Select, June 2024

Star Gossage, Awhi

Modern, Contemporary & Historical Art

24.06.2024 Select

50

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Contents

Foreword 14 Programme 16 Plates 17 Terms & Conditions

72

Index of Artists

74

13

Foreword

Mark Hutchins-Pond, Senior Specialist, Art

Kia ora koutou, nau mai haere mai; greetings and welcome to our June Select catalogue. Following hot on the heels of this year’s boutique Wellington live auction Get Back – a lively celebration of vibrant art and design from the 1960s – our June Select collection is a wonderfully varied and broad offering. We’re thrilled to showcase a selection that will stimulate and intrigue the diverse aesthetic tastes amongst admirers and collectors of New Zealand fine art.

Once again, we are privileged to present a striking pair of iconic figurative paintings on incised rimu by Pauline Yearbury. After being overlooked for decades, Yearbury’s unmistakable depictions of Māori deities and spiritual lore are now achieving fantastic record prices in 2024.

▲ Mark Hutchins-Pond, Senior Specialist, Art

Suddenly, it seems, Yearbury’s joyous depictions of Māori pūrākau have struck a resonant chord with a wide cross-section of collectors, with a variety of high profile bidders fiercely competing at auction. Each sale has further established Yearbury’s reputation as an important and unique 20th century artist in Aotearoa.

Echoes of Yearbury’s legacy can been seen in the equally idiosyncratic imagery of Robyn Kahukiwa, two fine examples of which feature in this catalogue. A generation younger than Yearbury, Kahukiwa’s work is grounded in the present, empowered by the artist’s support for the struggle of her people to regain what was taken from them, physically and culturally, by early colonising forces.

Another contemporary wahine Māori painter expressing her connection to te ao Māori is Star Gossage, whose 14

stunning 2011 painting Awhi In the space allotted in this graces the cover of this catalogue. introduction, I’ve touched on A generation younger again what I consider to be some than Kahukiwa, Gossage draws real gems in this collection but inspiration from the ancestral there are far more to discover. lands that she and her family have As has become our practice always lived on. Although the over the last couple of years, a source of Gossage’s narratives significant portion of the works are deeply personal, the mystic will be presented for viewing at and metaphorical environments our Wellington gallery in Marion she envelopes her imagery in powerfully resonate with the wider Street before the full offering community of New Zealand artists, is shown at our Mount Eden curators, and collectors. Now mid- gallery, prior to the live Auckland auction. If you’re unable to attend career, Gossage has established either of the viewings in person, herself as an exceptional we are happy to show works painter of her generation. through video calls or supply When considering outstanding an in-depth condition report.

New Zealand artists of the We hope you enjoy Webb’s current generation, we cannot latest offering of fine New fail to mention Fiona Pardington.

Zealand art and look forward An undisputed grand icon of to a buoyant and lively sale on transcendent photographic Monday 24 June, 6.30pm. artwork inspired by our cultural taonga, Pardington is in a class of her own. Like Gossage, Pardington’s practice is deeply grounded in her identity as a woman artist of Māori descent, often exploring Aotearoa's complicated colonising history in her work. Her choice of taxidermied native birds in museums as the protagonists of her metaphorical tableaux provides her with a wealth of material to draw upon. We have a stunning collection of works by Pardington in this collection, all of which clearly demonstrate her virtuosity as a contemporary photographic artist.

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Programme Wellington Launch Event Wednesday 12

June

5.30pm — 7.30pm

We invite you to join us at our Te Aro gallery for a discussion with iconic Wellington curator and gallerist Alison Bartley, who will share her personal highlights from the Select catalogue. Please RSVP to karen@webbs.co.nz.

Viewing Thursday 13 — Friday 14

June

10am — 5pm

Saturday 15

June

11am — 3pm

Auckland Launch Event Tuesday 18

June

6pm — 8pm

Join us to hear Hester Rowan, Assistant Curator at Te Uru Waitākere Contemporary Gallery, share her top picks from our June Select catalogue. Please RSVP to art@webbs.co.nz.

Viewing Wednesday 19 — Friday 21

June

10am — 5pm

Saturday 22 — Sunday 23

June

10am — 4pm

June

10am — 5pm

June

6.30pm

Viewing on Request Monday 24

Live Auction Monday 24

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Plates

132 Lots

Specialist Enquires

Condition Reports

wellington

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

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

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

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

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

Sean Duxfield Specialist, Art sean@webbs.co.nz +64 210 536 504

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1 Ans Westra, Land Rights Now 1983 gelatin silver print 150 × 165mm EST $3,000 — $5,000 2 Ans Westra, No Deal On Dignity c1983 gelatin silver print 150 × 190mm EST $3,000 — $5,000

3 Ans Westra, Trade Union Protest, Wellington (Protest at the Opening of Parliament) 1982 gelatin silver print 180 × 220mm EST $3,000 — $5,000

4 Ans Westra, Rātana Pā (During Rātana Hui) gelatin silver print 200 × 255mm EST $3,000 — $5,000

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5 Peter Siddell, Night Scene 1997 gouache on paper signed and dated 120 × 165mm EST $2,000 — $4,000

7 Bill Hammond, Singer Songwriter I 2001 lithograph on paper signed, dated and title inscribed 690 × 830mm EST $15,000 — $20,000

6 Andrew McLeod, Love Between People 2003 gouache on digital print on paper signed, dated and title inscribed 410 × 290mm EST $2,000 — $3,000

8 Bill Hammond, Singer Songwriter II 2001 lithograph on paper signed, dated and title inscribed 685 × 830mm EST $15,000 — $20,000

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9 Robert Ellis, City Through Curtains 1962 graphite, coloured pencil and gouache on card signed and dated 520 × 840mm EST $6,000 — $9,000

10 Robert Ellis, City and River 1964 woodcut on paper, 28/32 signed and dated 380 × 515mm EST $1,500 — $2,000

11 Robert Ellis, City Landscape with View 1964 woodcut on paper, 18/22 signed and dated 520 × 375mm EST $1,500 — $2,000

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12 Pauline Yearbury, Tangaroa acrylic on incised rimu signed 600 × 300mm EST $4,000 — $6,500

13 Pauline Yearbury, The Fish of Maui acrylic on incised rimu signed 600 × 300mm EST $4,000 — $6,500

14 Cliff Whiting, Untitled (Waka Toa and Taniwha) incised wood with marquetery in native timbers 455 × 1185mm EST $4,000 — $8,000

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15 Robyn Kahukiwa, Whaia e koe 1999 acrylic, ink and graphite on paper signed and dated 365 × 300mm EST $1,000 — $2,000

16 Robyn Kahukiwa, untitled (He Maori au, mai te rangi ki toku upoko titi ki te whenua) 1999 acrylic, ink and graphite on paper signed and dated 390 × 295mm EST $1,000 — $2,000

