed Garth Tapper and dated ‘87 in brushpoint lower right 1500mm x 2000mm

PROVENANCE Private collection, Auckland. Commissioned by present owner in 1987. Estimate $100,000 - $150,000

Webb’s Auction House record year in review


Important Paintings and Contemporary Art

The New Zealand art market experienced a record-breaking year in 2013. Whilst it wasn’t a focus of critical commentary throughout the year, the New Zealand secondary art market, in fact, witnessed the highest turnover it has ever recorded at $20.3 million. The outstanding results of the past year recall a bygone period in the art market’s history; indeed, it is not since the early 2000s that the secondary market has witnessed such liquidity and firm demand. This is the product of a market ascendance, and heralds a turning point in the crystallisation of New Zealand art as a blue-chip cultural asset. Crucially, it was the thorough and unsurpassed performance of high-value works (i.e. those holding values in excess of $100,000) which drove the exceptional results and market totals for the year. Webb’s performance served as a catalyst, as we facilitated more fine art sales by value than did any other New Zealand auction house and achieved a market gain of 20%. Over 2009 to 2013, the traditional auction calendar generated total sales of between $15.3 million and $15.8 million. In light of this, the results of 2013 are all the more impressive, and Webb’s is proud to have turned over $7.6 million of these fine art sales, a result 25% ahead of that of our nearest competitor. As the highest yearly total generated on the New Zealand art market, the figure is a milestone that defines the future direction of that market. While, by the numbers, results for 2013 clearly demonstrate a strong, sustained demand for high-value works of exceptional quality, it is also interesting to analyse the contrast between the prevailing approach of the buying public of the early 2000s, regarded as a high point in the market’s history, and that of today’s market. The fundamental difference is that a refinement and maturation in the market’s collective psyche has occurred and, accordingly, both vendors and collectors are now more aware of comparative price points. In 2013, a number of major works did achieve prices which developed on previously established benchmarks; however there was a greater degree of predictability and adherence to correlative pricepoints. It is also worth noting that since the early 2000s, sales of high-value works by Ralph Hotere have contracted significantly. Although a large part of the market once comprised of Hotere sales, the top ten prices for 2013 saw a complete absence of the

Sophie Coupland Head of Fine Art Department

artist’s practice. The fact that this shift has not created a lasting gulf in annual totals indicates that other areas of the market have experienced an accelerated uptake. In the present-day market, high-value artworks have therefore come to exist and function together as an independent sector where the correlation of artistic reputation, quality, scarcity and investment value has rendered a highly sought-after asset class and has instilled an intrinsic capability for rationally strong performance at auction. A raft of new records was set by Webb’s in 2013 including the highest prices to be achieved in half a decade for a contemporary painting and for a work by a living New Zealand artist. Further, the year’s final sale of Important Paintings & Contemporary Art, held in late November, achieved a total in excess of $2.0 million: the highest sale turnover of the season. Webb’s record-breaking year included an array of high-performing results that surpassed previous benchmarks: particularly notable amongst the achievements of 2013, for example, was the sale of a suite of paintings by Bill Hammond for more than $1.1 million, including Farmer’s Market for $328,300. High-value transactions were also conducted for a large banner work on canvas by Ralph Hotere, Vidyapati’s Song, which achieved $222,775. Further, one of the last works painted by Evelyn Page, Breakfast at Hobson Street, sold for $193,452 while a significant untitled work by Michael Illingworth achieved $158,287. Significantly, Webb’s decisively navigated the market of modern New Zealand paintings, having sold 60% more major works (i.e. those with values in excess of $100,000) than did our nearest competitor. Webb’s results for contemporary New Zealand art in 2013 lead the sector, significantly advancing the inherent value of a number of new artists with relatively limited sales histories and propelling the performance of established masters. Top results included those for three of the most significant works by Bill Hammond to have been presented at auction: Farmer’s Market ($328,300), Last Nightjar in Congested Sky ($293,125) and Zoomorphic Lounge ($205,187).

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Setting a new precedent in the market for prominently celebrated younger practitioners, Liz Maw’s work, Aura, sold for a recordbreaking $56,300 and new auction records were set for the practice of Rohan Wealleans, Trevor Moffitt, Kushana Bush, Jude Rae and David McCracken. An important point for consideration in analysing the overall trajectory of market performance relates to the market for one of its most enduring and iconic figures: Charles Frederick Goldie. Whilst the work of this 20th-century master has always enjoyed strong demand and secured market-leading prices, the 2013 auction year saw these levels pass a previously unsurpassed threshold, going so

far as to break the artist’s auction record. Of the entire market share of paintings by Charles Goldie to have been presented to auction in 2013, Webb’s was responsible for 66% – a figure 200% ahead of that of our nearest competitor by volume. Of particular note are the following four high-value sales made by Webb’s over the year for the work of Charles Goldie: Memories, Wiripine Ninia, a Ngati Awa Chieftainess ($281,400), The Whitening Snows of Venerable Elder Atama Paparangi ($257,950), One of the Old School, Wiripine Ninia ($240,362) and Ngatirea ($152,425). These results accompanied the $175,875 achieved for Gottfried Lindauer’s portrait, Mrs Huria Whakamairu.

