Select Online, June 2025 by Webb's Auction House

CO LO UR F ORE CAST 2025

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Edition of 400

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

Emily Gardener Director of Art emily@webbs.co.nz +64 22 595 5610

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

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33a Normanby Road Mount Eden Auckland, 1024

23 Marion Street Te Aro Wellington, 6011 webbs.co.nz

Foreword

We are proud to present our second Select auction of the year, showcasing a diverse range of artworks that will appeal to both seasoned collectors and first-time buyers, with pieces to suit all tastes and budgets, the catalogue offers something for everyone.

As someone living in the Waitaha Canterbury region, I’m especially thrilled to see artists from this community represented in the catalogue. Few works capture the spirit of Ōtautahi Christchurch more evocatively than The Glass Charlotte Jane, Canterbury Museum by Fiona Pardington. This extraordinary photograph depicts a delicate glass ship created to commemorate the centenary of the Charlotte Jane’s arrival – one of the First Four Ships that brought settlers to Lyttelton in 1851.

Pardington’s work eloquently speaks to the layered history of Waitaha Canterbury. Rendered in fragile, transparent glass, the ship evokes both the vulnerability of early settlers and the precarious nature of their journey. It also reflects Pardington’s own artistic trajectory as she prepares for her upcoming show at the prestigious Venice Biennale in 2026 – an international stage that highlights small communities like ours, where craftsmanship and artistic vision are deeply embedded in local identity.

Pardington’s presence in this sale is further affirmed with Still Life with Colin’s Flowers, Lichen and Rainwater, a work created during her 2013 residency at the Colin McCahon House in Titirangi, Tāmaki Makaurau Auckland.

Sean Duxfield

Another standout local artist is Jason Greig, an exceptionally talented printmaker represented in the sale with an untitled monoprint from 1998. Jason will be the subject of an upcoming exhibition at The Dowse, presented in collaboration with City Gallery Wellington, scheduled for November 2026.

Also featured is a captivating diptych by Paul Johns. Johns – who spent significant time in New York during its cultural heyday – is recognised as an early exponent of conceptual and pop art. More recently known for his experimental work in photography, neon, and installation, the photographic works in this auction are an exciting addition which reflects his interest in gender and cultural stereotypes.

At around the same time that Johns was in New York, Billy Apple was living and actively exhibiting there alongside such heavyweights

as Andy Warhol, Roy Lichtenstein and Jasper Johns. A suite of Billy Apple prints included in this sale, Gold Apple R, Billy Apple TM and Forty years 1962–2002, spans over four decades of his practice and illustrates how he transformed his identity into a powerful artistic brand.

Growing up in Whanganui, I could see Mount Taranaki from my window on a clear day. Later, living in New Plymouth, I became fascinated by the sculpted landscape, the terraces, ditches and the traces of ancient pā sites. Michael Smither’s Pā Site, Mount Taranaki captures this unique geography with striking clarity. Art has a remarkable way of connecting us to place and time.

I’m still buoyed by the energy and camaraderie from the recent Aotearoa Art Fair. It was heartening to see so many familiar faces – collectors, artists, and art lovers – engaged in a vibrant programme of talks and events over the weekend. The May Art Fair, running at the same time, was a fresh and dynamic offering presenting an alternative gallery-led addition to what has become a cornerstone of the national arts calendar.

Finally, Webb’s would like to acknowledge the remarkable legacy of Fred Graham (Ngāti Korokī Kahukura, Tainui), a revered figure in Aotearoa’s arts and education landscape. Moe mai rā. Graham's work has played a pivotal role in bridging Māori cultural traditions with contemporary artistic practice. As a pioneering figure in sculpture, his innovative use of materials and profound engagement with whakapapa, mythology and the natural environment have inspired generations of artists.

An exhibition of his work, Fred Graham: Toi Whakaata / Reflections, has opened at Christchurch Art Gallery Te Puna o Waiwhetū and will continue until October 2025.

▲ Sean Duxfield, Specialist, Art

Launch Event

Wednesday 11

Programme

Wellington

Join us at our Te Aro gallery for a discussion with Professor Huhana Smith, Head of Art, Te Kunenga Ki Pūrehuroa Massey University, who will be speaking about some of her favourite works on this catalogue. Please RSVP to mark@webbs.co.nz.

Viewing Times

Thursday 12 — Friday 13

Saturday 14

Auckland

Launch Event

Tuesday 17

Viewing Times

Wednesday 18

Thursday 19

Saturday 21 — Sunday 22

Monday 23

Online Auction

Monday 9 — Monday 23

You're invited to join us in Mount Eden as we host Associate Professor, Caroline Vercoe, Art History, Waipapa Taumata Rau University of Auckland, in a discussion of her stand outs from our June Select catalogue. Please RSVP to art@webbs.co.nz.