17 Cora-Allan, untitled 2022 whenua pigments and kāpia ink on hiapo signed and dated 600 × 880mm (widest points) EST $7,000 — $9,000

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18 Pat Hanly, Awake Aotearoa 1983 screenprint on paper, proof 1 signed, dated and title inscribed 535 × 655mm EST $2,000 — $4,000

20 Allen Maddox, untitled watercolour on paper 420 × 295mm EST $5,000 — $7,000

19 Allen Maddox, I Love You 1979 pastel and acrylic on paper signed, dated and title inscribed 300 × 455mm EST $2,500 — $5,000

21 Allen Maddox, untitled 1980 crayon on paper signed and dated 480 × 410mm EST $5,000 — $7,000

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Robin White

Recording Reality

Artist Robin White (Ngāti Awa) has long contended that “I see myself as a recorder of the reality of the situation … my work arises out of the situation I’m in.”1 To take stock of life – or rather, the lives – around her, to ruminate on their time and place, the whenua, the stories buried beneath; these are the threads that have always formed the heartbeat of White’s practice.

After completing her studies at Auckland’s Elam School of Fine Arts in 1967, White progressed into a year at teacher’s training college, and therein began teaching art at Mana College in Porirua. White was, by her own self-effacing admission, an unusual teacher, but it was a fulltime profession that allowed her to continue her art practice after the day’s teaching had ended.

Created in 1972, works such as Cross’s Barn, Peninsula are a visual fulcrum, timestamping the period in which White exchanged Porirua for the rolling hills of Portobello and, crucially, marking the year before she committed to being a full-time artist. With its undulating lines and green-blue palette, Cross's Barn, Peninsula shows White’s curious, seeking eye for her then newly adopted backyard on the Otago Peninsula.

Her works throughout the 1970s were well received by critics and the art community, exploring her distinct take on regional New Zealand landscapes as well as the national, cultural, and oftentimes very personal, identities inextricably entwined.

By the time of The Black Standard Over Victory Beach, we bear witness to another bookmark in the artist’s life, with this intimate charcoal work completed right on the precipice of her leaving Aotearoa for the island nation of Kiribati in 1982, a move motivated by her Baháʼí faith. Subsequently, as her personal life morphed across geographic borders, so too did her artistic practice.

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22 Robin White, The Black Standard Over Victory Beach, 1981 1981 charcoal on paper signed and dated 290 × 390mm EST $4,500 — $6,500

23 Robin White, Falling Star over Betio, Tarawa 1985 screenprint on paper, 23/30 signed, dated and title inscribed 530 × 315mm EST $4,000 — $6,000

24 Robin White, Cross's Barn, Peninsula 1972 screenprint on paper, proof signed, dated and title inscribed 500 × 680mm EST $6,000 — $10,000

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25 Robin White and Ruha Fifita, Ko e Hala Hangatonu – Detail V 2013 natural pigments on barkcloth signed, dated and title inscribed 900 × 450mm EST $11,000 — $16,000

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▲ Robin White, “Art and Conservation 1

▲

Are Synonymous,” Art New Zealand 7, August–October 1977, https://artnewzealand.com/7-environrw/ 2 Robin White, interviewed by Claudia Pond Eyley, “Robin White in Kiribati,” Art New Zealand 31, Winter 1984, https:// art-newzealand.com/31-white/

In part, this evolution was a pragmatic one, as the art materials of her prior decade – lengths of canvas, tubes of lush oil paint, silkscreens and inks – were difficult to procure on the remote atoll. White resourcefully pivoted to more readily available resources such as timber, which she felt “suited my feeling of this place.”2 Despite these material constraints, White’s ability to perceptively reflect upon the realities around her never faltered. In Falling Star Over Betio, Tarawa, what at first appears to be the gentle curvature of the shoreline is, upon closer inspection, a sobering topography made up of the bodies of fallen soldiers.

Though White returned to Aotearoa in 1999, the collaborative spirit shaped by her 17 years in the Pacific has remained steadfast.

Ko e Hala Hangatonu – Detail V comprises a deftly hand-dyed piece of ngatu (tapa cloth) made in collaboration with Tongan artist Ruha Fifita. Its title, translating to ‘the straight path’, refers to the literal path leading to the king’s palace in Tonga, but perhaps also alludes to the metaphorical pathways we choose to pave in this life. And from today’s vantage point, casting our eyes back to the vistas of Robin White’s practice thus far, there can be no doubt as to the conviction and strength of the path she has blazed.

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26 Terry Stringer, Queen Victoria Thinks of New Zealand 2003 bronze signed and dated 540 × 200 × 200mm (widest points) EST $5,000 — $8,000

27 Terry Stringer, untitled 1996 bronze signed and dated 290 × 110 × 80mm (widest points) EST $3,000 — $5,000

28 Terry Stringer, untitled 2014 bronze, 2/3 signed and dated 120 × 210 × 110mm (widest points) EST $3,800 — $4,800

29 Gretchen Albrecht, untitled 2006 glass, 11/50 signed and dated 545 × 340 × 100mm (widest points) EST $2,000 — $4,000

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30 Gordon Walters, Genealogy III 2000 screenprint on paper, 58/100 indented with Walters Estate chop mark 1050 × 780mm EST $5,000 — $7,000

31 Gordon Walters, Untitled (1978) 1978 screenprint on paper indented with Walters Estate chop mark 1055 × 800mm EST $8,000 — $12,000

32 Richard Killeen, Repetition Triangle Wasp 2020 UV inkjet print on plywood signed, dated and title inscribed 550 × 550mm EST $3,500 — $6,500

33 John Pule, Restless Spirit 2000 lithograph on paper, 4/20 signed, dated and title inscribed 760 × 560mm EST $1,200 — $2,200

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John Edgar

Precise Forms

my primary objective was … to work the stone so its aesthetic qualities would make it precious. A transmutation of the base to the precious, a metamorphosis.1 New Zealand sculptor John Edgar (1959–2021) would sometimes work with specific precious stones: pounamu, jasper, marble.

More often, he would work with stone that told of the place it came from, travelling to select individual stones from quarries in Scotland, Australia and India, as well as prospecting in Te Waipounamu and the Coromandel — he had a particular fondness for Coromandel granite and the common greywacke stones found in our local rivers. To read Edgar’s writing is to understand that he knew the story of each rock he worked with.2 Describing another of his Transformer sculptures – a commission from Waitākere City Council that still stands outside the Japanese garden in Henderson – Edgar tells the tale of the South Canterbury grey basalt he used:

34 John Edgar, untitled marble and glass 150 × 150 × 150mm EST $4,800 — $6,000

30

he basalt came from the T eruption of the volcano, Mt Horrible. The lava flowed more than 30 kilometres to reach the coast at Timaru, resulting in the gently-rolling hills and the coastal reefs that form the sheltered harbour.