The outstanding performance of 2013 saw annual turnover surpass the extraordinary benchmarks set over a decade ago. Webb’s is excited to be at the forefront of this market growth and, in continuing to spearhead highvalue sales, will lead the heralding of this new era in the history of the New Zealand art market throughout 2014.

Colin McCahon

Bill Hammond

Charles Goldie

Landscape with Road oil on board, 1965

Farmer’s Market acrylic on canvas, 2009

Memories, Wiripine Ninia, a Ngati Awa Chieftainess oil on canvas, 1915




Important Paintings and Contemporary Art


average price across Webb’s top ten results, a 26% increase on 2012

20 15


10 5




WEBB’S SHARE OF Sales OVER $100,000 by volume, 2013

8 7 6 5 4 3 2 1 0

2013 2012

2011 2010

Webb’s annual fine art auction totals, in millions

Webb’s share of Charles Goldie sales by volume, 2013

Webb’s share of Bill Hammond sales by volume, 2013

Top 10 prices – 2013 1. Bill Hammond – Farmer’s Market. Achieved $328,300

6. Bill Hammond – Zoomorphic Lounge. Achieved $205,187

2.  Bill Hammond – Last Night Jar in Congested Sky. Achieved $293,125

7. Ralph Hotere – Vidyapati’s Song. Achieved $222,775

3. Charles Frederick Goldie – Memories. Achieved $281,400

8.  Evelyn Page – Breakfast at Hobson Street. Achieved $193,452

4. C  harles Frederick Goldie – The Whitening Snows of Venerable Elder Atama Paparangi. Achieved $257,950

9. Gottfried Lindauer – Mrs Huria Whakamairu. Achieved $175,875

5. Charles Frederick Goldie – One of the Old School, Wiripine Ninia. Achieved $240,362

10. Michael Illingworth – What Lies Beneath These Fragments of Reference? Achieved $158,287

Evelyn Page

Michael Smither

Ralph Hotere

Breakfast at Hobson Street oil on canvasboard, 1975

Elizabeth with Sarah and Joseph oil on board, 1968

Vidyapati’s Song acrylic on unstretched canvas, 1979




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X Bill Hammond Having transacted in excess of $1.3 million in sales of Bill Hammond’s work over 2013, Webb’s has propelled the market for Hammond’s practice at auction, which has outperformed that of every other 20th-century New Zealand cultural asset over the last 12 months. Webb’s 2013 results for Hammond’s

of Hammond’s practice. The ideals

Notably, Webb’s also achieved a

practice equate to a share of more than 82% of the artist’s market during this period: 466% ahead of our closest

by which the artist’s work was traditionally valued have expanded and, accordingly, each of the artist’s

figure of $85,000 for a major painting, entitled I Had a Dream Last Night, You Were In It, from the artist’s seminal

competitive colleague. Further, over this time, Webb’s has maintained an unparalleled 100% sell-through

top three results in 2013 were attained by works from periods which had not historically received strong support

1980s period, which predated his use of birds, and $84,400 for a classic 1990s’ bird painting, Fly, which

rate for major paintings ($150,000+) by the artist, an 80% sell-through rate for works made post-1990 and

from the market. Farmer’s Market, whose sale achieved the year’s top result, was the first major painting

measures just 590m x 390mm. The scope of Webb’s sales of Hammond’s practice over the last year has

an astounding 76% sell-through rate overall (including for works on paper and the artist’s traditionally

from the artist’s acclaimed series of Cave Paintings ever presented at auction. The second-highest result

conclusively established the artist as New Zealand’s most celebrated and highly sought-after contemporary

challenging 1980s’ practice). Needless to say, Webb’s bespoke approach to

was for Last Nightjar in a Congested Sky, a painting that sidestepped

practitioner, whose output is regarded as an asset class of its own, which sits

the marketing and placement of the artist’s practice continues to expand

the artist’s classic green tones for a sophisticated monochromatic palette

independently from the fluctuations of the market place.

his active audience and lead his value development in the secondary market.

of black pigment and raw linen; the third-highest result was achieved for a work that sat slightly outside of the

The results over the last 12 months characterise a shift that has occurred in the market’s perception

artist’s previously sought-after 1995 to 1998 period.

