Join us in our Te Aro gallery alongside contemporary Fine Art Consultant, art writer, curator and recently elected Trustee of City Gallery Wellington, Alison Bartley as she discusses highlights from the Select catalogue.
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Sean Duxfield Specialist, Art sean@webbs.co.nz +64 21 053 6504
We are delighted to welcome you to our Mount Eden gallery, where guest speaker Tyson Campbell—(Te Rarawa/Ngāti Maniapoto) artist, curator, Kaiako (teacher) at Elam School of Fine Arts, and co-chair of Artspace Aotearoa—will share his personal highlights from our Select catalogue.
Condition Reports
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It is with pleasure that Webb’s presents our Spring Select catalogue. This edition is our final for 2025, and we are proud of the absolute stellar collection and range of artworks showcased. As always, the offering of this auction is perfectly pitched to be both attainable for the new collector and enticing for the seasoned connoisseur. Seeing our Select catalogues come together is always an enjoyable process as our team of Art specialists single out unique works by both notable names and recent talent.
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The sculptural offering for this catalogue is particularly impressive with an exceptional collection of works that range from the classical to innovative: for those who prefer something conventional from this medium, the two Llew Summers bronze works are sure to please. For those fond of something quirkier, there are two delightful Bronwynne Cornish ceramics, a playful Bob Gerrard painted ark, and a kinetic work by Australian artist Ross Manning. And for those who lean more into the medium’s conceptual side, we have thought provoking works by artists Andrew Beck, Glen Hayward and Helen Calder; these artists seek to collapse the material conventions of sculpture and painting into one.
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icons Tracey Emin and Andy Warhol. It is always exciting to have an Emin work amongst our offering – the art world ‘bad girl’ has a reputation not just as one of the most important artists of her generation, but as a significant contemporary feminist figure within the canon of woman artists who use the female body as a powerful tool of provocation within critical discourse. The raw and gritty spirit of You Can’t Fuck A Shoe! encapsulates the artist’s unapologetically unfiltered autobiographical practice. Meanwhile Warhol, who was a leading figure in the 20th century cultural scene, was not just a prolific artist, but also an avid collector and lover of art in all its forms. Many of Warhol’s objects of desire reflect not just his sophisticated taste but his obsession with image. In his lifetime Warhol accumulated a total of 313 luxury watches. The work in this catalogue Times/5 was one of Warhol’s last creations and only 250 were produced, designed in collaboration with luxury American watch brand Movado. It is inspiring to see the rise in representation of a younger wave of contemporary artists come to auction, and amongst this iteration of Select are local names to watch: Tira Walsh, Noel Ivanoff and Glen Hayward.
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.
Painting always make up the largest proportion of our offering: my personal highlights for this catalogue are two early career Star Gossage’s and two Christina Pataialii works. Gossage is one amongst a strong cohort of Māori practitioners who are at the forefront of Aotearoa’s most acclaimed artists and not just on the local but international art stage. Meanwhile, Pataialii’s practice embraces both sides of her Sāmoan and Pākehā heritage, and her recent participation in the 2022 New Museum Triennial in New York shows clear demand and engagement with her work both at home and abroad.
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the benefits of the warranty are not assignable and shall apply only to the original buyer of the lot as shown on the
From the international stage, we have art world and fashion
As we spring forward into brighter and spritely seasons for our final Select of 2025, we introduce a new weekend event series in place of our previous Tuesday evening previews. It is an absolute honor to welcome for our first event Tāmaki Makaurau based artist and independent curator Tyson Campbell (Te Rarawa/ Ngāti Maniapoto) who while still early in his career trajectory, has already an impressive number of significant curatorial positions, most recently at Artspace Aotearoa and SCAPE Public Art. As a strong advocate for contemporary art, specifically the importance of Māori and Indigenous voices in shaping the national and international cultural landscape we are delighted to host Tyson as we embark on this revitalised approach for Webb’s Select
“The most beautiful thing is honesty, even if it’s really painful to look at.”
—Tracey Emin
polymer gravure
182/200 signed 290 × 410mm EST $6,000 — $8,000
8
2007 acrylic on paper signed and dated 105 × 185mm EST $2,000 — $3,000
These early career works by Star Gossage present as hauntingly beautiful visions fraught with mystery and unease, their meaning lurking just beyond the threshold of consciousness. Works from this era carry a palpable grief and emotional intensity reflective of a difficult period in the artist’s life. Conjured with swift and visible brushstrokes and flecked with studio detritus, her minimally worked pieces materialise in bursts of energy, retaining a looseness honest to their moment of creation. Her process begins with paint, intuition, and faith that whatever manifests on the canvas is meant to be. The beginning of her career saw largely abstract works, with Gossage expressing her dislike of painting figures , but her open and intuitive process saw them emerge regardless: foggy, ethereal, and seemingly visiting our realm of their own accord. “This conjuring act means that the images we see are a map of the subconscious moment,” says Lisa Reihana on this process. Narratives and figures rooted in her whakapapa appear and are identified later, illustrating her deep connection to the unseen currents of the spiritual realm. Latin for ‘bird’, Ave depicts a perching bird, dominating
both the pictorial space and imposing physical and symbolic weight over the low-crouched figure. Birds have historically been used as a symbol of freedom and hope, soaring free and untethered in the sky. While heavy, the oppressive position of this bird is momentary and precarious; the bird cannot impose stillness forever, it must eventually fly.