The porosity in the basalt comes from pockets of air which became entrapped in the molten lava as it flowed from the erupting volcano about two million years ago.3

35 John Edgar, Transformer 2007 white Portuguese limestone and red Indian sandstone 1810 × 405 × 305mm EST $18,000 — $26,000

▲ Galvan Macnamara, “John Edgar – Calculus,” 1

▲ ▲

Sunday Star Times, February 2002, http://www. johnedgar.co.nz/calculus/calculus_review.html This idea is explored in more depth in John Edgar, Robin Woodward, and Dinah Hawken, Ballast: Bringing the Stones Home (New Zealand: Aerial Press, 2009).

3 “Sculpture: ‘No Time Like Now’. Transformer and Red Cross,” John Edgar – Sculptor, May 2008, http://www.johnedgar.co.nz/sculpture/ sculpture_texts.html. Another Transformer sculpture sits in the Auckland Domain.

2

He goes on to suggest how this history can be read in his sculpture, in the rigorous straight lines that could be an expression of digital code or could be sedimentary layers revealing lava flows, the movement of tectonic plates, geological events occurring over thousands of years.

In these two sculptures – both from late in Edgar’s career, made just a few years before he was awarded the ONZM for services to art, in particular sculpture, in 2009 – Edgar has meticulously sliced through pale stone to insert bands and crosses of contrasting glass or stone to create precise, mathematical forms. Although minimal in appearance, Edgar’s sculptures conjure slices of land, sky and sea, serving as a reminder of the unity and seamlessness of our environment.

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36 Billy Apple, untitled graphite on screenprint on paper signed 150 × 150mm EST $2,000 — $4,000

37 Billy Apple, Red Apple 1997 graphite on screenprint on paper, 15/35 signed 390 × 560mm EST $1,500 — $2,500

38 Ralph Hotere, Red 1997 lithograph on paper, 8/20 signed, dated and title inscribed 760 × 565mm EST $6,000 — $8,000

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39 Ralph Hotere, untitled c1970 ink on paper signed 250 × 190mm EST $7,000 — $10,000

40 Ralph Hotere, Drawing for Song Cycle Poetry 1975 ink and graphite on paper signed, dated and title inscribed 370 × 250mm EST $5,000 — $8,000

41 Ralph Hotere, Black Rainbow Mururoa 1986 graphite on lithograph on paper, test piece signed, dated and title inscribed 570 × 375mm EST $4,000 — $8,000

42 Ralph Hotere, Window in Spain, Madrid 1978 graphite and coloured pencil on paper signed, dated and title inscribed 315 × 230mm EST $8,000 — $14,000

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43 Ralph Hotere, untitled 2002 lithograph on paper, 18/22 signed and dated 500 × 620mm EST $6,000 — $9,000

44 Ralph Hotere, Round Midnight 'September' 2000 lithograph on paper, 21/24 signed, dated and title inscribed 560 × 750mm EST $5,000 — $8,000

45 Bill Hammond, Fish Finder 2 2003 lithograph on paper, 32/45 signed, dated and title inscribed 565 × 460mm EST $7,000 — $9,000

46 Ralph Hotere, Black Light 1999 acrylic on paper signed and title inscribed 290 × 205mm EST $5,000 — $8,000

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47 Gavin Hurley, Boy with Alexander Turnball’s Beard 2013 paper collage 290 × 210mm EST $2,000 — $4,000

48 Gavin Hurley, Cocteau & Legar’s Parrott 2014 oil on linen signed, dated and title inscribed 555 × 750mm EST $7,000 — $10,000

49 Peter Stichbury, Paris Hilton and Tinkerbell 2004 graphite on paper signed and dated 560 × 410mm EST $10,000 — $15,000

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Star Gossage

Awhi

Raised by parents Peter and Tilly materials such as lime and clay Gossage – an illustrator and artist into her paint to create earthy respectively – Star Gossage (Ngāti tones and textures. Art historian Wai, Ngāti Ruanui) was destined Linda Tyler writes: “The works for a life of creativity. Although carry the materiality of where they exhibiting regularly throughout were made out into the world, Aotearoa New Zealand and anchoring the paintings in the internationally, Gossage’s place reality of lived experience.”1 This as one of the most important is contrasted by subject matter Māori artists of her generation that often occupies an ethereal was marked in 2014 by her and dream-like place. Her figures participation in Auckland Art emerge from the liminal spaces of Gallery Toi o Tāmaki’s groundconsciousness and otherworldly breaking show Five Māori Painters, planes of existence in a way that curated by Ngahiraka Mason. they appear as “ghosts; beautiful faces from dreams and angelStar Gossage lives and paints like apparitions imbued with on her ancestral Te Kiri land at collected memory and ancestry.”2 Pākiri, north of Tāmaki Makaurau These figures exist harmoniously Auckland. This secluded coastal within their environment, limbs, landscape inspires her work earth and skin fusing as one. heavily; she often mixes found

Literally translating to ‘embrace’, Awhi is a beautiful example of the way in which Gossage portrays her feminine figures embedded within their landscapes, in a surreal environment that could be attributed to her influence by the French symbolist artist Odilon Redon. The central figure evokes the form of Papatūānuku (Earth Mother), embraced and protected by her celestial tamariki. The woman’s open hands direct the viewer’s gaze upwards and into the landscape that appears to emerge from the point of embrace.

The muted tones and energetic brushwork are distinctively characteristic of this period of Gossage’s work, a palette that creates a gentle and quiet atmosphere humming with wairua. ▲ Linda Tyler, “Star Gossage – Oi Boy,” 1

▲

36

International Art Centre, 2024, https:// auctions.internationalartcentre.co.nz/lots/ view/4-DD47KY/star-gossage-oi-boy 2 Mark Amery, quoted in “Star Gossage: Au Au Au,” Tim Melville Gallery, 2012, https:// www.timmelville.com/exhibition/au-au-au/

50 Star Gossage, Awhi 2011 oil on board signed, dated and title inscribed 870 × 360mm EST $14,000 — $26,000

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51 Toss Woollaston, untitled watercolour on paper signed 285 × 405mm EST $6,000 — $7,000

52 Louise Henderson, Still Life in a Window 1952 graphite and coloured pencil on paper signed and dated 490 × 300mm EST $4,000 — $6,000

53 Olivia Spencer Bower, untitled watercolour on paper signed 360 × 500mm EST $5,000 — $8,000

54 Rita Angus, Study of Cows and Sheep ink and watercolour on paper 170 × 250mm EST $8,000 — $14,000 NOTE

Certificate of Authenticity from the Rita Angus Estate affixed verso.

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55 Rita Angus, untitled (Fruit Pickers Series) c1940 graphite on paper 250 × 290mm EST $5,000 — $14,000 NOTE

Certificate of Authenticity from the Page Blackie Gallery affixed verso.

