To celebrate our summer Select, Specialist Georgina Brett will hold a floor talk in which she shares her auction highlights.
Specialist Enquires
auckland Georgina Brett Specialist, Select georgina@webbs.co.nz +64 27 929 5609
Megan Shaw Manager megan@webbs.co.nz +64 22 301 8259
wellington Mark Hutchins-Pond Senior Specialist mark@webbs.co.nz
+64 22 095 5610
christchurch Sean Duxfield Specialist sean@webbs.co.nz +64 210 536 504
Condition Reports
Georgia Clapshaw Registrar georgia@webbs.co.nz +64 9 529 5600
auckland 33a Normanby Road Mount Eden, 1024
wellington 23 Marion Street Te Aro, 6011
Ngā mihi o te tau hou, tēna koutou katoa; Happy New Year and welcome to Webb’s first Select catalogue for 2026. Avid followers of our Select auctions will know that these catalogue offerings are distinguished by a curation of artworks characteristically captivating for either their freshness and contemporary edge, or their elegance and modernist spirit – whilst being pitched as attainable for new collectors and enticing for the seasoned connoisseur. I am confident that this exceptional catalogue of artworks will not disappoint.
Serendipitously, our cover-star for this February catalogue is a graceful stoneware horse by Juliet Peter, a significant figure in the Wellington modernist art scene. Stoneware works by Peter do not often come to market; this majestic creature is a striking counterpart to some of our darker offerings. Arriving with a sense of auspicious timing – under the Chinese zodiac’s Year of the Horse – this striking sculpture quickly established itself as a behoving emblem for this dynamic catalogue: full of vigour, while also lissom. The horse was a recurring motif in Peter’s work, linked to working life and the land, Eastern symbolism of strength and endurance, as well as Western ceramic traditions like Staffordshire figures.
This Select edition also presents a compelling selection of international works by notable 20th-century European artists. Highlights include a lyrical lithograph by Marc Chagall, capturing his poetic blend of Expressionism, Surrealism and Cubism, and two powerful etchings by Käethe Kollwitz, whose strong contrasts of dark and light communicate themes of human adversity with profound emotional weight.
We are equally excited to have a collection of monoprints
by Jason Greig. His hauntingly dark and romantic sensibility conjures the distinctive characteristics of Aotearoa’s infamous school of NZ Goth. Should you live in or be visiting Wellington, The Dowse Art Museum’s current survey exhibition, Blood Is Thicker: Jason Greig (curated by Chelsea Nichols and Aaron Lister), closing 19 April, is utterly unmissable.
Returning to the themes of new year; cosmology and lunar cycles, a special catalogue highlight is a painting by Māori artist, Hira Anderson-Mita (Rereahu, Ngāti Maniapoto, Ngāti Apakura). Depicting a full moon, at dusk or dawn, the time is ambiguous. Whilst the celebration of Matariki, the Māori New Year, is still some moons away, Pūrerehu Tautahi (2025) is a beautiful invocation of the significance of Matariki, inviting reflection across past, present and future.
To conclude, other mentionable catalogue favourites include – representing the figurative genre an early painting, untitled (c1980s) by Séraphine Pick, and for portraiture it must be Toss Woollaston’s, Double Portrait (Venitia Hill), (1979). We have a rich offering of landscapes, for me a close tie between works on paper by Rita Angus, and Gretchen Albrecht. With the spirit of still life I adore Louise Henderson’s, untitled (Cat), and finally for “Outsider Art”, the two wonderfully imaginative ceramic works by Robert Rapson, are guaranteed to delight your inner child.
I will be presenting floor talks in our Wellington gallery, on Saturday 14 February, and in our Auckland, on Saturday 21 February, to share more about the stories, ideas, and artists that shaped this catalogue. We look forward to welcoming you to Webb’s.
EST
4
Like her father, Käthe Kollwitz moved in liberal circles in pre revolutionary Germany and felt deep affinity with the peasants’ struggle of 1524–1525, a conflict later embraced by social democrats as a defining moment in the fight for freedom. This historical revolt inspired Kollwitz’s celebrated intaglio series The Peasants’ War (1902–1903), a suite of nine prints exploring collective hardship and resistance.