Plates

Specialist Enquires Condition Reports

wellington

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

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

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

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

1 Pat Hanly, The End of the Golden Age screenprint on paper, 35/50

× 600mm

$3,000 — $5,000

3 Peter Stichbury, Glister 2008 giclée print on paper, 52/100

× 225mm

$6,000 — $9,000

2 Pat Hanly, Stripper Study 4 (from the Showgirl series)

ink and monotype on paper

dated and title inscribed

× 500mm

4 Louise Henderson, Unloading the Cargo c1960 graphite on paper 360 × 260mm EST $1,500 — $3,000

5 Ralph Hotere, Woman RM 1990 lithograph on paper, 6/20 signed, dated and title inscribed 700 × 530mm

EST $4,000 — $6,000

6 Ian Scott, Lattice No.64 1979 oil on paper

× 450mm

7 Philippa Blair, Awakening/Salsa 2004 oil and acrylic on canvas signed, dated and title inscribed 610 × 610mm

EST $4,500 — $6,000

2019 watercolour on paper 610 × 430mm

EST $2,000 — $3,000

and title inscribed 760 × 610mm

EST $2,500 — $5,000

signed, dated and title inscribed

550 × 750mm

EST $7,000 — $9,000

9 Fatu Feu’u, Asi Asi 2006 oil on canvas signed, dated

10 Robyn Kahukiwa, Kaitiaki Huia 2007 screenprint on paper, 8/30

Imogen Taylor, Green Belt

— $3,000

— $6,000

13 Pauline and James Yearbury, Te Ika-a-Māui

acrylic on incised rimu

12 Marti Friedlander, Farm, Coromandel c1969 silver gelatin print 260 × 205mm

$5,000 — $8,000

11 Shirley Grace, Untitled (Tony Fomison) 1989 silver gelatin print

signed

400 × 160mm

EST $3,000 — $6,000

signed

400 × 160mm

EST $3,000 — $6,000

14 Pauline and James Yearbury, Hine-Moana acrylic on incised rimu

Pauline and James Yearbury, Tangaroa acrylic on incised rimu

Roberta Thornley, untitled archival pigment print on paper

990 × 730mm EST $5,000 — $8,000

17 Billy Apple, Gold Apple 2012 screenprint on paper, 2/10

570 × 380mm

EST $3,000 — $4,000

18 Billy Apple, Billy Apple TM 2007 graphite on screenprint on paper, 2/45 signed 570 × 380mm

EST $4,000 — $6,000

19 Billy Apple, Forty Years: 1962-2002 2002 graphite on screenprint on paper signed

380 × 570mm

EST $4,000 — $6,000

Jono Rotman’s Horo-koau (2007) captures the starry serenity of nightfall above the Southern peaks, Mount Haast, Mount Lendenfeld and Mount Tasman. The work was made as the artist embarked on a ten-year project and accompanying publication that would become a defining oeuvre for him. In 2007 Rotman began a series of studio portraits featuring members of New Zealand’s notorious Mongrel Mob gang. Dissatisfied with the results, he took to the road, documenting some 200 men across the country in their natural environment, using an old-school large-format view camera, film and available light.

Shaped by an innate sense of the foreboding, inherited from his father’s experience living under Nazi occupation in the Netherlands, as well as his mother’s kinship for the natural world as a fifth-generation New Zealander and Darwinian biologist, Rotman’s practice is fuelled by an interest in subjects living on the outskirts of society. His work is predicated on the idea that civilisation is a delicate fiction, where Rotman seeks to uncover the ongoing cataclysm of colonialisation and the intersection of opposing forces between civilisation and the natural world.

The artist states:

I am descended from biologists, so I have been schooled to engage with life, in part, through the collecting of specimens. Although there is an obvious colonial implication to this tradition, with its assumption of ownership, it does imbue the collected objects with wider implications. There is a mythic dimension to this, in that a core drive of collecting specimens is to ‘name’ them. They become something more by being selected. I am interested in how specimens – and by nature, photographs also – are at once avatars of the world view and hold the knowledge of both their ‘taker’ as well as the ecology

20 Jono Rotman, Horo-Kōau: Mt Haast, Mt Lendenfeld & Mt Tasman

× 1010mm

from where and when they came. These considerations are woven into my practice and inform the way in which I think of my own inheritance: as a photographer, as the scion of scientists and as a sixth-generation Pākehā New Zealander.

The power of Rotman’s photographs lies in the artist’s ability to surpass predisposed narratives and transmit spirit through his arresting largescale analogue works. In capturing the wonder of the natural world alongside the harsh reality of his subjects, the artist seeks to elicit a sense of the sublime, each work becoming a symbol of a much wider ecology.