56 Louise Henderson, untitled watercolour on paper signed 610 × 470mm EST $20,000 — $26,000

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Billy Apple

Good Branding

57 Billy Apple, The Bruce and Denny Show (McLaren Series) 2008 screenprint on paper, edition of 7 1000 × 700mm; 700 × 1000mm; 1000 × 700mm EST $15,000 — $17,000

“Billy Apple’s passions are motor racing and good art.”1 So wrote Mary Morrison in her text for The Bruce and Denny Show, Apple’s 2008 exhibition at Two Rooms gallery where these prints were exhibited, alongside a $1.5 million M8A-2 racing car parked in the middle of the gallery.

One could add branding to that list, although, for Apple, this passion was perhaps folded into the category of good art when in 1962 he changed his name from Barrie Bates to Billy Apple, the start of a project in personal and artistic branding that would span the rest of his life. Apple’s fascination with branding also combined with his passion for cars – he was drawn to the exhilarating “moving billboards” of Formula One cars, their sleek, brightly coloured sides emblazoned

with sponsor logos.2 For The Bruce and Denny Show, Apple combined McLaren’s signature orange racing colours with his own iconic brand of graphics, including use of the golden ratio format and refined Futura font.

Eleven years later, Apple used that same clean, geometric font in works such as Vision – although this time not employed in concert with his beloved golden ratio but another, blurrier proportion. According to the Snellen notation – the traditional method for expressing visual acuity – a person with 20/300 vision can see at 20 feet what a person with normal vision can see at 300 feet and is considered to have severe visual impairment. This canvas is one of many bodily works Apple made over the course of his career, documenting the minutiae of his body

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as part of the intermingling of art and life that was central to embodying the living, breathing brand of Billy Apple.

Indeed, among the first biological works Apple ever made (during the time in which he was transforming into Billy Apple) are optometrical revelations such as Eye Examination (1962–7) and An Enlargement of the Left Eye (1963), for which Apple superimposed information on the malfunctioning vision in his left eye onto self-portraits of the newly formed, bleach-haired Apple.3 A simple black and white canvas, Vision is immediately recognisable as a late Apple work while also recalling these earlier works, as well as the simple form of a high-contrast eye chart.

▲ Mary Morrison, “Billy Apple™: The Bruce and Denny Show, 1

▲ ▲

58 Billy Apple, Vision 2019 UV impregnated ink on canvas signed and title inscribed 400 × 400mm EST $10,000 — $15,000 NOTE

Accompanied by artist's Certificate of Authenticity.

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10 April – 10 May 2008,” Two Rooms, https://tworooms. co.nz/exhibitions/the-bruce-and-denny-show-2/ The Dowse Art Museum, “The Bruce and Denny Show,” The Big Idea, 25 November 2010, https:// thebigidea.nz/stories/the-bruce-and-denny-show 3 Natasha Conland, “Well Being,” Art News 192, December 2021, https://artnews.co.nz/billy-apple-tribute-spring-summer-2021/ 2

59 Mark Adams, Memorial . Ngai Tahu . Kaiapoihia 1988 cibachrome print dated and title inscribed 475 × 585mm EST $6,000 — $8,000

60 John Reynolds, Pearly Gates aluminium 2230 × 1200mm (each panel) EST $10,000 — $20,000

61 Christina Pataialii, Long Cool Woman 2018 acrylic and spraypaint on canvas signed, dated and title inscribed 2000 × 850mm EST $3,000 — $5,000

62 Richard Killeen, Filament 1973 oil and acrylic on canvas signed 1270 × 960mm EST $7,000 — $14,000 NOTE

From the Fletcher Challenge Ltd Collection.

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63 Terry Stringer, untitled 1981 oil on aluminum signed and dated 400 × 595 × 225mm (widest points) EST $4,500 — $7,500

64 Humphrey Ikin, untitled 2006 wood and steel 3550 × 800 × 800mm (widest points) EST $5,000 — $10,000

65 Terry Stringer, Egyptian Child 2022 bronze on brass base, edition of 2 signed and dated 1785 × 535 × 535mm (widest points) EST $8,000 — $10,000

66 Terry Stringer, untitled 2006 bronze on brass base signed and dated 1580 × 340 × 290mm (widest points) EST $45,000 — $65,000

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67 Colin McCahon, Canterbury Plains Landscape 1948 graphite on paper signed, dated and title inscribed 195 × 250mm EST $17,000 — $20,000 NOTE

Colin McCahon database (mccahon.co.nz) number cm001491.

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Colin McCahon

Canterbury Plains Landscape

Given that Colin McCahon (1919–1987) spent the latter 34 years of his life working in Tāmaki Makaurau, it is easy to forget that he spent the first 34 years in Te Waipounamu, painting the dramatic landscapes of Otago, Canterbury, Nelson and the West Coast. He moved from Nelson to Christchurch in 1948, where he created this soft conté sketch while boarding with his friends, artist Doris Lusk and her husband. During this time, he slept and painted in the converted washhouse at the back of their Merivale home while searching for a suitable house for his family to rent.

While McCahon was extremely productive during his first year in Christchurch, art historian Peter Simpson has noted that only two of the landscape paintings made during these months referenced the Canterbury environment he now occupied — Taylor’s Mistake and The Green Plain.1 Reflecting on The Green Plain in the catalogue accompanying his 1972 survey exhibition, McCahon wrote, “[This] painting begins the task of coming to grips with the Canterbury landscape.”2

▲ Peter Simpson, “Colin McCahon: Five Years 1

▲

in Christchurch, 1948–53,” The Bulletin B.185, September 2016, https://christchurchartgallery. org.nz/bulletin/185/colin-mccahon-fiveyears-in-christchurch-194853#ftn-1 2 Colin McCahon, A Survey Exhibition (Auckland Art Gallery, 1972), p19.

An unusually austere form, The Green Plain is composed of a wavering horizon line with dark, grass-green earth below an eerie chartreuse sky.

By contrast, the work offered here of the Canterbury plains shows the rhythmic contours of the Port Hills carved out in quick, impressionistic lines, illuminating McCahon’s process of responding to the landscape and his particular focus on recording light and shadow, conveying a sense of shade and saturation even in graphite.