The larger of the two Kollwitz works in Select is Losbruch (also called Charge or Outbreak), plate five in the cycle. Created using line etching, drypoint, reservage, and soft ground etching with fabric impressions, Losbruch is the most technically varied and painterly image in the series, exemplifying Kollwitz’s innovative approach to expressionist printmaking
5
1921 soft ground etching with aquatint signed and dated
19 Bill Hammond, Pretty 1 2006 etching on paper, 3/24 signed, dated and title inscribed 150 × 90mm
$6,000—$8,000
20 Bill Hammond, Pretty 2 2006 etching on paper, 3/24 signed, dated and title inscribed 150 × 90mm
$6,000—$8,000
21 Bill Hammond, Pretty 3 2006 etching on paper, 3/24 signed, dated and title inscribed 150 × 90mm
$6,000—$8,000
There’s something deeply earnest about Jason Greig’s dark and dramatically affective oeuvre; each highly detailed work resonates with a profound respect for the craft and a deep commitment to the practice. Likewise, those drawn to Greig’s spectral works are devoted diehard fans. The Lyttleton-based artist is both a virtuoso of the printmaker’s technique and a master draftsman. His command over these mediums is almost alchemical. To look at one of Greig’s works is mesmerising and meditative.
Greig, who has a penchant for the 18th-and 19th-century Gothic genre has a particular skill for wielding light and dark to create hauntingly beautiful and romantically atmospheric works through a controlled monochromatic palette. Historically, printalong with drawing, like photography - has been erroneously deemed a subordinate art form, or worse, regarded a mere by-product in the creation of the work of “Art”, or simply a means of reproduction. Greig is certainly an artist who has challenged and elevated this perception of print as a medium.
The three works featured in this catalogue are monoprints, a technique for which Greig is particularly admired for. As the name suggests, these are unique, oneoff works of art. The Dowse Art Museum has curated an exceptional exhibition of his monoprints and paintings entitled Blood Is Thicker: Jason Greig which presents Greig’s work alongside a private collection of 18thand 19th-century masterpieces by Francisco Goya, Odilon Redon, Käthe Kollwitz, Gustave Doré, and Felicien Rops. While Greig comfortably holds his own alongside these heavy hitting names, beneath macabre overtones lie murmurings of humour, albeit black humour.
Beyond the refined influences of literature and old-school masters, a major influence is music, particularly heavy metal and rock, such as Black Sabbath and Motörhead. Moreover, Greig is a founding member with artists Ronnie van Hout and Paul Sutherland, of the Christchurch-based art-noise-rock-heavy metal band Into the Void, in which he plays electric guitar.
Juliet Peter’s art is instantly recognisable, shaped by a long and richly layered creative life grounded in lived experience and storytelling.
Trained at the Canterbury College School of Art in Christchurch, Peter graduated in 1939 with a Diploma in Fine Arts. She went on to work for the New Zealand Department of Education as an art teacher while also undertaking freelance design and illustration. Some of her earliest commissions were school journals, which proved a natural fit for her bold graphic style, characterised by strong dark lines and layered textures well suited to educational publishing and young readers. Drawing on memories of life on her family farm, she developed a highly personal visual language in which images did more than decorate the page; they conveyed narrative and experience.
In the early 1940s, Peter joined the New Zealand Women’s Land Service, working on sheep farms in Canterbury. During this period, she continued to sketch and paint alongside her agricultural labour, deepening her engagement with rural life and the rhythms of working the land, an influence that would recur throughout her career.
In 1951, Peter travelled to the United Kingdom with her husband, Roy Cowan, who had received the Association of Art Societies Scholarship to study lithography and pottery at the Slade School of Fine Art. As her own interest in ceramics intensified, Peter enrolled at the Hammersmith School of Art in London, where she refined her skills as a potter. The school’s hands-on, materially focused approach proved a natural fit, reinforcing her belief in learning through making.
Upon their return to New Zealand, the couple settled in Ngaio, Wellington, where they
built an oil-fired kiln in their backyard and became deeply involved in the local pottery community. They adopted an experimental, resourceful approach, using local clays and raw materials and developing their own glazes rather than relying on established formulas or commercially available products.
From the early 1960s, Peter and Cowan were closely involved with New Zealand Potter Juliet contributed to the magazine’s design and visual identity, while Roy played a central role in shaping its technical and editorial direction. What began as a modest newsletter in the late 1950s soon evolved into a vital national forum for writing, technical knowledge, exhibitions, and critical discussion.