▲ 1 Emily McAvoy, “Raw Matériel: In Conversation with Jono Rotman,” Contemporary Hum, 10 June 2019, https://contemporaryhum.com/ writing/raw-materiel/

Tomislav Nikolic

There is a lot of libido in the works of Tomislav Nikolic. An excess of desire which throbs and pulsates – palpitates – like some disco night atmosphere full of adrenaline and exaggerated lust. No!, you say. Nikolic’s works are exquisite, beautiful, serene, transcendent, mystical, spiritual. Yes, Ok they are, but they are also a bacchanal, carnival and a mardi gras; a late night in a mosh pit when things get loose and hyperventilated. They are all – everything. Yet restrained. Constrained, tamed and framed within a limit so that the libido’s extravagance can be managed and harnessed to gain the maximum effect.

– Juliana Engberg1

▲ 1 Tomislav Nikolic: Invocations of Consciousness (MER.B&L, 2022), https:// stationgallery.com/product/tomislavnikolic-invocations-of-consciousness/?sr sltid=AfmBOoqBqRqhL7LmgPMwRypbIP1ubTGA5gyYEQ0bVUgwwqzp46SabsA

Will Power; Love Wisdom; Active Intelligence; Harmony Through Conflict; ConcreteScience; Love Devotion; Ceremonial Order

Drawing from the Theosophical writings of twentieth-century author Alice Bailey, Tomislav Nikolic’s work Will Power; Love Wisdom ; Active Intelligence; Harmony Through Conflict; Concrete-Science ; Love Devotion ; Ceremonial Order (2011–12) is part of an ongoing series made over a number of years, always comprising seven paintings, which explores esoteric philosophies and the essence of the divine. The abstract paintings form a heptaptych, each numbered on the reverse, their colours made up of complex layering of paint, and their frames specifically chosen and integral to the composition.

Nikolic’s mastery lies in his unique handling of colour, which has been developed through a technique of blending marble dust with pigment, to create a density of hue and surface illusion, which appears simultaneously opaque and translucent. As the titles of these works suggest, the emotional quality of colour and its

ability to evoke a spiritual dimension are key to Nikolic’s practice. A self-taught artist, Nikolic draws inspiration from the work of his contemporaries, Jacqueline Humphries, Howard Hodgkin and Peter Tyndall, while also paying homage to the abstract colour-field paintings of Mark Rothko, and the work of Barbara Hepworth, Helen Frankenthaler, Francis Bacon, Agnes Martin, Caravaggio and Monet. Language and identity are also intrinsic to the paintings’ expression, and the complex layering of paint mirrors that of the artist’s own identity and personal experience, as a Melbourne-born queer artist of Croatian migrant descent.

Tomislav Nikolic was awarded the Bulgari Art Award in 2017, which included a residency in Rome. Nikolic’s works are held in public, private and corporate collections both nationally and internationally, including the Art Gallery of New South Wales, the National Gallery of Victoria, and the Chartwell Collection at the Auckland Art Gallery Toi o Tāmaki.

21 Tomislav Nikolic, Will Power; Love Wisdom; Active Intelligence; Harmony Through Conflict; Concrete-Science; Love Devotion; Ceremonial Order 2011-12

signed, dated and title inscribed 410 × 430mm; 400 × 420mm; 365 × 385mm; 395 × 415mm; 355 × 375mm; 360 × 380mm; 305 × 325mm EST $10,000 — $15,000

22 Trevor Moffitt, Reclining Nude

24 John Oxborough, Untitled oil on tin

23 Douglas MacDiarmid, Still Life with Floor Urns

on canvas

26 Euan MacLeod, Slip 1983 acrylic on canvas signed, dated and title inscribed 1270 × 1760mm

$6,000 — $9,000

25 Nacho Eterno, untitled 2025 oil on canvas signed and dated 1710 × 2010mm

$15,500 — $18,000

Craggy layers of sediment, misty horizon lines, or perhaps a darkening sea; these are just a few environments evoked by Matt Arbuckle’s ethereal paintings. The location in which the works are created acts as inspiration and, later, collaborator. Traces of these places exist within the work as an echo of both the physical and temporal space in which they were created, emerging as “dreamlike, ephemeral image[s], seemingly dissolving and precipitating at the same time.”1

My Time at Sea (2020) pulls the viewer in with swathes of blue, adorned with flecks of earthy pigment that entice the viewer closer until their field of vision is encompassed by blue. Arbuckle’s work utilises textures and opacities in fields

of colour imbued with the movement of their application. The possessive pronoun in the title links the work to the world we share with the artist and indicates an experience remembered, raising themes of memory and the passage of time.