Important Paintings and Contemporary Art




Bill Hammond Farmer’s Market

Bill Hammond Last Nightjar in Congested Sky

Bill Hammond Zoomorphic Lounge

acrylic on canvas 1850mm x 2600mm

acrylic on Belgian linen 1800mm x 3600mm

acrylic on linen 2000mm x 840mm


Top 2%

P rice for living N Z artist in 5 y ears

Top 5%

O f res u lts for artist ’ s practice


O f res u lts for artist ’ s practice


Bill Hammond Fly

Bill Hammond I Had a Dream Last Night, You Were In It

acrylic on canvas 590mm x 390mm

acrylic on canvas 1870mm x 1350mm


BY price / size ratio I N A D E CA d E


P rice for 80’ s period in a decade

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X Historical: Depictions Of Tangata Whenua “Traditionally, rare and significant depictions of tangata whenua have made up a fervent and sustained area of value development in the New Zealand secondary art market. Webb’s transactions for these works, during 2013, totalled in excess of $1.1 million, confirming the implicit cultural and social value of these important taonga.” During the course of 2013, Webb’s handled the sale of a number of paintings by two of New Zealand’s most celebrated painters of tangata whenua, Charles Goldie and Gottfried Lindauer. Both practitioners had the expressed aim of documenting the custom and likeness of the Maori and, since the development of the modern secondary market, their collective practice has come to be revered as a poignant and valuable reflection of our nation’s past. The year saw Webb’s transact the sale of four major portraits by Charles Goldie, three of which were from the artist’s acclaimed 1905–1915 period and one of which was painted in 1932 and was the product of a more romantic approach to realism. For the works which belonged to this sought-

after early period, Webb’s maintained an average price of $259,900, 20% above that of our closest competitor. Webb’s strong and consistent performance in this area is the result of our innovative and uncompromising approach to marketing and our base of motivated collectors who are actively engaged with the artist’s practice. Additionally, in 2013, Webb’s was given the extraordinary opportunity to facilitate the sale of a rare early portrait by Gottfried Lindauer, Mrs Huria Whakamairu, dated 1876. It is seldom that fine Maori portraits by Lindauer are presented to the market; compared to works by Goldie, 50% fewer paintings by Lindauer are made available. Not only did Mrs Huria Whakamairu set a new record price for a female portrait

by the artist, its sale price of $175,800 sits in the top 3% of results achieved for Lindauer’s practice. Further, by price/size ratio, Mrs Huria Whakamairu achieved the highest value ever attained for a painting by Lindauer. Based on scale, the figure achieved for this work is a 50% improvement on the average value by price/size ratio across the top three results for the artist’s practice (all of which are held by Webb’s), indicating a definite rise in demand for rare and noteworthy examples of the artist’s practice.

Important Paintings and Contemporary Art



Charles Goldie Memories, Wiripine Ninia, a Ngati Awa Chieftainess

Charles Goldie The Whitening Snows of Venerable Elder Atama Paparangi

Charles Goldie “One of the Old School�, Wiripine Ninia A Ngati Awa Chieftainess

oil on canvas 340mm x 260mm

oil on canvas on board 297mm x 215mm

oil on canvas 230mm x 175mm


Top 11%

P rice for F emale S u bject in 2 0 1 3


Top 4

O f res u lts achieved for artist

$152,400 Charles Goldie Ngatirea (Day Dreams), Natarua Hangapa - Arawa Tribe oil on canvas 300mm x 245mm

Top 28% O f res u lts achieved for artist

sales for 2013

$175,800 Gottfried Lindauer Mrs. Huria Whakamairu oil on canvas 660mm x 530mm


P rice for female s u bject

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X Contemporary Art “Webb’s has convincingly led the secondary market for artworks produced after 1990, having achieved more sales of major works from this period than did any other auction house in 2013. Our sales of contemporary artworks with values in excess of $50,000 totalled more than $1.5 million, a 430% lead on our closest competitor in this area of the market.” In 2013, a number of landmark sales took place in this area of the market

by the artist made post-2005 to break the $100,000 mark at auction. The

nature include the sale of Etaples by Michael Parekowhai for $25,200,

and the results achieved by Webb’s are notable because, in many instances, they broke new ground in areas of the

work was recently exhibited in the artist’s mid-career survey, The Hanging Sky, which toured Australasia, and

which set a new record for a work from the artist’s Consolation of Philosophy series and exceeded the industry

secondary market that, previously, had been untested. This is most poignantly illustrated by the sale price

it is widely celebrated as one of the important paintings made by the artist over the last decade. At three metres

average for this series by 72%. Grey Lynn Boogie Woogie by Rohan Wealleans set a new record for the

of $56,200 achieved for Aura by Liz

in height, this is the largest painting

artist with a sale price of $19,900,

Maw: the highest figure ever generated for a work by the artist. Liz Maw held her first solo exhibition in a dealer

by Cotton ever sold at auction and its price sits in the top 1% of the artist’s recorded sales history.

as did Turnbuckle Squat by Kushana Bush, which exceeded the artist’s previously established average price

gallery setting 13 years ago and only a small number of works has ever been presented at auction. Prior to this sale, the average price achieved across previous transactions was $23,000; Webb’s improved this figure by 144%. Shane Cotton’s The Painted Bird, which achieved $117,250, is the first painting

In addition to Webb’s achieving a number of transactions of a value above the $50,000 level, our decisive approach to marketing also proved extremely effective in exceeding industry averages for works by contemporary artists with values below this level. Highlights of this

by 81% with a sale price of $8,800.