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68 Dick Frizzell, The Dance of the Hooligans 2021 screenprint on paper signed, dated and title inscribed 905 × 2620mm EST $10,000 — $15,000

69 Jenny Doležel, Weekend I pastel on paper signed and title inscribed 455 × 1085mm EST $6,000 — $12,000

70 Geoff Thornley, Construction 8.84 1984 acrylic on board signed, dated and title inscribed 1040 × 1490mm EST $15,000 — $20,000

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71 Judy Millar, untitled c2016 acrylic and oil on paper 995 × 695mm EST $6,500 — $8,000

72 Gretchen Albrecht, Riverbank Study 1986 pastel and collage on paper signed, dated and title inscribed 580 × 760mm EST $5,000 — $8,500

73 Elizabeth Thomson, Mon Voyage Sauvage 2014 glass spheres, epoxy resin, acrylic, vinyl film and lacquer on board signed, dated and title inscribed 640 × 940mm EST $10,000 — $16,000

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74 Michael Parekōwhai, Ed Brown 2000 C-type print, edition of 10 1070 × 1265mm EST $14,000 — $18,000

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Michael Parekōwhai

Ed Brown

You would be forgiven for thinking the bird pictured in Ed Brown was still alive, the way its soft-feathered head is cocked to the side, as though listening to the rustle of wind or chatter of other birds. But the glassy look of Ed Brown’s eye suggests otherwise; he ain’t seeing or hearing nothing no more. Each of the common sparrows and rabbits photographed by Michael Parekōwhai (Ngāti Whakarongo, Ngāriki Rotoawe) for The Beverly Hills Gun Club series (2000) is dead, each of their taxidermied bodies shot against the same lurid orange background. Ed Brown and his fellow subjects are members of Aotearoa’s numerous introduced species, and each is titled with a peculiar name — Elmer Keith, Lou Lombardi. Gun enthusiasts will probably know that these are the brand names of American handguns.

Best known for his large-scale sculptural works, Parekōwhai has worked across a wide range of media throughout his long career. Speaking to the content of his 2000 exhibition shown at both Jonathan Smart Gallery and Gow Langsford Gallery, curator Justin Paton described Parekōwhai as “a sculptor with a swagger, who also makes photographs.”1 Blowing an image of a sparrow up to monumental size is an example of that swagger, playing with our expectations of scale to make a point, to make us look longer at something so ubiquitous it usually sits beneath our notice. And if we consider the tiny sparrow, blown up large as an eagle, we might wonder how he got here, what he’s doing here, and whose place he might have taken.

▲ Justin Paton, “The Beverley Hills Gun Club: 1

Michael Parekowhai, July 4–29, 2000,” Jonathan Smart Gallery, accessed 26 May 2024, https://www.jonathansmartgallery.com/ Exhibitions/The-Beverley-Hills-Gun-Club/

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75 Ralph Hotere, Drawing for Pine a Poem by Bill Manhire 1972 ink and graphite on paper signed, dated and title inscribed 560 × 350mm EST $25,000 — $30,000

76 Gordon Walters, On the Diagonal 1979 gouache on paper signed, dated and title inscribed 290 × 380mm EST $30,000 — $50,000

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77 Gordon Walters, Transparency IV 1990 acrylic on canvas signed, dated and title inscribed 920 × 730mm EST $60,000 — $80,000

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Fiona Pardington

Fragile Balance

Dr Fiona Pardington's (Ngāi Tahu, Ngāti Kahungunu, Clan Cameron of Erracht) captivating photographs evoke a sense of mystery and contemplation through her subtle use of lighting and texture.

and the way colour is utilised to steer our eye around the picture.

In the work Iris, Woman’s Skull and Magnolia Stamens, produced during her McCahon House Artist’s Residency in 2013, Pardington gathered items from around the site of the house and studio, and combined them with her own objects to create a rich and layered tableau.

In the same way as our bedside tables become repositories for the things we collect and use most often, Pardington takes elements of her own life and surroundings to create these memento mori – exploring themes of memory, history, the fragility of life, and the interconnectedness of all living things.

It seems no coincidence that the works Pardington produced during this residency, with their interplay of dark and light, reflect how Colin McCahon used darkness to illustrate the absence of light and the world beyond this one.

This theme of mortality and loss is continued in the work Kaka Ake Ake, Canterbury Museum (2021), which was produced some eight years later. Much of Pardington’s work has evolved from methodically researching museum collections and exploring the histories of colonisation and collecting to record the objects hidden away from public sight.

This example of a rare white kaka would likely have been acquired during the late 1800s, when there was a fascination with collecting rare specimens by ornithologists Her arrangements often include such as Walter Buller, ultimately shells, taxidermy specimens, vintage leading to their inevitable demise. medical equipment, botanical The phrase ‘ake ake’ means forever specimens, glass and water. and ever reminding us of the fragile Each object is carefully chosen balance between ourselves and for its visual appeal and its ability nature, and how the decisions we to carry a message or evoke an make today will have a long-lasting emotional response. It is then for effect on the world we leave behind. the viewer to unlock the mystery Through her photography, and to understand the importance Pardington challenges viewers to of each element in the image, in the consider their own experiences and same way that still-life painters of memories, prompting us to consider the seventeenth century infused the fleeting nature of existence their works with layers of meaning and the enduring power of objects and symbolism. Pardington’s to evoke nostalgia and longing. photographs share similarities to these in her clever use of space

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78 Fiona Pardington, Kaka Ake Ake, Canterbury Museum 2021 pigment inks on Hahnemühle Photo Rag, 5/10 signed 1530 × 1160mm EST $25,000 — $35,000

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79 Fiona Pardington, Iris, Woman's Skull and Magnolia Stamens (from the Colin McCahon Residency 2013) 2013 pigment inks on Hahnemühle Photo Rag, 2/10 815 × 1090mm EST $15,000 — $22,000

80 Fiona Pardington, Still Life with Wild Wheat and Freesias 2011 pigment inks on Hahnemühle Photo Rag, 6/10 470 × 640mm EST $5,000 — $9,000

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81 Don Driver, untitled 1991 paper, poly plastic sack and poly plastic sheet on canvas on board signed and dated 1155 × 750mm EST $4,000 — $6,000

82 Don Driver, Blue + Brown Relief 1989 acrylic and enamel on wood signed, dated and title inscribed 620 × 1220mm EST $8,000 — $12,000

83 Don Binney, Bernice Pauahi Cape acrylic and oil on paper signed and dated 755 × 573mm EST $20,000 — $30,000

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84 Gordon Walters, 22/11/1989 1989 gouache on paper signed and dated 155 × 205mm EST $8,000 — $12,000

85 Gordon Walters, Kapiti 1984 screenprint on paper, 47/75 signed, dated and title inscribed 560 × 440mm EST $18,000 — $25,000

86 Gordon Walters, Kura 1982 screenprint on paper, artist's proof I signed, dated and title inscribed 595 × 480mm EST $12,500 — $17,500

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87 Peter Robinson, untitled 1998 screenprint on canvas signed and dated 1500 × 1170mm EST $15,000 — $20,000

88 Peter Robinson, Evil Doer!

2002 oil stick and acrylic on paper signed and dated 1390 × 990mm EST $18,000 — $26,000

89 Richard Killeen, Spectacle Square 2005 hand tufted wool rug signed, dated and title inscribed 2220 × 2220mm EST $5,500 — $8,500

90 Philip Trusttum, Tennis Series c1994 acrylic on canvas signed 1830 × 1340mm EST $3,000 — $5,000

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91 Heather Straka, The Stranger (Self Portrait) 2017 oil on board signed, dated and title inscribed 620 × 460mm (widest points) EST $20,000 — $26,000

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Heather Straka

New Zealand-born artist Heather Straka studied at the University of Auckland’s Elam School of Fine Arts in the early 1990s, majoring in sculpture. She then spent time in France as Julia Morison’s assistant, immersing herself in great European paintings, which refocused her practice. Straka returned to New Zealand and exhibited her first show of paintings in 1998.