Transitioning from oil on canvas to more experimental supports, such as semi-transparent voile, Arbuckle has begun to favour process over outcome. He applies pigment to openweave voile and then, using elements of traditional Japanese shibori dyeing, twists, folds and drapes the fabric over “found surfaces and structures to create unique impressions.”2

Beautifully complex arrangements of chance and fate are left to emerge with

27 Matt Arbuckle, My Time At Sea 2020 oil on canvas signed, dated and title inscribed 1400 × 2000mm

little intervention, physically imbued with the location of their creation. The act of painting is replaced by folding and twisting, causing the pigment to pool and stain in unique configurations.

Three Fold Blues (2020) and Reflection Is Reflection (2021) are beautiful examples of this body of work, with their shimmering and translucent nature evoking foggy horizon lines or perhaps a memory in a fluxing state of clarity. Some small flecks of detritus remain in the open weave, showing traces of the work’s journey to its framed realisation. Arbuckle’s interest in geologic time manifests in these largely horizontal compositions that tell the story of their own creation, much like layers of sediment in earth and rock represent time passing on Earth. The resulting artworks of this process depict not just the work in its final form, but a meditation on its journey through time to arrive there.

▲ 1 “Matt Arbuckle, Andrew Barber, Sandra Bushby, Lara Merrett & Grace Wright: Inhabited Space,” Parlour Projects, 2021, https://parlourprojects.com/collections/ inhabited-space

▲ 2 “Matt Arbuckle,” Daine Singer, https://www. dainesinger.com/matt-arbuckle

29 Matt Arbuckle, Three Fold Blues 2020 acrylic on knitted polyester voile signed, dated and title inscribed 815 × 610mm

$4,000

$6,500

28 Matt Arbuckle, Reflection is Reflection 2021 acrylic on knitted polyester voile signed, dated and title inscribed

× 250mm

2006 letterpress prints on paper (bound), 50/100

300 × 210mm (per page)

EST $5,000 — $10,000

31 Gordon Walters, Then 1980 screenprint on paper, 52/125 signed, dated and title inscribed 405 × 535mm

$4,000 — $7,000

30 Tony de Lautour, A Book of Heads

33 John Pule, Pokia 1995 lithograph on paper, 15/20 signed, dated and title inscribed 760 × 635mm

EST $3,000 — $5,000

32 John Pule, Monuina 2002 acrylic and ink on canvas; wood signed, dated and title inscribed 975 × 645 × 1150mm (widest points, dimensions variable)

EST $10,000 — $15,000

34 Tony de Lautour, Badlands 2001 acrylic on screenprint on canvas signed, dated and title inscribed 1040 × 1020mm EST $15,000 — $18,000

Despite being created in 2001, Tony de Lautour’s Badlands has enduring relevance nearly 25 years later. Part of a series that talks to the influence of multinational corporations on the local and global environment, this iteration features an ambiguous, alpine landscape melded into the Apple logo.

While the landscape is entirely undefined, it is hard to deny the inescapable presence of de Lautour’s Christchurch. Having lived and breathed the region from the age of two, with the Southern Alps as a constant backdrop, it’s unsurprising that the artist views this as a generalised landscape – one that recurs throughout the wider Badlands series. Accumulation and repetition of motifs are central to the artist’s broader practice, forming a near-critique of capitalist excess and mass production.

De Lautour deliberately juxtaposes logo and landscape, exploring the intersection and implication of high-art traditions with low-brow branding. He poses the question: what are the consequences of consumerism, planned obsolescence and globalisation – hallmarks of a brand like Apple – not only on the natural world, but also on a nation still grappling with its postcolonial identity?

By embedding the Apple logo within these desolate, abstracted terrains, de Lautour localises these global forces. The effects of late capitalism, he suggests, are not remote or theoretical – they are etched into the land itself. The familiar silhouette of the Apple emblem becomes a kind of spectral coloniser, echoing earlier waves of cultural and material imposition. Here, the landscape is no longer a passive backdrop but an active participant in the critique, marked by both historical and contemporary systems of control. Through this tension, de Lautour implicates not only multinational corporations but also the lingering structures of colonialism that shape how land is owned, used and represented.

Badlands, then, becomes a battle of identities; where does one end and the other begin?