Important Paintings and Contemporary Art




Liz Maw Aura

Shane Cotton The Painted Bird

Rohan Wealleans Grey Lynn Boogie Woogie

oil on board 1330mm x 1070mm

acyrlic on canvas 3000mm x 1900mm

acrylic on linen 1000mm x 1000mm x 60mm


Top 1%

R ecord price for the artist


O f res u lts achieved for the artist


R ecord price for the artist


Michael Parekowhai Etaples

Kushana Bush Turnbunkle Squat

c-type photograph 1500mm x 1250mm

guache and graphite on paper 760mm x 560mm




record price for the artist

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X The Modern Market “Webb’s sold more major works from New Zealand’s modern period (those which achieved hammer prices of $100,000 or more) than did any other auction house in 2013. These results stand as a testament to Webb’s privileged position as a pioneer in the market for modern New Zealand paintings.” Webb’s 2013 results for paintings from

The year saw Webb’s emerge as

practitioners who are recognised as

New Zealand’s modern period reflect the breadth of our nation’s aesthetic practice from 1960 to 1980 and our

top performer in a number of key areas in this sector of the market. Our results include 2013’s top price

early proponents of modern practice in New Zealand. Russell Clark’s Seated Figure, which depicts an unknown

ability to source and supply the market

for a landscape painting by Colin McCahon, the top two prices for works

subject from the Urewera, achieved a new record for the artist’s sculptural

by Ralph Hotere, the top two prices for paintings by Michael Smither

practice with a sale price of $46,000. Also, Charles Tole’s Port Moles, a very

competitor by volume, this success is steeped in Webb’s well-entrenched position in this market, which has

and the highest price for a painting by Michael Illingworth. Additionally, Webb’s transacted the top price for

fine example of the artist’s practice which utilised a pared-back approach to realism, achieved $20,700. The work

been built since we opened our doors in 1975. The results from the last 12 months speak to the efficiency

a painting by Evelyn Page, whose practice is very seldom made available to the secondary market, and this work

measures just 37cm x 33cm and this is the highest value ever achieved for the artist’s practice by price/size ratio.

of our marketing procedures and the strength of our core client base. In many cases, the results in 2013 set

achieved a price that sits within the top 1.4% of the artist’s sales history. In addition to our results at the upper

new benchmarks against which future sales will undoubtedly be evaluated.

end of the value spectrum, Webb’s achieved a number of the record

with rare examples that resonate with this period’s core ideals. Ending the year with a 60% lead on our nearest

prices for smaller-scale works by the

Important Paintings and Contemporary Art




Colin McCahon Landscape with Road

Michael Smither Elizabeth with Sarah and Joseph

Evelyn Page Breakfast at Hobson Street

oil on board 610mm x 600mm

oil on board 1100mm x 1210mm

oil on canvasboard 600mm x 810mm


Top 1%

I mprovement ON RESERVE

O f res u lts for the artist

$158,300 Michael Illingworth What lies beneath these fragments of reference? oil on canvas 600mm x 765mm


P rice for the artist in 2 0 1 3

Top 2.7% O f res u lts for the artist

$222,800 Ralph Hotere Vidyapati’s Song acrylic on unstretched canvas 9120mm x 3040mm


P rice for the artist in 2013

Webb’s Auction House

New Zealand’s Premier Auction House

Top 10 highlights for 2013


YEAR IN REVIEW Increased activity across Webb’s markets for collectable assets saw a year-on-year increase of 20% in turnover and an impressive total of 33,000 transactions completed in 2013. An overall increase in the quality of the supply and engagement from collectors in specialist fields encouraged firm competition, which is forecast to continue into the 2014 season. Webb’s online market engagement now reaches well beyond the shores of Aotearoa. Our catalogues, in both hard copy and digital form, present a global view of New Zealand’s markets for cultural, collectable commodities. There are, on average, 12,000 unique visits per week to our website, and 2014 will be characterised by a continued growth of Webb’s online development as collectors utilise the convenience and efficiency of our current online services. We are excited, also, to announce that 2014 will see the launch of a range of new online and mobile services that will reflect current best practice in our field. Webb’s total sell-through rate for 2013 also improved to an impressive 77.26%. This market-leading result reflects a combination of specialist marketing strategies, ethical pricing practices and excellent client services. The jewellery market saw continued interest in larger and high-grade diamonds, antique jewels and collectable timepieces. With a new jewellery team led by Zora Bell Boyd and Anna Carr Webb’s jewellery services changed pace in 2013 with a focus on presenting the market with a more curated offering of fashionable and desirable product. Extended marketing channels were employed, both on and offline, alongside a greater range of sales platforms including a comprehensive private sales service and a social auction platform for the largely untapped Facebook audience. The Interiors: Decorative Arts and Design