Webb’s is pleased to present a signature work by Juliet Peter from what may be considered the heyday of New Zealand ceramics in the 1970s, a period when studio pottery flourished across the country.
A defining feature of the blue ceramic horse offered here is its salt glaze, a technique with origins in the Rhineland region of West Germany dating back to the 1400s. Traditionally associated with functional tableware, Peter reinterprets the process through a modern studio pottery lens, applying it to her distinctive horse form.
The horse is a recurring motif in Peter’s work, closely linked to working life and the land. Drawing on Eastern symbolism, where the horse represents strength and endurance, as well as Western ceramic traditions, including Staffordshire figures, the form carries layered meaning. By reimagining the horse as a functional candle holder, Peter continues her lifelong practice of storytelling through making, affirming her belief that everyday objects can be both useful and richly expressive.
Born in Mātauri Bay in 1928, Pauline Yearbury was the first Māori pupil to receive a Bachelor of Fine Arts from the Elam School of Fine Arts in Auckland. Beginning her training in 1943, she attended first as a student and later as a tutor. There, she met her husband James. Together they began a decades-long art practice, returning to Russell in 1952 and painting murals to support themselves, most notably a nine metre long depiction of the signing of the Treaty of Waitangi for the Waitangi Hotel in 1964. Pauline and James began experimenting with modern interpretations of Māori carving techniques, etching onto wood in ways that explored what it means to live in an integrated bicultural society.
Opening the Colonial Gallery in 1967, Pauline designed wooden panels of major figures not only from Māori history and mythology but also from Pākehā narratives. James brought these ancestors to life through his precise incision work. Incorporating abstraction and stylisation into traditional Māori carving, the pieces attracted a younger audience while remaining committed to ancestral knowledge. Many other Māori artists contributed to this movement, including Ralph Hotere and Cliff Whiting. Māori modernism became a pivotal political vehicle, especially during the 1975 Māori Hikoi (Land March), due to its incorporation of popular styles and visual languages from both Māori and Pākehā traditions.
In the 1950s, countries around the world became increasingly cosmopolitan and, in turn, richer in cultural exchange. Pauline highlighted a phenomenon unique to bicultural societies, the parallels between mythologies. Whether depicting taniwha, saints, or matriarchs, Yearbury traced previously unacknowledged similarities between Pākehā and Māori iconography, within a world view and perspective of interconnectedness.
One year after the 1975 Hikoi, Pauline created one of her final masterpieces: a book of illustrations and Māori myths titled The Children of Rangi and Papa: The Māori Story of Creation. After preserving ancestral knowledge for the next generation, Pauline died in 1977 with her legacy still largely overlooked, until her innovations were rediscovered by Nigel Borell for the Toi Tū Toi Ora: Māori Contemporary Art exhibition at the Auckland Art Gallery Toi o Tāmaki in 2021.
42
title inscribed 800 × 900 × 20mm (widest points)
EST $9,000—$14,000
47 Don Peebles, Division 2002 acrylic on canvas signed and dated 1250 × 445mm (widest points)
EST $6,000—$10,000
49 Séraphine Pick, untitled 1996 acrylic and graphite on canvas signed, dated and title inscribed 1665 × 1220mm
EST $22,000—$32,000
50 Séraphine Pick, untitled 1987 monotype on paper signed and dated 440 × 600mm
EST $2,800—$4,000
For the last forty years Séraphine Pick has explored memory, introspection, and the body as a site of consciousness, establishing herself as one of New Zealand’s most distinctive contemporary painters. Completed during her Bachelor of Fine Arts in painting at the Ilam School of Fine Arts in Canterbury, this work is a rare and increasingly sought-after example from Pick’s formative period, an early articulation of the atmospheric dreamscapes that would become central to her practice.
The striking green and blue palette, shifting from absinthe to true blue and punctuated by the warm red tones of the subject’s hair and skin, is enlivened by glints of pink and purple light that call to us from another space or time. Here, Pick synthesises chromatic confidence with a refined command of mood and the unknown.
A woman stands in side profile, her body turned toward the right of the composition. Her fitted T-shirt, the slightly awkward hand slipped into a front pocket, and her subtly guarded posture together create an enigmatic presence. The fusion of psychological charge and everyday gesture is characteristic of the most compelling works from this period.