35 Robin White, Relatives at the Makatu Church Oamaru 1974 screenprint on paper signed, dated and title inscribed 585mm × 405mm

$8,000 — $14,000

EST

37 Michael Smither, Pā Site with Mount Taranaki 1975 oil on board signed and dated 152 × 152mm EST $4,000 — $6,000

36 Nigel Brown, Talanoaga 1996 acrylic on paper signed, dated and title inscribed 270 × 400mm

$3,000 — $5,000

38 Star Gossage, Girl of Morning

Star Gossage, named after the star symbol of the Rātana Pāh, is of Ngati Manuhiri/Wai, Ngati Ruanui, French, English and Portuguese decent. While Gossage’s Māori and Pākeha lineage both explicitly and implicitly; consciously and subconsciously, can be seen to stylistically, technically and thematically shape her practice, it is the artist’s strong psychological and metaphysical connection with her ancestral Te Kiri land at Pākiri, north of Tāmaki Makaurau, of Aotearoa, that reverberates through Gossage’s hauntingly evocative paintings. Gossage paints directly from her subconscious, without prepared drawings, images emerge through a kind of commune with the self and her medium. While typically, the artist depicts human figures, usually female, what her paintings depict are more visual “portraits” which embody the artist’s personal psychological and emotional states, rather than specific people.

▲ 1 Lisa Reihana, quoted in “Star Gossage: Kingfisher Blue / Kikorangi Kotare,” Tim Melville Gallery, 2014, https://www. timmelville.com/exhibition/kingfisher-bluekikorangi-kotare/

When beginning a painting, Gossage doesn’t know whether it will become a portrait, be filled with birds or a still-life arrangement – the images that emerge are created by the pigments themselves … This conjuring act means that the images we see are a map of the subconscious moment. Perhaps this is why some works have a precarious quality oscillating on an edge of success or failure, but this tenuousness contributes to their charm … What is critical is to translate the moment, because this is where her honesty and integrity lie. Implicit in the image are its meanings – all the viewer has to do is be still for a while and absorb them.

Lisa Reihana1

–

39 Fiona Pardington, Still Life with Colin’s Flowers, Lichen and Rainwater, from the Colin McCahon Residency

2013 pigment ink on Hahnemühle Photo Rag, 5/10 815 × 1090mm

EST $16,000 — $22,000

40 Marie Le Lievre, Banged Up 2013 oil and acrylic on canvas signed, dated and title inscribed 760 × 760mm

$4,000 — $7,000

41 Mark Kimber, Strangers in the Light Lambda print, 1/5 1020 × 1020mm

$2,000 — $4,000

42 Paul Dibble, Green Tango Model I 1997 bronze, 1/3 signed and dated 445 × 360 × 70mm (widest points) EST $18,000 — $26,000

Evelyn Page (1899–1988)

Throughout her long and celebrated career, Evelyn Page created an extensive body of vibrant, figurative work in response to her environment, friends, and family life. She applied her unique adaptation of the post-impressionist style to landscape, still life and portraiture, but it is her sensuous paintings of the nude female form, often in dappled or filtered light, that stand out as her most exceptional achievements.

Evelyn Page (née Polson) was born in Christchurch in 1899. She began exhibiting her works in the 1920s after attending Canterbury College of Art, and in 1927 joined other young Christchurch artists to form The Group.

She is fondly remembered by those who knew her as a devotee of the French impressionists and postimpressionists, particularly Degas, Bonnard and Matisse. Her experience of closely examining masterpieces by these artists and their contemporaries during her first visit to Paris in 1936 was revelatory, providing much inspiration for her subsequent paintings.

After travelling in Britain for a year, she returned to New Zealand in 1938 and married noted Canterbury musician Frederick Page.

During the 1950s Evelyn Page travelled again to Britain, Europe and China, and in 1966 was awarded a Queen Elizabeth II Arts Council of New Zealand grant to study at Kokoschka’s school in Vienna.

43 Evelyn Page, untitled watercolour on paper signed 380 × 485mm

$5,000 — $9,000

44 Don Binney, Otawewe 2004 lithograph on paper, 37/40 signed, dated and title inscribed

× 750mm

$5,000 — $8,000

45 Frances Hodgkins, Arrangement of Jugs lithograph on paper signed dated and title inscribed

× 600mm

48 Pat Hanly, The Golden Age 1979 oil on paper signed, dated and title inscribed 400 × 465mm

$12,000 — $18,000

47 Roy Good, Transverse Relief – Study 2023 acrylic and varnish on ply wood 820 × 600 × 100mm

$6,000 — $7,000

46 Michael Hight, Manuherikia 2006 paint on wood panels signed, dated and title inscribed 600 × 960mm

$7,000 — $10,000

49 Garth Tapper, Crucifixion

on rimu, 3/9

and dated

× 480 × 150mm (widest points)

— $5,000

The symbolic weight of the cross looms large in the featured works of Garth Tapper (1927–1999), Stephen Bambury (1951–) and Tony Lane (1949–).