department, led by James Hogan, hit new heights with the remarkable record sale of a pair of 19th-century carved rhinoceros horns. Capturing an international audience, this was followed by the sale of two further pieces of rhinoceros horn, which resulted in an extraordinary average across the top 10 prices for the department of $101,968. Blurring the line between old and new, Webb’s modern design sales satisfy an increasing demand for quality, mid-20th-century furniture and home-ware by named designers. In 2013, our Modern Design department, led by Josh Williams, collaborated with the team at Mr. Bigglesworthy and held tightly curated sales of high-quality, market-fresh, imported mid-century modern design, which was snapped up by enthusiasts. Heading Webb’s Fine Wine department, Simon Ward continues to work with the very best collections of cellared wines assembled in New Zealand. Leveraging Webb’s online presence, 2013 saw a marked increase in online bidding with more than 50% of all winning bids now originating from online customers. While 2012 saw a surge of demand for Polynesian fishing technology, the 2013 market for Oceanic artefacts might be remembered for a focus on Maori pieces with palpable age and genuine patina, and rare pieces that seldom become available to collectors. Our specialist, Jeff Hobbs, secured a number of fine pieces through our international client base and ensured the repatriation of significant works for the benefit of our New Zealand collectors.

What the classic car and vintage motorcycle market lacked in supply it made up for in quality with two relatively small offerings attracting good results across the year. In late March 2014, Webb’s will hold its inaugural Wanaka event in partnership with the Warbirds & Wheels museum. With some remarkable items already confirmed as part of the sale, entries are now limited. Three large and impressive private collections of New Zealand studio ceramics were offered in 2013 by Webb’s head of valuations Brian Wood, a specialist in this field. In late March and in association with Bethunes at Webb’s, Brian will present The Gibson Collection of Orders, Decorations and Medals and in April Brian will curate another sale of New Zealand ceramics. Brian travelled New Zealand extensively throughout the year servicing the valuation requirements of the nation’s leading public galleries and cultural institutions. With significant shifts in the insurance landscape, Webb’s valuation department has enjoyed a very active year including commissions from Te Papa Tongarewa, Auckland War Memorial Museum and Auckland Art Gallery. On behalf of the greater Webb’s team, we thank you for your continued interest and engagement with Webb’s and the markets we support. All the very best for 2014.

Neil Campbell CEO

Important Paintings and Contemporary Art

J EWE LL ERY DEPARTMENT Market Report Last year was one of evolution for Webb’s Jewellery department and, having set several substantial records, including the highest price for a loose stone on the New Zealand market and this country’s highestgrossing jewellery sale, the department is planning a range of exciting auction events for 2014. The new team, Zora Bell Boyd,

Anna Carr, Ruri Rhee and Peter Downey, conducted its first auction in August and achieved record-breaking sales totalling $800,193, a 34% increase on the average turnover for jewellery in the market. The new team offers a blend of expertise that delivers a bespoke and specialist service. There are new marketing channels and fully illustrated

catalogues, and photographs of all pieces are now available to be viewed online; these advancements have encouraged an enhanced overall consigning and buying experience. Entries are now invited for a sale of fine jewellery to be held on 29 March; those entries are limited and consignments close on 14 February.

Top 5 highlights for 2013 1. 5ct cushion cut diamond. Achieved $205,187. Highest recorded price for a loose stone. 2. Pair 3ct solitaire diamond studs. Achieved $75,500 3. 14ct white gold 5.28ct diamond ring. Achieved $55,750 4. Patek Philippe ladies “Queen of Useful Complications” wristwatch. Achieved $37,520. Illustrated. 5. 1.80ct diamond solitaire ring. Achieved $36,500

Consign Now: Fine Jewellery - 29 March Contact: Zora Bell Boyd and Anna Carr

I NTER IORS : DEC ORATIVE ARTS Market Report The unprecedented sale of a pair of magnificent 19th-century Chinese carved rhinoceros horns set a record price for any antique or artwork offered at public auction in New Zealand when it achieved $797,000 in September 2013. This was followed by some very strong prices for further antique rhinoceros-horn artefacts highly sought after by the domestic Chinese market. The market for Chinese antiques has remained

buoyant and the department has seen a considerable rise in new patronage from local Chinese collectors. Some of our highest prices ever achieved for quality bracket, carriage and long-case clocks and chronometers were realised in 2013. The sterling-silver market has been consistent in terms of quality and prices achieved. The market continues to respond positively to the interior-design-focused sales of

Top 10 highlights for 2013: 1. A Pair of 19th Century Rhinoceros Horns on Stands. Achieved $797,300. Illustrated. 2. A single Rhinoceros Horn. Achieved $86,770 3. A Rare 18th/19th Century Chinese Carved Libation Cup Achieved $56,280 4. A Victorian Arnold & Dent Carriage Clock. Achieved $20,750 5. Rhino Horn Walking Stick. Achieved $19,930

Consign Now: Interiors Decorative Arts - 10 April Contact: James Hogan

eclectic and unusual offerings including memento mori, taxidermy, industrial design, militaria and items of New Zealand historical significance. The department also saw strong demand for quality silver and a resurgence of interest in pre-20thcentury wooden furniture, which stands in fashionable contrast to the ever-growing demand for 20th-century modernist design.