Behind her, an imagined studio interior recedes toward an off-centre vanishing point. Tentative and surreal, it reads as a place recalled rather than observed. With its wavering surfaces and ambiguous depth, the work is an early exploration of a dreamlike and memory-laden environment, and of the domestic and psychological spaces that would come to define Pick’s mature practice. It stands as an exceptional early example of her enduring concern with the body as a site of consciousness.
EST
EST $5,000—$7,000
EST $5,000—$7,000
Unfolding like a quiet breath across the surface of the canvas, Hiria AndersonMita’s Pūrerehu Tautahi gently announces a presence, unfolds a moment, and invites the viewer to rest just below the mist. Pūrerehu Tautahi reveals a mistfilled gully in Pirongia where time appears suspended. Re-emergence into light slowly reveals a landscape devoid of figures. There are only the lingering traces of human inhabitation, power poles echoing trees, fences softened and overtaken by bush. Presence is not announced, it is felt.
For a short time you feel as if you’re adrift in time and space.i
– Hiria Anderson-Mita
This drifting becomes the emotional terrain and holds a suspension between worlds, between rest and revival.
Te Korekore, the realm of limitless potential and the void of nothingness from which all things emerge, is quietly resonant here.ii The environment itself becomes the body, speaking where people do not. The absence of figure becomes a form of testimony, inviting the viewer into a state of emergence, from nothingness, from the liminal rest before soft illumination. The land holds memory, breath, and presence; it carries voices that do not need bodies to be heard.
As the mist lifts, Te Ao Mārama, the world of light, arrives not as a sudden clarity but as a gradual awakening. Anderson-Mita paints not to explain the world, but to allow us to feel it. We stand inside its quiet tension and its becoming. The work hums with unseen life, reminding us that even in absence, something endures, watches and continues to move through the land unseen.
i https://www.timmelville.com/ exhibition/he-matapihi-a-window/ ii https://www.pagegalleries.co.nz/ exhibitions/206-tatai-whetu-clusterof-stars-hiria-anderson-mita-stargossage-turumeke-harringtonreuben-paterson/overview/
EST $4,000—$6,000
81 Geoff Thornley, Untitled (Red Abstract) 1993 oil on canvas signed and dated 810 × 810mm
EST $4,000—$6,000
82 Darcy Nicholas, Land of My Ancestors 2022 oil on canvas signed, dated and title inscribed 240 × 240mm
EST $2,000—$3,000
83 Darcy Nicholas, Pathway To My Ancestors oil on canvas signed and title inscribed 495 × 395mm
EST $4,500—$7,000
116 Margaret Stoddart,
River Canterbury Plains watercolour on paper signed 245 × 345mm
EST $5,000—$7,000
117 Thomas E Robertson, Dunedin Harbour 1859 oil on canvas signed and dated 440 × 760mm
EST $22,000—$28,000
118 Margaret Stoddart, Ruapehu from Government Hill watercolour on paper signed 320 × 440mm
EST $5,000—$7,000
signed 350 × 460mm EST $1,000—$1,500
120 Edward Noott, Sunday Lunch at Broadway Manor 1965 oil on canvas signed 910 × 760mm
EST $4,000—$6,000
121 Paul Martinson, Pinky Blue 1994 oil on board signed and dated 740 × 580mm
EST $3,000—$5,000
122 Jane Evans, untitled 1977 gouache on paper signed and dated 540 × 350mm
EST $1,000—$2,000
Baloghy, George
Bensemann, Leo
Braunias, Mark
Brown, Nigel
Bruin, Cornelius (Kees)
Fassett
C
Alexander
Cauchi, Ben
Chagall, Marc
Cleavin, Barry
Cotton, Shane
Pat
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.
Foreign buyers should note that all transactions are in New Zealand Dollars so there may be a small exchange rate risk. The costs associated with acquiring a good opinion or certificate will be carried by the purchaser. If the item turns out to be forged or otherwise incorrectly described, all reasonable costs will be borne by the vendor.
3.3. Buyers Responsibility
All property is sold “as is” without representation or warranty of any kind by Webb’s or the Seller. Buyers are responsible for satisfying themselves concerning the condition of the property and the matters referred to in the catalogue by requesting a condition report.
No lot to be rejected if, subsequent to the sale, it has been immersed in liquid or treated by any other process unless the Auctioneer’s permission to subject the lot to such immersion or treatment has first been obtained in writing.