Even the most avid collector of Garth Tapper’s work might not instantly recognise his hand in Crucifixion. Though he is best known for the signature use of colour and grey hues in his quasiCubist paintings, Crucifixion, with its combination of bronze and rimu, is nothing short of masterful in bearing the full weight of formalism.

For Tony Lane, art history and religious iconography coalesce in his comprehension of the way materials have been utilised in art throughout the ages. Referencing Italian frescoes, early Renaissance paintings, seventeenth-century Spanish stilllifes and byzantine altarpieces, Hour-Glass (1993–95, oil and schlagmetal on gesso panel) exemplifies the unique skill and robust beauty we have become familiar with in a work by Lane.

The legacies of modernism and rigid formalism overlap in each artist’s approach to the cross. In Stephen Bambury’s work on paper, the cross, rendered in acrylic and graphite, is abstracted, leaden yet lightweight. “Bambury’s cross is thus positioned between matter and spirit, between historicism and modernity, between chance and order.”1 A compositional form, perhaps, more akin to sacred geometry.

Across all three works, the altar and the cross are emblems of faith and conviction. With clear throughlines toward the atavistic, each artist reveals a devotion to the materiality of their work. Whether it be a gilded frame, a religious motif (the stigmata) or depictions of everyday objects (an hourglass), there is worship at their heart, producing an active, energetic exchange with the viewer.

50 Tony Lane, Hour-Glass 1993-95 oil and schlagmetal on gesso panel signed, dated and title inscribed 435 × 290mm

$4,000 — $7,000

51 Stephen Bambury, Untitled (NC1637) 2002

acrylic and graphite on handmade Moulin de Larroque paper signed and dated 490 × 320mm

$4,000 — $5,000

▲ 1 Christopher Johnstone and William McAloon, Station to Station: The Way of the Cross: 14 Contemporary Artists (Auckland City Art Gallery, 1994), 15.

53 Shane Cotton, Blackout

acrylic on canvas signed and dated

× 1000mm

$32,000 — $48,000

52 Andrew McLeod, Parkscape 8

digital print, 2/3

dated and title inscribed

× 1260mm

54 Fatu Feu’u, Samoa Filemu 1999 acrylic and oil stick on canvas signed, dated and title inscribed 1470 × 2440mm

EST $7,000 — $12,000

55 Gordon Walters, Tiki printed 2022 screenprint on paper, edition of 100 indented with Walters Estate chop mark 1085 × 800mm

EST $5,000 — $8,000

John Rowe was a Christchurch-based glassblower known for his intricate models of historical ships. In 1950 he created a detailed scale model of the Charlotte Jane to commemorate the centenary of European settlement in Canterbury. One of the First Four Ships that brought settlers to Lyttelton Harbour in 1850, the Charlotte Jane is now held in the permanent collection of the Canterbury Museum.

These ships were part of a deliberate colonisation plan by the Canterbury Association to establish a Church of England settlement in New Zealand. Passengers were selected to form a class-based society modelled on British ideals.

Rowe himself was a descendant of a passenger aboard the Charlotte Jane, a connection that carries cultural weight in Christchurch. Descendants of the First Four Ships have traditionally held a place of status, symbolised by their direct link to the city’s colonial origins.

Many of these early settlers and their descendants played key roles in shaping Christchurch – founding schools, churches, businesses, farms and civic institutions. Their names still appear on street signs, buildings, and within the city’s public records. However, this narrative is also rooted in a broader process of colonial myth-making that often romanticises the settler experience while marginalising the histories and perspectives of Māori.

Fiona Pardington (Kāi Tahu, Kāti Mamoe, Ngāti Kahungunu, and Clan Cameron of Erracht) revisits and challenges this legacy in her photographic work

The Glass Charlotte Jane, Canterbury Museum. Rather than depicting the ship at sea, she captures it suspended in a void of darkness, drifting like a spectral vessel or ghost ship. In Pardington’s vision, the Charlotte Jane becomes a haunting symbol that embodies notions of colonialism, dislocation and ancestral legacy.

In 2026 Pardington will represent New Zealand at the prestigious Venice Biennale in Italy. Venice, a city with one of the world’s most remarkable shipbuilding histories, built its wealth on maritime trade with the East. Control of the surrounding sea routes was central to its power, and in the sixteenth century its famed Arsenale could produce a fully equipped galley in a single day through the labour of its 16,000 specialist workers.

Through her reimagining of the Charlotte Jane, Pardington offers a contemporary lens through which to view the fragile yet enduring threads that connect past and present –threads woven from personal memory, national identity and the complex legacies of colonialism.

Her work invites viewers to reflect not only on what has been preserved in museums and through family histories, but also on what has been omitted or obscured. In doing so, she challenges us to consider how objects, stories and symbols carry the weight of history, and how art can be a powerful medium for reckoning with that inheritance.