The Stranger (Self Portrait) Strangers’ Room – a separate room allocated for women with a slot in the door for communication purposes – at The Invercargill Club (a gentlemen’s club in the far south of New Zealand) prompted the ideas for these paintings.1 In these works, all the subjects face away from the viewer or are presented with their eyes closed, further distancing us from engaging with them fully.

The flawless nature of her early In this particular painting, The sculptural work foreshadowed Stranger – A Self Portrait, Straka the immaculate technique and appears to turn the lens on herself, precision that have come to showing a figure with their back characterise her paintings. Her to the viewer, wearing draped practice unabashedly explores clothing, a thick, laced-up choker issues of representation and necklace, and sporting a buzzcut. authenticity, with series such as It is impossible to discern the her adjusted portraits of Māori gender of this person from the chiefs, Burquababe and The Asian back view we are presented with, all confronting cultural stereotypes prompting reflections on gender and identity. Straka is unafraid to identity and personal presentation, engage with controversial cultural and how much connection there stereotypes, making such debates really is between the two. a meaningful part of her practice.

Her works are always rendered with her signature smooth and fine painting technique, transforming contentious subjects into objects of beauty.

The work here was originally shown in Straka’s 2017 exhibition The Strangers’ Room, which expanded the concept of cultural and gender separation into the more niche idea of the ‘other’.

Straka’s experience of the

▲ “Heather Straka: The Strangers’ Room,” Trish 1

Clark Gallery, 2017, https://trishclark.co.nz/ exhibitions/heather-straka-strangers-room/

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92 Max Gimblett, The Book of Squares 1999 gold leaf and lacquer on board; ink on canvas signed, dated and title inscribed 380 × 770mm EST $11,000 — $16,000

93 Max Gimblett, untitled gold leaf and lacquer on board 370 × 370mm (widest points) EST $12,000 — $18,000

94 Max Gimblett, Inheritance-3 1996/97 acrylic, polyurathane, bronze and shellac on board signed, dated and title inscribed 510 × 300 × 50mm EST $12,000 — $22,000

95 Max Gimblett, untitled 1983/1985 gold leaf, acrylic and lacquer on paper signed and dated 580 × 760mm EST $9,000 — $15,000

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96 Fiona Pardington, untitled C-type print 240 × 200mm EST $5,000 — $8,000

97 Fiona Pardington, untitled gelatin silver print, 2/20 480 × 480mm EST $5,000 — $8,000

98 Fiona Pardington, Tui on a Byre of Flowering Sage and Wild Roses 2012 inkjet print on Hahnemühle Photo Rag, 3/10 810 × 1090mm EST $15,000 — $20,000

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99 Cécile Plaisance, Sexy Burqa 2014 lenticular print 1630 × 1240mm EST $25,000 — $35,000

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Cécile Plaisance

In 2011 France became the first European country to impose a ban on women wearing full-face veils in public areas, a political move enforced as a defence of civic laïcité, or secularism. In 2016 municipalities began to ban burkinis from public pools, and in 2023 the Macron government added a ban on the abaya (a longsleeved dress of Middle Eastern origin) in state schools, adding more fuel to the raging national debate around faith and freedom of choice, and Islamophobia.

Sexy Burqa It is in this context that French photographer Cécile Plaisance created this provocative lenticular portrait, part of her 2014 Lens series. Employing lenticular lenses – a technology more commonly used in billboard advertising – Plaisance splices together two ‘opposing’ images to provoke questioning. From one viewpoint appears a dark-haired ethnically ambiguous Barbie doll, her plastic body fully clad in lingerie, hand posed on corseted hip, legs replete with thigh-high stockings and suspenders.

But if the viewer moves position just a little, the image changes to reveal Barbie’s shiny skin to be hidden entirely, head to toe in black cloth so that only her smoky eyes are left visible through the slit of her niqāb.

Occupying a single frame, flickering between appearances of titillating undress and full coverage, the images provoke viewers to consider what human emancipation looks like.

▲ Cécile Plaisance, “Lens Series 1

2014,” accessed 26 May 2024, https://www.cecileplaisance. com/portfolio/lens-series-2014/

For Plaisance, her Barbie photos explore feminist narratives: “In my view, all religions have the same value; there isn’t one that’s superior to the others … Women should be equal to men and should be free to do whatever they want with their image and their bodies.”1 Plaisance continues to explore representations of women in popular culture, shooting real models and Barbie dolls as part of a practice that seeks to celebrate women and their capacity to live many lives.

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100 Eion Stevens, Cuban Heels (Turkey) 2002 oil on hessian on board signed, dated and title inscribed 505 × 805mm EST $2,000 — $4,000

101 Dick Frizzell, Juan Gris Still Life 1994 oil on canvasboard signed, dated and title inscribed 300 × 400mm EST $5,000 — $8,000

102 Neal Tait, 42 2001 oil on canvas signed, dated and title inscribed 760 × 1170mm EST $12,000 — $20,000

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103 Pablo Picasso, Sculpteur, Modèle couché et sculpture etching on paper 280 × 205mm EST $8,000 — $12,000

104 Pablo Picasso, L'age de soleil (Pour Ruby) 1950 etching on paper 230 × 175mm EST $2,000 — $4,000

105 Bronwynne Cornish, My Creature 2010 ceramic 570 × 280 × 220mm (widest points) EST $7,000 — $9,000

106 Llewellyn Summers, Fallen Angel acrylic on plaster 290 × 310 × 190mm (widest points) EST $2,500 — $4,500

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107 John Tole, Dam Site, Whakamaru oil on board 300 × 340mm EST $7,000 — $10,000

108 William Mathew Hodgkins, Strath Tieri from Gladbrook watercolour on paper signed 430 × 720mm EST $7,000 — $10,000

109 John Weeks, Still Life with White Magnolias, Zinnias & Apples oil on board 480 × 380mm EST $7,000 — $12,000

110 Colin Wheeler, Arrowtown oil on board signed 430 × 330mm EST $3,000 — $5,000

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111 Marti Friedlander, untitled gelatin silver print 202 × 255mm EST $3,000 — $5,000