Webb’s Auction House

New Zealand’s Premier Auction House

MODERN DESIGN Market Report The October 2013 Modern Design auction, Line & Form, held in association with Mr. Bigglesworthy, resulted in the highestever sale total for a Webb’s Modern Design auction with a 10.6% increase in turnover from the previous, April 2013, American Collection sale. The market also absorbed

73% of all lots offered – the highest sellthrough rate in the market. This year will see a continued demand for iconic designs from the mid-century period. A growing interest in New Zealand heritage in this field will also continue to strengthen. High demand will remain for rare and exceptional

lighting design. Webb’s ongoing partnership with Mr. Bigglesworthy will see the Modern Design department continue to offer a great selection of quality pieces over the 2014 season. Entries are now invited for the forthcoming auction to be held on 8 May 2014.

Top 5 highlights for 2013 1. Model 66 Sideboard. Achieved $10,552.50 2. Eames Black Leather & Rosewood Lounger & Ottoman. Achieved $7,621.25. Illustrated. 3. Herman Miller Desk - Peter Protzman. Achieved $7,035.00 4. C. Jere Birds Sculpture. Achieved $7,035.00 5. Adrian Pearsall Sofa. Achieved $7,035.00

Consign Now: Modern Design - 8 May Contact: Josh Williams

RARE AND FINE WINES Market Report Webb’s Fine & Rare Wine department holds an established position as one of New Zealand’s leading sources of cellared, quality, vintage wines and we are pleased to announce that the 2013 sales results cement this position once again. Alongside New Zealand wines by the great makers such as Te Mata, Dry River and Felton Road, each sale for 2013 offered a selection of

boutique French wines from the Burgundy, Champagne and Bordeaux regions demonstrating the strength of knowledge about local and international fine wines held by our specialist, Simon Ward. In particular, French wine vintages have demanded top prices on the markets of London, New York and Hong Kong, and their availability at Webb’s offers local buyers the opportunity

Top 5 highlights for 2013: 1. 2001 DRC La Romanée-Conti. Achieved $10,552.50 2. 1990 Chateau d’Yquem, Sauternes (six litre). Achieved $7,621.25 3. 1976 Chateau Petrus (Jeroboam). Achieved $5,862.50 4. 2009 Ch Petrus (Magnum) OWC (RP 200). Achieved $5,862 5. 1982 Ch Lafite Rothschild – Chateau Release ‘12. Achieved $5,175

Consign Now: Fine and Rare Wines - 17 February Contact: Simon Ward

to purchase some of the world’s finest wines resulting in the success, once again, of Webb’s Fine & Rare Wine sales during 2013. Fine Wine sales are held monthly with entries currently invited for a forthcoming sale to be held on 17 February.

Important Paintings and Contemporary Art

OC EAN IC & AFRICAN ART Market Report Last year was another strong year for Webb’s tribal art department with several highlights and records set across the fields of Maori, Pacific and African arts. Demand for the finest quality and for early examples remains firm with collectors focusing on the strongest material presented.

Entries are now invited for the 2014 Oceanic & African Arts auction to be held on 10 May; 2014 marks the fifth year for the Oceanic & African Arts department under the direction of Webb’s specialist Jeff Hobbs. Highlights from 2013 include a rare whalebone nguru flute, which was successfully repatriated,

achieving $46,900 and a pair of rare huia birds realising $35,175. The catalogue will feature strong consignments of Polynesian weaponry, a superb collection of African art and important pieces of taonga Maori.

Top 5 highlights for 2013 1. Superb Kahu Kiwi Cloak. Achieved $46,900 2. Important Nguru Flute. Achieved $46,900. Illustrated. 3. Pair of rare cased huias. Achieved $35,175 4. Rare Pre-Treaty of Waitangi, Land ‘Transfer’, 1839. Achieved $25,795 5. Important toki poutangata handle. Achieved $17,587

Consign Now: Oceanic and Afrian Art - 10 May Contact: Jeff Hobbs

C LASS IC CARS AND VINTAGE MOTORCYCLES Market Report There was another strong result in the field of classic cars and vintage motorcycles in 2013 with $920,000 worth of stock being traded across two small but highly specialised sales. As a trend, the vintage car selection attracted excellent demand achieving a 100% sale rate for the year. Critical to this success was the fact that many of the cars were fresh to the market and offered good New Zealand-

new provenances. Late 1960s’ and early 1970s’ material also enjoyed a boomer year. Iconic designs that smack of Kiwi nostalgia continued to set the pace with an original 1964 Ford Anglia selling for a record $9,200; also noteworthy was the 1968 Trekka, which sold for a record price of $10,300. The classic motorcycle scene also continues to respond well to New Zealand-new examples with

Top 10 highlights for 2013: 1. 1970 Velocette Venom Thruxton 500. Achieved $54,050. Illustrated. 2. 1938 Dodge Sedan. Achieved $42,550 3. 1936 Studebaker Bus. Achieved $42,550 4. 1910 Sizaire & Naudin. Achieved $41,400  5. 1936 Essex Scarlet. Achieved $39,100 

Consign Now: Classic Cars and Motorcycles in partnership with Warbirds & Wheels Museum, Wanaka - 30 March Contact: Neil Campbell

original patina. This year, Webb’s set an international record price of $54,050 for the beautiful 1970 Velocette Venom Thruxton 500. We were lucky not to lose this to the United Kingdom. Looking forward, Webb’s is planning another auction in this category for late March. Please make contact for further information about this South Island-based event, as entries are limited.