740

EST 2,500 — $3,500

57 Ian Scott, untitled acrylic on paper

× 560mm

58 Max Patte, One Wonder 2014 acrylic paints, acrylic primer, epoxy resin, clear coat, customer board and flexi ply

1618mm diameter

$10,000 — $18,000

61 Harry Wong, untitled c1980s acrylic on perspex 1010 × 1010mm EST $3,000 — $6,000

59 Dick Frizzell, untitled oil on board 1820 × 1200mm

EST $6,000 — $9,000

60 Dick Frizzell, untitled oil on board 1820 × 1200mm EST $6,000 — $9,000

André Hemer, New Representation #11

acrylic and pigment on canvas

dated and title inscribed 1800 × 1350mm

$20,000 — $25,000

Bill Culbert, Galaxy RWB 1993 fluorescent tube and plastic bottles signed, dated and title inscribed 320 × 610mm

EST $8,500 — $14,000

64 Ralph Hotere, From ‘Song’ by Bill Manhire 2008 lithograph on paper, 14/17 signed, dated and title inscribed 650 × 490mm EST $5,000 — $7,000

EST

65 Roger Mortimer, Aotea 2015 watercolour on board signed and dated 600 × 800mm

$4,000 — $6,000

66 Ross Richie, Untitled 1985 oil on canvas signed and dated 840 × 840mm EST $5,000 — $8,000

67 Richard Killeen, From Here to There With Love 1979 watercolour on paper signed, dated and title inscribed 295 × 420mm

$8,000 — $14,000

68 Richard Killeen, Regeneration 1978 ink on paper signed, dated and title inscribed 240 × 325mm

EST $8,000 — $14,000

70 Richard Killeen, Here and There 1979 watercolour on paper signed, dated and title inscribed 295 × 430mm

EST $8,000 — $14,000

69 Richard Killeen, untitled 1979 ink on paper signed and dated 275 × 450mm

EST $8,000 — $14,000

71 Richard Killeen, Tropical Collection 1979 ink on paper signed, dated and title inscribed 310 × 460mm

EST $8,000 — $14,000

73 Jason Greig, untitled 1998 monoprint on paper 400 × 510mm

$1,200 — $1,800

72 William Dunning, Antipodean Timetable conte and charcoal on paper signed and title inscribed 750 × 1060mm

EST $5,000 — $8,000

74 Bill Hammond, Singer Songwriter II 2001 lithograph on paper signed, dated and title inscribed in plate 690 × 840mm

EST $15,000 — $20,000

75 Bill Hammond, untitled (Gutless) 2006 lithograph on paper, edition of 100 signed and dated 585 × 430mm

EST $6,000 — $10,000

76 Bill Hammond,

I 2001 lithograph on paper signed, dated and title inscribed in plate 690 × 840mm

EST $15,000 — $20,000

Singer Songwriter

78 Gavin Chilcott, Venetian Landscape Donald Sutherland as Casanova

acrylic on canvas signed, dated and title inscribed 1370 × 910mm (each panel)

$3,000 — $5,000

77 Don Driver Bundespost 1998 hand-tufted wool signed, dated and inscribed 1300 × 2300mm

$6,000 — $7,500

79 Bill Hammond, Fish Finder 4 2004 etching on paper, 8/24 signed, dated and title inscribed

290 × 190mm

EST $4,500 — $6,500

80 Philip Trusttum, Rocking Horse 1982 acrylic on board signed and dated

470 × 430mm

EST $4,000 — $6,000

81 Nigel Brown, The Sea is a Moving Carving 1992

coloured woodblock print on paper, 1/3 signed, dated and title inscribed

670 × 890mm

EST $3,000 — $5,000

82 Kawachi Seiko, Himo 1983 coloured woodblock print on paper

600 × 400mm

EST $3,000 — $5,000

83 James Robinson, While I was Sleeping (Smash and Grab Evisceration) acrylic, paper, nails, fabric on canvas signed and title inscribed 1500 × 1200mm

EST $3,000 — $6,000

84 Cherry Hood, untitled (Portrait of a Young Boy) watercolour on paper 1530 × 1020mm

EST $1,200 — $2,400

85 David Ryan, Sefton 18 - Floating Cloud Monument oil on canvas signed and title inscribed 1520 × 1380mm

EST $3,000 — $6,000

86 Milan Mrkusich, untitled 1961 watercolour on paper signed and dated 375 × 560mm

EST $10,000 — $15,000

87 Stanley Palmer, The Far

Off Isthmus - Huia

1970 oil on canvas board

signed, dated and title inscribed

590 × 565mm

$7,000 — $10,000

EST $3,000 — $6,000

EST $8,000 —

89 Freeman White, untitled 2014 oil on canvas signed and dated 560 × 1120mm

$10,000

88 Toss Woollaston, Easter Side of Takaka Valley 1982 watercolour on paper signed and dated 240 × 370mm

EST $5,000 — $8,000

2021 offset print on paper, edition of 200 840 × 595mm EST $2,000 — $3,000

and title inscribed 445 × 890mm (widest points)