113 Yvonne Todd, Next Time it will be Different 2021 offset print on paper, edition of 200 841 × 594mm EST $1,000 — $2,000

112 Marti Friedlander, untitled gelatin silver print 205 × 242mm EST $3,000 — $5,000

114 Richard Wentworth, untitled C-type print 390 × 590mm EST $6,000 — $10,000

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115 Alvin Pankhurst, untitled 1996 acrylic on canvas signed and dated 900 × 1060mm EST $10,000 — $16,000

116 Ray J Dawson, The Burial 2001 oil on canvas signed, dated and title inscribed 260 × 380mm EST $7,000 — $10,000

117 Ray J Dawson, Tane 2004 oil on canvas signed, dated and title inscribed 320 × 230mm EST $4,000 — $6,000

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118 Garth Tapper, Members Enclosure 1980/1990 oil on board signed and dated 435 × 495mm EST $8,000 — $12,000

119 Michael Smither, Self Portrait, 1984 1984 oil on board signed and dated 560 × 480mm EST $25,000 — $35,000

120 Peter McIntyre, untitled oil on board signed 600 × 470mm EST $12,000 — $18,000

121 Petrus van der Velden, untitled oil on canvas signed 920 × 695mm EST $14,000 — $22,000

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122 John Reynolds, Solo (Green) 2007 hand tufted wool rug signed, dated and title inscribed 1550 × 2000mm EST $2,000 — $4,000

123 Eileen Mayo, Quiet Afternoon screenprint on paper, 12/25 dated and title inscribed 290 × 465mm EST $2,000 — $4,000

124 Lorraine Rastorfer, Swathe 2023 acrylic on board signed, dated and title inscribed 800 × 1600mm EST $5,000 — $8,000

125 Paul Hartigan, Tui Verde 2007 screenprint on canvas signed, dated and title inscribed 280 × 270mm EST $2,500 — $5,000

126 Gordon Walters, Genealogy 5 2023 screenprint on paper, 2/100 indented with Walters Estate chop mark 1140 × 990mm EST $5,500 — $7,500

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127 Max Gimblett, Remembrance 2015 screenprint on brass signed, dated and title inscribed 250 × 250mm (widest points) EST $2,500 — $3,500

128 Max Gimblett, Remembrance 2015 screenprint on brass 250 × 250mm (widest points) EST $2,000 — $4,000

130 Simon McIntyre, untitled acrylic on canvas signed 900 × 2000mm EST $2,500 — $4,500

131 Rohan Wealleans, The Star Stealer 2006 acrylic on paper 670 × 440mm EST $2,500 — $5,000

132 Simon Mcntyre, untitled acrylic on canvas signed 1705 × 1400mm EST $3,500 — $6,000

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129 Max Gimblett, Remembrance 2015 screenprint on brass signed, dated and title inscribed 250 × 250mm (widest points) EST $2,500 — $3,500

Terms & 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

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.

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 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

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

72

convenience of those clients who are unable to attend the auction in person.

If we receive identical written bids on a particular lot, and at the auction these are the highest bids on that lot, then the lot will be sold to the person whose written bid was received and accepted first. Execution of written bids is a free service undertaken subject to other commitments at the time of the sale and we do not accept liability for failing to execute a written bid or for errors or omissions which may arise. It is the bidder’s responsibility to check with Webb’s after the auction if they were successful. Unlimited or “Buy” bids will not be accepted.

4.6.

Telephone Bids Priority will be given to overseas and bidders from other regions. Please refer to the catalogue for the Telephone Bids form. Arrangements for this service must be confirmed AT LEAST 24 HOURS PRIOR to the auction commencing.

Webb’s accepts no responsibility whatsoever for any errors or failure to execute bids. In telephone bidding the buyer agrees to be bound by all terms and conditions listed here and accepts that Webb’s cannot be held responsible for any miscommunications in the process. The success of telephone bidding cannot be guaranteed due to circumstances that are unforeseen.

Buyers should be aware of the risk and accept the consequences should contact be unsuccessful at the time of Auction. You must advise Webb’s of the lots in question, and you will be assumed to be a buyer at the minimum price of 75% of estimate (i.e. reserve) for all such lots. Webb’s will advise Telephone Bidders who have registered at least 24 hours before the auction of any relevant changes to descriptions, withdrawals, or any other sale room notices.

4.7.

Online Bidding Webb’s offers an online bidding service.

When bidding online the buyer agrees to be bound by all terms and conditions listed here by Webb’s.

Webb’s accepts no responsibility for any errors, failure to execute bids or any other miscommunications regarding this process. It is the online bidder’s responsibility to ensure the accuracy of the relevant information regarding bids, lot numbers and contact details. Webb’s does not charge for this service.

4.8.

Reserves Unless otherwise indicated, all lots are offered subject to a reserve, which is the confidential minimum price below which the Lot will not be sold. The reserve will not exceed the low estimate printed in the catalogue. The auctioneer may open the bidding on any Lot below the reserve by placing a bid on behalf of the Seller.

The auctioneer may continue to bid on behalf of seller up to the amount of the reserve, either by placing consecutive bids or by placing bids in response to other bidders.

4.9.

Auctioneers Discretion The Auctioneer has the right at his/ her absolute and sole discretion to refuse any bid, to advance the bidding according to the following indicative steps: Increment Dollar Range Amount $20 $0–$500 $50 $500–$1,000 $100 $1,000–$2,000 $200 $2,000–$5,000 $500 $5,000–$10,000 $1,000 $10,000–$20,000 $2,000 $20,000–$50,000

$5,000 $10,000 $20,000 $50,000

Terms & Conditions

$50,000 – $100,000 $100,000–$200,000 $200,000–$500,000 $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.

rights or remedies (in addition to asserting any other rights or remedies available under the law) 5.6.1.

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

5.6.2.

to hold the defaulting Buyer liable for the total amount due and to commence legal proceedings for its recovery along with interest, legal fees and costs to the fullest extent permitted under applicable law.

After the Sale

5.1.

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

5.2.

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

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

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

Payment can be made by direct transfer, cash (not exceeding NZD$5,000, if wishing to pay more than NZD$5,000 then this must be deposited directly into a Bank of New Zealand branch and bank receipt supplied) and EFTPOS (please check the daily limit). Payments can be made by debit card or credit card in person with a 2.2% merchant fee for Visa, Mastercard and Paywave, and 3.3% for American Express. Invoices that are in excess of $5,000 and where the card holder is not present, cannot be charged to a credit card without prior arrangement. Cheques are no longer accepted.

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

5.3.

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

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

5.4.

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

5.5.

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

5.6.

Remedies for Non-Payment If the Buyer fails to make full payment immediately, Webb’s is entitled to exercise one or more of the following

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.

6.