Webb’s Auction House

New Zealand’s Premier Auction House

Webb’s People



Webb’s Fine Art department has an unmatched reputation for excellent service in achieving record prices at auction for contemporary, early modern, modern and historical artworks. Our extensive Fine Art calendar leads the market and consists of specialist sales of Important New Zealand Works of Art, Contemporary Art, Historical Works of Art, Photography and A2 Art (auction tier two).

Sophie Coupland — BA, Director & Head of Department, Fine Art With fifteen years experience in the valuation and marketing of fine art Sophie has managed the sale and placement of many of the country’s finest and most coveted works of art. Heading the fine art department through the rise of the market between 1999 and 2004, Sophie’s knowledge of the New Zealand’ fine art market and art works from the 19th to 21st centuries is extensive and highly referenced.

Mobile: +64 21 510 876 DDI: +64 9 529 5603

Charles Ninow — MFA, Fine Art Specialist Charles joined Webb’s in 2011 and has an expert, well-referenced knowledge of the New Zealand secondary market. Particularly, his areas of interest lie in the modern and contemporary periods. In addition to this, he is also engaged with current critical discourse surrounding the primary market and the institutional sector. Charles holds a master’s degree from Elam School of Fine Arts.

Mobile: +64 29 770 4767 DDI: +64 9 529 5601

Gillie Deans — Resident South Island Specialist With over 30 years’ experience within the visual arts community, Gillie provides fine art services to Christchurch and South Island clients including current market and insurance valuations, conservation and advice around the purchase and sale of artworks by auction or private treaty.

Mobile: +64 27 226 9785

Carey Young — Head of Fine Art Services, Wellington Founder and director of newly opened Wellington contemporary gallery The Young, Carey previously worked for leading dealer gallery Hamish McKay and has over ten years’ experience in the industry. She is available in Wellington to provide commentary on current market trends and valuations for market and insurance purposes.

Mobile: +64 21 368 348

Rachael Kleinsman — BA, MA, Fine Art Specialist, Assistant Manager Rachel is an art specialist with a strong knowledge of the international art market, and has worked for Christie’s, Sotheby’s and White Cube gallery in London. She holds a Bachelor of Arts degree in Art History and Modern Languages (Victoria University of Wellington) and a Master of Arts degree in Art Business (Sotheby’s Institute of Art, London).

DDI: +64 9 524 6804


The Antiques & Decorative Arts department comprises a dedicated, experienced team of specialists covering 20th/21st-century design, New Zealand ceramics, Maori and Oceanic arts, folk art, colonial furniture, European ceramics and glassware, Asian arts, clocks, marine and nautical instruments, sterling silver, textiles and vintage clothing, and toys and dolls.

James Hogan — Head of Department, Collectables & Estate James has worked with Webb’s for over 20 years, and is a highly experienced senior valuer and appraiser of antiques and decorative arts from the 18th to the 21st centuries. His particular interests include New Zealand colonial furniture, English and Continental furniture from the 18th and 19th centuries, retro and modernist furniture and interior objects.

Mobile: +64 21 510 477


Webb’s Fine & Rare Wine department leads the New Zealand auction market in the sale of fine, collectable wine. Webb’s sales feature fine New Zealand wines, premium Australian wines, Champagne, First Growth Bordeaux, premium Burgundy and a selection of Sauternes, Ports, Italian wines and Cognacs.

Simon Ward — Consultant, Fine Wine Department Simon joined Webb’s as director of the Fine Wine department in 2009. With over 20 years in the industry encompassing production, sales, marketing and winery management, Simon’s international experience includes four years based in Italy. He holds an Associate Diploma of Wine Marketing (Roseworthy College, South Australia).

Mobile: +64 21 642 277 DDI: +64 9 529 5600

Important Paintings and Contemporary Art


Two sales are held annually in this specialised area of collecting. Sales feature artefacts from the pre-contact and contact periods through to 20th-century works. Pieces covered include those used for ritual, ceremonial, decorative and practical purposes within traditional Maori and Oceanic and African cultures, as well as New Zealand colonial furniture.

Jeff Hobbs — Consultant, Oceanic And African Art Department Jeff is a veteran expert in Oceanic, Tribal Arts and antiquities. A successful dealer and consultant in New York and the United Kingdom during the 1990s, he subsequently owned and operated Wellington’s well-respected Sulu Gallery. Jeff has travelled internationally on behalf of Webb’s repatriating significant Maori and Oceanic material.