EST $25,000 — $37,000

92 Gretchen Albrecht, Reef 2 1989 acrylic on canvas on board signed, dated

91 Yvonne Todd, Next Time

Will Be Different

90 Geoff Thornley, Untitled (Red Abstract) 1993 oil on canvas signed 810 × 810mm

94 Linda Holloway, Local Time At Origin 11:33pm 2006 enamel, charcoal and chalk on board signed 1800 × 1200mm

EST $2,000 — $3,000

EST $3,000 — $5,000

93 Andy Leleisi'uao, Obsolete People Part 1 2014 acrylic on canvas signed 910 × 750mm

EST $10,000 — $16,000

$3,000 — $5,000

95 Gottfried Lindauer, untitled 1876 oil on canvas signed and dated

× 500mm

96 Ngaio Marsh, West Coast Scene oil on canvas board signed 520 × 735mm

$10,500 — $14,000

98 Douglas Badcock, Evening, Wilson Bay, Walter Peak, Lake Wakatipu 1969 oil on board signed and dated

× 600mm

97 Sydney Lough Thompson, Romantic Brittany oil on canvas

× 385mm

100 Samuel Brees, Road Leading to Pipitea Point, Wellington 1976 graphite and watercolour on paper signed, dated and title inscribed 210 × 400mm

EST $2,500 — $3,500

99 John Barr Clark Hoyte, Te Taraka, White Terraces, Rotomahana 1850 watercolour on paper signed and dated 375 × 640mm EST $10,500 — $17,500

101 Charles Blomfield, untitled 1906 oil on canvas signed and dated 450 × 600mm

$5,000 — $8,000

445 × 295mm EST $1,500 — $3,000

EST

105 Paul Jackson, Now I Lay Me Down to Sleep 2012/15 oil on linen 720 × 970mm

$8,000 — $12,000

102 Rosanna Raymond, Fabra-KeiSkin: Beaten, Twisted, Flowing 2004

103 Rosanna Raymond, Fabra-KeiSkin: Beaten, Twisted, Flowing 2004

104 Rosanna Raymond, Fabra-KeiSkin: Beaten, Twisted, Flowing

106 Emily Siddell, untitled porcelain, glass and wire

50 × 50mm (pieces, widest points); 450 × 450mm (overall, dimensions variable)

EST $3,000 — $5,000

107 Marie Shannon, King for a Day 1991 silver gelatin photgraphic print, 2/12 signed, dated and title inscribed 450 × 550mm

EST $2,000 — $3,000

108 Paul Johns, Carol Miles; Untitled 1984; 1985

SX-70 Polaroid, edition 1 of 1

107 × 88mm (each)

EST $5,000 —$7,000

109 Clinton Nairn, Rugged Cross 2004 chemical action on velvet; acrylic on canvas signed, dated and title inscribed 1220 × 910mm

$2,400 — $4,800

110 Rachael Rakena, Aniwaniwa 2007 c-type digital print of video still, 2/50 signed

× 600mm

$1,600 — $3,000

do / Two Surfaces

2002 acrylic, ink and graphite on canvas on wood

signed, dated and title inscribed

800 × 300mm

EST $6,000 — $9,000

signed

510 × 170 × 170mm

EST $5,000 — $9,000

2003 cast glass

signed and dated

350 × 435 × 210mm (widest points)

EST $5,000 — $7,000

111 Kazu Nakagawa:, Dreams

112 Chris Charteris, Ngaru andesite

113 Christine Cathie, Wave Form, Chardonnay

2008 enamel, acrylic and varnish on wood signed, dated and title inscribed 600mm diameter

EST $2,000 — $4,000

114 Wellesley Binding, The Visionary Committee

115 Max Patté, Solice in the Wind

– 10th anniversary edition

iron, 35/50

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.

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.

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

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

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

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

Terms & Conditions

$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 non-refundable. Neither the Seller

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

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

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.

Albrecht, Gretchen 62

Apple, Billy 17

Arbuckle, Matt 24-25

Badcock, Douglas 64

Bambury, Stephen 41

Binding, Wellesley 71

Binney, Don 38

Blair, Philippa 12

Blomfield, Charles 65

Brees, Samuel 65

Brown, Nigel 31, 57

Cathie, Christine 70