4. At the Sale
4.1. Refusal of Admission
Webb’s reserves the right at our complete discretion to refuse admission to the auction premises or participation in any auction and to reject any bid.
4.2. Registration Before Bidding
Any prospective new buyer must complete and sign a registration form and provide photo identification before bidding. Webb’s may request bank, trade or other financial references to substantiate this registration.
4.3. Bidding as a Principal
1. Background to the Terms used in these Conditions
The conditions that are listed below contain terms that are used regularly and may need explanation. They are as follows:
“the Buyer” means the person with the highest bid accepted by the Auctioneer.
“the Lot” means any item depicted within the sale for auction and in particular the item or items described against any lot number in the catalogue.
“the Hammer price” means the amount of the highest bid accepted by the auctioneer in relation to a lot.
“the Buyer’s Premium” means the charge payable by the Buyer to the auction house as a percentage of the hammer price.
“the Reserve” means the lowest amount at which Webb’s has agreed with the Seller that the lot can be sold.
“Forgery” means an item constituting an imitation originally conceived and executed as a whole, with a fraudulent intention to deceive as to authorship, origin, age, period, culture or source, where the correct description as to such matters is not reflected by the description in the catalogue. Accordingly, no lot shall be capable of being a forgery by reason of any damage or restoration work of any kind (Including re-painting).
“the insured value” means the amount that Webb’s in its absolute discretion from time to time shall consider the value for which a lot should be covered for insurance (whether or not insurance is arranged by Webb’s).
All values expressed in Webb’s catalogues (in any format) are in New Zealand Dollars (NZD$). All bids, “hammer price”, “reserves”, “Buyers Premium” and other expressions of value are understood by all parties to be in New Zealand Dollars (NZD$) unless otherwise specified.
2. Webb’s Auctions as Agent
Except as otherwise stated, Webb’s acts as agent for the Seller.
The contract for the sale of the property is therefore made between the Seller and the Buyer.
3. Before the Sale
3.1. Examination of Property Prospective Buyers are strongly advised to examine in person any property in which they are interested before the Auction takes place. Neither Webb’s nor the Seller provides any guarantee in relation to the nature of the property apart from the Limited warranty in the paragraph below.
The property is otherwise sold “AS IS”
3.2. Catalogue and Other Descriptions All statements by Webb’s in the catalogue entry for the property or in the condition report, or made orally or in writing elsewhere, are statements of opinion and are not to be relied upon as statements of fact. Such statements do not constitute a representation, warranty or assumption of liability by Webb’s of any kind.
References in the catalogue entry to the condition report to damage or restoration are for guidance only and should be evaluated by personal inspection by the bidder or a knowledgeable representative. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. Estimates of the selling price should not be relied on as a statement that this is the price at which the item will sell or its value for any other purpose. Neither Webb’s nor The Seller is responsible for any errors or omissions in the catalogue or any supplemental material.
Images are measured height by width (sight size). Illustrations are provided only as a guide and should not be relied upon as a true representation of colour or condition. Images are not shown at a standard scale. Mention is rarely made of frames (which may be provided as supplementary images on the website) which do not form part of the lot as described in the printed catalogue.
An item bought “on Extension” must be paid for in full before it will be released to the purchaser or his/her agreed expertising committee or specialist. Payments received for such items will be held “in trust” for up to 90 days or earlier, if the issue of authenticity has been resolved more quickly. Extensions must be requested before the auction.
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
When making a bid, a bidder is accepting personal liability to pay the purchase price including the buyer’s premium and all applicable taxes, plus all other applicable charges, unless it has been explicitly agreed in writing with Webb’s before the commencement of the sale that the bidder is acting as agent on behalf of an identified third party acceptable to Webb’s and that Webb’s will only look to the principal for payment.
4.4. International Registrations
All International clients not known to Webb’s will be required to scan or fax through an accredited form of photo identification and pay a deposit at our discretion in cleared funds into Webb’s account at least 24 hours before the commencement of the auction. Bids will not be accepted without this deposit. Webb’s also reserves the right to request any additional forms of identification prior to registering an overseas bid.
This deposit can be made using a credit card, however the balance of any purchase price in excess of $5,000 cannot be charged to this card without prior arrangement.
This deposit is redeemable against any auction purchase and will be refunded in full if no purchases are made.