Mobile: +64 21 503 251


Webb’s jewellery sales include a wide selection of fine and magnificent jewels together with valuable watches, significant diamonds, the finest antique and modern jewels, and watches from the most sought-after makers in the world.

Zora Bell Boyd — Head of Fine Art Services, Wellington Zora has a background in precious gemstone trading, bespoke jewellery manufacture and high fashion. She established Wunderkammer, a boutique fashion destination, and her own jewellery range, and has over 10 years’ experience sourcing precious stones and antique jewellery from locations as far afield as South America and Asia.

Anna Carr — BDes, DipTeach, Specialist Anna Carr (nee Ward) is a practising jeweller who, since graduating in 2004 with a Bachelor of Design (Honours) degree, majoring in Contemporary Jewellery, and a Postgraduate Diploma in teaching, has exhibited nationally and internationally. Prior to starting at Webb’s, Anna worked as a Jewellery Coordinator at Masterworks for four years.

Mobile: +64 21 268 589 DDI: +64 9 529 5606

DDI: +64 9 529 5606


Webb’s is the market leader in the sale of collectors’ motorcycles in Australasia. As the largest auction house in New Zealand to hold scheduled exhibitions and auctions of important motorcycles, Webb’s delivers international prices and expert service to its clients and caters for both local and global demand for superior machines.

Neil Campbell — LLB, BEcon, CEO A trained lawyer with a degree in Economics, Neil worked in the film production sector for many years, and as a script-writer (his story ‘The Freezer’ was made into a film in 2006). Neil formerly represented the New Zealand Union for Film Directors, and worked as the in-house content lawyer for TVNZ. Neil ensures Webb’s team is wellsupported and focused on providing the best range of services in New Zealand.

Mobile: +64 21 875 966 DDI: +64 9 529 5607


Held twice annually, these sales present design classics and pieces by the world’s most celebrated designers. Webb’s modern design partnership with mid-century specialists Mr. Bigglesworthy ensures that high-calibre, classic and desirable designs are offered.

Josh Williams — BA, Auction Manager, Modern Design Specialist Having worked for Auckland Museum, the Victoria and Albert Museum, and in antique shops in London, Josh’s specialist interests include Georgian furniture and antiques, and mid-century modern design. He holds a Bachelor of Arts degree (The University of Auckland) and a Postgraduate Certificate in Museum Studies (The University of Sydney).

DDI: +64 9 524 6804


Webb’s provides valuation services to public institutions, and corporate and private collections, including Auckland Art Gallery, Te Papa Tongarewa and numerous regional galleries and museums. Domestic valuation services include single items or entire collections and cover artworks and the full spectrum of antiques, interiors, modern design and collectables.

Brian Wood — Head of Valuations Leading the Valuation department, Brian has a sound knowledge across the collecting genres and is a specialist in studio ceramics. Brian ran his own art and antique gallery before heading overseas. On his return to New Zealand, he completed a Bachelor of Fine Arts degree majoring in ceramics and managed a private art collection before joining Webb’s.

Mobile: +64 21 486 948 DDI: +64 9 529 5609


Bethunes operates as the rare book department of Webb’s. The department deals in rare, out-of-print and collectable books, historical photography, maps and plans, manuscripts, documents and ephemera, posters and prints, and postcards.

Ben Ashley — Head of the Rare Books Department Ben has a background of over ten years’ experience in high-end retail, and his varied skills and knowledge provide a fresh, pragmatic approach to book sales and appraisals. Ben studied New Zealand Literature at The University of Auckland, Victoria University of Wellington and the International Institute of Modern Letters.

DDI: +64 9 524 6804



Webb’s Auction House

New Zealand’s Premier Auction House



SALE FINE AND RARE WINES 17 February 2014 A2 ART 19-20 February 2014 FINE AND RARE WINES 24 March 2014 IMPORTANT PAINTINGS AND CONTEMPORARY ART 25 March 2014 T h e G i b son C ollection of O rders , D ecorations and M edals 27 MARCH 2014 FINE JEWELLERY AND WATCHES 29 MARCH 2014 CLASSIC CARS AND VINTAGE MOTORCYCLES 30 March 2014 INTERIORS: DECORATIVE ARTS 10 APRIL 2014 NZ STUDIO CERAMICS 7 MAY 2014 MODERN DESIGN 8 May 2014 IMPORTANT OCEANIC AND AFRICAN ART 10 MAY 2014 18 M an u kau Road, Newmarket , Auck land P O B ox 9 9 2 5 1 T 09 524 6 8 0 4 E auctions @ webbs.c w w w.webb s.c o.n z

Important Paintings & Contemporary Art Consign Now  
Important Paintings & Contemporary Art Consign Now  

Webb's Important Paintings & Contemporary Art Consign Now Brochure, February 2014