Extent of Webb’s Liability

Webb’s agrees to refund the purchase price in the circumstances of the Limited Warranty set out in paragraph 7 below. Apart from that, neither the Seller nor we, nor any of our employees or agents are responsible for the correctness of any statement of whatever kind concerning any lot, whether written or oral, nor for any other errors or omissions in description or for any faults or defects in any lots. Except as stated in paragraph 7 below, neither the Seller, ourselves, our officers, agents or employees give any representation warranty or guarantee or assume any liability of any kind in respect of any lot with regard to merchantability, fitness for a particular purpose, description, size, quality, condition, attribution, authenticity, rarity, importance, medium, provenance, exhibition history, literature or historical relevance. Except as required by local law any warranty of any kind is excluded by this paragraph.

7.

Limited Warranty

Subject to the terms and conditions of this paragraph, the Seller warrants for the period of thirty days from the date of the sale that any property described in this catalogue (noting such description may be amended by any saleroom notice or announcement) which is stated without qualification to be the work of a named author or authorship is authentic and not a forgery. The term “Author” or “authorship” refers to the creator of the property or to the period, culture, source, or origin as the case may be, with which the creation of such property is identified in the catalogue.

The warranty is subject to the following:

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

If we do sell the property under paragraph (4), then the defaulting Buyer shall be liable for payment of any deficiency between the total amount originally due to us and the price obtained upon reselling as well as for all costs, expenses, damages, legal fees and commissions and premiums of whatever kinds associated with both sales or otherwise arising from the default.

If we pay any amount to the Seller under paragraph (5) the Buyer acknowledges that Webb’s shall have all of the rights of the Seller, however arising, to pursue the Buyer for such amount.

5.7.

Failure to Collect Purchases Where purchases are not collected within 2 days from the sale date, whether or not payment has been made, we shall be permitted to remove the property to a warehouse at the buyer’s expense, and only release the items after payment in full has been made of removal, storage handling, insurance and any other costs incurred, together with payment of all other amounts due to us.

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

73

nor Webb’s will be liable for any special, incidental nor consequential damages including, without limitation, loss of profits.

The Buyer must give written notice of claim to us within thirty days of the date of the Auction. The Seller shall have the right, to require the Buyer to obtain two written opinions by recognised experts in the field, mutually acceptable to the Buyer and Webb’s to decide whether or not to cancel the sale under warranty. the Buyer must return the lot to Seller in the same condition that it was purchased.

8.

Severability

If any part of these Conditions of Sale is found by any court to be invalid, illegal or unenforceable, that part shall be discounted, and the rest of the Conditions shall continue to be valid to the fullest extent permitted by law.

9.

Copyright

The copyright in all images, illustrations and written material produced by Webb’s relating to a lot including the contents of this catalogue, is and shall remain the property at all times of Webb’s and shall not be used by the Buyer, nor by anyone else without our prior written consent. Webb’s and the Seller make no representation or warranty that the Buyer of a property will acquire any copyright or other reproduction rights in it.

10.

Law and Jurisdiction

These terms and conditions and any matters concerned with the foregoing fall within the exclusive jurisdiction of the courts of New Zealand, unless otherwise stated.

11.

Pre-Sale Estimates

Webb’s publishes with each catalogue our opinion as to the estimated price range for each lot. These estimates are approximate prices only and are not intended to be definitive. They are prepared well in advance of the sale and may be subject to revision. Interested parties should contact Webb’s prior to auction for updated pre-sale estimates and starting prices.

12.

Sale Results

Webb’s will provide auction results, which will be available as soon as possible after the sale. Results will include buyer’s premium. These results will be posted at www.webbs.co.nz.

13.

Goods and Service Tax

GST is applicable on the hammer price in the case where the seller is selling property that is owned by an entity registered for GST. GST is also applicable on the hammer price in the case where the seller is not a New Zealand resident. These lots are denoted by a dagger symbol † placed next to the estimate. GST is also applicable on the buyer’s premium.

Index of Artists

76 Pages

A

G

Adams, Mark Albrecht, Gretchen Angus, Rita Apple, Billy

42 28, 47 38 32, 40, 41

B Binney, Don

55

C Cora-Allan 22 Cornish, Bronwynne 65 D Dawson, Ray J Doležel, Jenny Driver, Don

68 46 55

E Edgar, John Ellis, Robert

30, 31 20

F Fifita, Ruha Friedlander, Marti Frizzell, Dick

26 67 46, 64

P

Gimblett, Max Gossage, Star

60, 71 37

H Hammond, Bill 19, 34 Hanly, Pat 23 Hartigan, Paul 70 Henderson, Louise 38 Hodgkins, William Mathew 66 Hotere, Ralph 32, 33, 34, 50 Hurley, Gavin 35 I Ikin, Humphrey

43

K Kahukiwa, Robyn Killeen, Richard

22 29, 42, 57

M Maddox, Allen Mayo, Eileen McCahon, Colin McIntyre, Peter McIntyre, Simon McLeod, Andrew Millar, Judy

23 70 44 69 71 19 47

Pankhurst, Alvin Pardington, Fiona Parekōwhai, Michael Pataialii, Christina Picasso, Pablo Plaisance, Cécile Pule, John

68 53, 54, 61 48 42 65 62 33

R Rastorfer, Lorraine Reynolds, John Robinson, Peter

70 42, 70 57

S Siddell, Peter Smither, Michael Spencer Bower, Olivia Stevens, Eion Stichbury, Peter Straka, Heather Stringer, Terry Summers, Llewellyn

19 69 38 64 35 58 28, 43 65

Todd, Yvonne Tole, John Trusttum, Philip

67 66 57

V van der Velden, Petrus

Walters, Gordon 29, 50, 51, 56, 70 Wealleans, Rohan 71 Weeks, John 66 Wentworth, Richard 67 Westra, Ans 18 Wheeler, Colin 66 White, Robin 25, 26 Whiting, Cliff 21 Woollaston, Toss 38 Y Yearbury, Pauline

21

T Tait, Neal Tapper, Garth Thomson, Elizabeth Thornley, Geoff

64 68 47 46

132 Lots 1

2

3

4

5

6

7

8

9

10

11

12

13

14

15

16

17

18

19

20

21

22

23

24

25

26

27

74

69

W

28

29

30

31

32

33

34

35

36

37

38

39

40

41

42

43

44

45

46

47

48

49

50

51

52

53

54

55

56

57

58

59

60

61

62

63

64

65

66

67

68

69

70

71

72

73

74

75

76

77

78

79

80

81

75

82

83

84

85

86

87

88

89

90

91

92

93

94

95

96

97

98

99

100

101

102

103

104

105

106

107

108

109

110

111

112

113

114

115

116

117

118

119

120

121

122

123

124

125

126

127

128

129

130

131

132

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M I X W I T H T H E B E ST

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