4.5. Absentee Bids
Webb’s will use reasonable efforts to execute written bids delivered to us AT LEAST 24 Hours before the sale for the convenience of those clients who are unable to attend the auction in person. If we receive identical written bids on a particular lot, and at the auction these are the highest bids on that lot, then the lot will be sold to the person whose written bid was received and accepted first. Execution of written bids is a free service undertaken subject to other commitments at the time of the sale and we do not accept liability for failing to execute a written bid or for errors or omissions which may arise. It is the bidder’s responsibility to check with Webb’s after the auction if they were successful. Unlimited or “Buy” bids will not be accepted.
4.6. Telephone Bids
Priority will be given to overseas and bidders from other regions. Please refer to the catalogue for the Telephone Bids form. Arrangements for this service must be confirmed AT LEAST 24 HOURS PRIOR to the auction commencing. Webb’s accepts no responsibility whatsoever
Unless otherwise indicated, all lots are offered subject to a reserve, which is the confidential minimum price below which the Lot will not be sold. The reserve will not exceed the low estimate printed in the catalogue. The auctioneer may open the bidding on any Lot below the reserve by placing a bid on behalf of the Seller. The auctioneer may continue to bid on behalf of seller up to the amount of the reserve, either by placing consecutive bids or by placing bids in response to other bidders.
4.9. Auctioneers Discretion
The Auctioneer has the right at his/her absolute and sole discretion to refuse any bid, to advance the bidding according to the following indicative steps:
Increment Dollar Range Amount
$20 $0–$500
$50 $500–$1,000
$100 $1,000–$2,000
$200 $2,000–$5,000
$500 $5,000–$10,000
$1,000 $10,000–$20,000
$2,000 $20,000–$50,000
$5,000 $50,000 – $100,000
$10,000 $100,000–$200,000
$20,000 $200,000–$500,000
$50,000 $500,000–$1,000,000
Absentee bids must follow these increments and any bids that don’t follow the steps will be rounded up to the nearest acceptable bid.
5. After the Sale
5.1. Buyers Premium
In addition to the hammer price, the buyer agrees to pay to Webb’s the buyer’s premium. The buyer’s premium is 19.5% of the hammer price plus GST. (Goods and Services Tax) where applicable.
5.2. Payment and Passing of Title
The buyer must pay the full amount due (comprising the hammer price, buyer’s premium and any applicable taxes and GST) not later than 2 days after the auction date.
The buyer will not acquire title to the lot until Webb’s receives full payment in cleared funds, and no goods under any circumstances will be released without confirmation of cleared funds received. This applies even if the buyer wishes to send items overseas.
Payment can be made by direct transfer, cash (not exceeding NZD$5,000, if wishing to pay more than NZD$5,000 then this must be deposited directly into 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 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.
5.6.3. to cancel the sale.
5.6.4. to resell the property publicly or privately on such terms as we see fit.
5.6.5. to pay the Seller an amount up to the net proceeds payable in respect of the amount bid by the defaulting Buyer. In these circumstances the defaulting Buyer can have no claim upon Webb’s in the event that the item(s) are sold for an amount greater than the original invoiced amount.
5.6.6. to set off against any amounts which Webb’s may owe the Buyer in any other transactions, the outstanding amount remaining unpaid by the Buyer.
5.6.7. where several amounts are owed by the Buyer to us, in respect of different transactions, to apply any amount paid to discharge any amount owed in respect of any particular transaction, whether or not the Buyer so directs.
5.6.8. to reject at any future auction any bids made by or on behalf of the Buyer or to obtain a deposit from the Buyer prior to accepting any bids.
5.6.9. to exercise all the rights and remedies of a person holding security over any property in our possession owned by the Buyer whether by way of pledge, security interest or in any other way, to the fullest extent permitted by the law of the place where such property is located.
The Buyer will be deemed to have been granted such security to us and we may retain such property as collateral security for said Buyer’s obligations to us.
5.6.10. to take such other action as Webb’s deem necessary or appropriate.
If we do sell the property under paragraph (4), then the defaulting Buyer shall be liable for payment of any deficiency between the total amount originally due to us and the price obtained upon reselling as well as for all costs, expenses, damages, legal fees and commissions and premiums of whatever kinds associated with both sales or otherwise arising from the default.
If we pay any amount to the Seller under paragraph (5) the Buyer acknowledges that Webb’s shall have all of the rights of the Seller, however arising, to pursue the Buyer for such amount.
5.7. Failure to Collect Purchases
Where purchases are not collected within 2 days from the sale date, whether or not payment has been made, we shall be permitted to remove the property to a warehouse at the buyer’s expense, and only release the items after payment in full has been made of removal, storage handling, insurance and any other costs incurred, together with payment of all other amounts due to us.
6. Extent of Webb’s Liability
Webb’s agrees to refund the purchase price in the circumstances of the Limited Warranty set out in paragraph 7 below.
Apart from that, neither the Seller nor we, nor any of our employees or agents are responsible for the correctness of any statement of whatever kind concerning any lot, whether written or oral, nor for any other errors or omissions in description or for any faults or defects in any lots. Except as stated in paragraph 7 below, neither the Seller, ourselves, our officers, agents or employees give any representation warranty or guarantee or assume any liability of any kind in respect of any lot with regard to merchantability, fitness for a particular purpose, description, size, quality, condition, attribution, authenticity, rarity, importance, medium, provenance, exhibition history, literature or historical relevance. Except as required by local law any warranty of any kind is excluded by this paragraph.
7. Limited Warranty
Subject to the terms and conditions of this paragraph, the Seller warrants for the period of thirty days from the date of the sale that any property described in this catalogue (noting such description may be amended by any saleroom notice or announcement) which is stated without qualification to be the work of a named author or authorship is authentic and not a forgery. The term “Author” or “authorship” refers to the creator of the property or to the period, culture, source, or origin as the case may be, with which the creation of such property is identified in the catalogue.
The warranty is subject to the following: it does not apply where a) the catalogue description or saleroom notice corresponded to the generally accepted opinion of scholars and experts at the date of the sale or fairly indicated that there was a conflict of opinions, or b) correct identification of a lot can be demonstrated only by means of a scientific process not generally accepted for use until after publication of the catalogue or a process which at the date of the publication of the catalogue was unreasonably expensive or impractical or likely to have caused damage to the property.
the benefits of the warranty are not assignable and shall apply only to the original buyer of the lot as shown on the invoice originally issued by Webb’s when the lot was sold at Auction.
the Original Buyer must have remained the owner of the lot without disposing of any interest in it to any third party.
The Buyer’s sole and exclusive remedy against the Seller in place of any other remedy which might be available, is the cancellation of the sale and the refund of the original purchase price paid for the lot less the buyer’s premium which is nonrefundable. Neither the Seller nor Webb’s will be liable for any special, incidental nor consequential damages including, without limitation, loss of profits.
The Buyer must give written notice of claim to us within thirty days of the date of the Auction. The Seller shall have the right, to require the Buyer to obtain two written opinions by recognised experts in the field, mutually acceptable to the Buyer and Webb’s to decide whether or not to cancel the sale under warranty.
the Buyer must return the lot to Seller in the same condition that it was purchased.
8. Severability
If any part of these Conditions of Sale is found by any court to be invalid, illegal or unenforceable, that part shall be discounted, and the rest of the Conditions shall continue to be valid to the fullest extent permitted by law.
9. Copyright
The copyright in all images, illustrations and written material produced by Webb’s relating to a lot including the contents of this catalogue, is and shall remain the property at all times of Webb’s and shall not be used by the Buyer, nor by anyone else without our prior written consent. Webb’s and the Seller make no representation or warranty that the Buyer of a property will acquire any copyright or other reproduction rights in it.
10. Law and Jurisdiction
These terms and conditions and any matters concerned with the foregoing fall within the exclusive jurisdiction of the courts of New Zealand, unless otherwise stated.
11. Pre-Sale Estimates
Webb’s publishes with each catalogue our opinion as to the estimated price range for each lot. These estimates are approximate prices only and are not intended to be definitive. They are prepared well in advance of the sale and may be subject to revision. Interested parties should contact Webb’s prior to auction for updated pre-sale estimates and starting prices.
12. Sale Results
Webb’s will provide auction results, which will be available as soon as possible after the sale. Results will include buyer’s premium. These results will be posted at www.webbs.co.nz.
13. Goods and Service Tax
GST is applicable on the hammer price in the case where the seller is selling property that is owned by an entity registered for GST. GST is also applicable on the hammer price in the case where the seller is not a New Zealand resident. These lots are denoted by a dagger symbol † placed next to the estimate. GST is also applicable on the buyer’s premium.
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