In Ao Tahi (Dawn) a lone figure hovers over the landscape, personifying the presence of the first light of the day. While the imagery seems lonely, it carries a sense of hope and possibility only a new dawn can bring. As Gossage manifests her imagery from the realms of the unseen, there is often overlap with religious iconography in their shared function—in the words of Symbolist and muse Odilon Redon “to place the visible at the service of the invisible” . The floating figure calls to mind the ascension of Christ, raising further notions of hope and faith.
Gossage is a testament to the beauty that can emerge from even the darkest of places, alchemising her grief into works that traverse these depths while still giving glimpses of the hopeful light that is always present, no matter how dim.
▲ 1 Star Gossage in conversation with Megan Tamati-Quennell, Taiāwhio: Conversations with Contemporary Māori Artists (Te Papa Press, 2002), 18.
▲ 2 Lisa Reihana, “Maps of Memories, the Art of Star Gossage,” Art New Zealand, Issue #118, Autumn 2006.
▲ 3 Ngahiraka Mason et al., “Star Gossage,” Five Māori Painters (Auckland Art Gallery Toi o Tāmaki, 2014).
17 Star Gossage, Ave 2003 oil on board
× 310mm
$8,000 — $12,000
× 310mm
$10,000 — $14,000
“I like to be the right thing in the wrong place and the wrong thing in the right place. Being the right thing in the wrong place and the wrong thing in the right place is worth it because something interesting always happens.”
—Andy Warhol
29 Christina
I’ve Been Watching You 2018 acrylic, house paint and spray paint on canvas signed, dated and title inscribed 1225 × 1220mm
EST $8,000 — $12,000
▲ 1 Christina Pataialii, interviewed by Clare Gemima , December 2021; https://contemporaryhum.com/ writing/a-painters-painter/
Christina Pataialii is one of the rising stars of her generation. Pataialii graduated an MFA in 2018 from Whitecliffe College of Arts & Design and was the recipient of the prestigious Gasworks residency, London in 2019. She has gone on to represent Aotearoa New Zealand at the Asia Pacific Triennial of Contemporary Art (APT10), Brisbane and was the sole representative of Aotearoa at the New Museum Triennial, New York in 2021-2, in addition to other notable accolades. However, it was her formative years as a young child growing up in the suburbs of Central and West Auckland, that would shape her artistic career.
Born in Auckland in 1988, Pataialii was influenced by the work ethos of her father, who migrated to New Zealand from Samoa in 1974 and worked as a housepainter. Regularly accompanying him on the job throughout her childhood, Pataialii swiftly developed an intuitive fluidity for the medium. Drawing from memory, Pataialii renders her abstracted canvases using hand-stretched drop cloths, household paint and artist acrylics, to create her signature colour palette of blush peach, green and earthen brown hues, synonymous with the urban tones of Auckland state housing of the 1960s.
Her paintings recall these early memories, drawing inspiration from the nostalgic music hits of the 60s, 70s and 80s which played on the radio and the compositional armatures of her surrounds.
Pataialii’s gestural landscapes call into question the relationship between the formal painterly properties she so eloquently executes and the cultural spaces they inhabit. The artist states: “I’ve always been interested in collapsing the gaps that interrupt the flow of meaning and understanding… I’m in pursuit of understanding. In understanding the world, you reach for your touchstones and the spaces that cultivated your perspectives—this one is mine.”1 29
150,
1980-81 oil on polcut print on paper signed, dated and title inscribed 395 × 300mm
EST $6,000 — $8,000
40 Richard
and There 1979 watercolour on paper signed, dated and title inscribed 295 × 430mm
EST $8,000 — $14,000
41
Time 1980 oil on paper signed, dated and title inscribed 560 × 380mm EST $6,000 — $10,000
Hannah Beehre is a multidisciplinary artist working across painting, drawing, installation and mixed media. A graduate of the University of Canterbury, she received the Olivia Spencer Bower Award in 2004 and was Artist in Residence at Scott Base, Antarctica in 2012 – an experience that deepened her interest in natural forces, light and the cosmic.
In this Select catalogue, we are pleased to present Seagull 11 (2021), a large and immersive work that exemplifies Beehre’s distinctive use of materials and theme.
Here, she uses dyed silk velvet not just as a surface, but as an active part of the work. The velvet absorbs light, creating a deep, dark space, while dye bleeds across the fabric like drifting nebulae. Swarovski crystals are added to reflect pinpoints of light, evoking distant stars.
The softness of the velvet, its shifting responses to light, and the sparkle of crystal create a sense of depth, wonder and stillness. While her imagery draws from galaxies and astronomical forms, Beehre’s work also touches on emotional and spiritual states – awe, contemplation, and our small place within the vast universe.
Her art invites quiet attention: to look closely, slow down, and get lost in the space between the physical and the infinite.
and title inscribed 370 × 360mm
$9,000 — $14,000
56 Andrew Beck, Genesis 2013 pressed lead and wood signed, dated and title inscribed 305 × 310mm; 80 × 40mm (widest points)
EST $5,000 — $8,000
57 Andrew Beck, < 2013 pressed lead and wood signed, dated and title inscribed 390 × 350mm
EST $5,000 — $8,000
58 Andrew Beck, Dualism I 2010-2021 silver gelatin print, 1/5 signed, dated and title inscribed 410 × 325mm
EST $1,800 — $2,400
59 Andrew Beck, Dualism II 2010-2021 silver gelatin print, 1/5 signed, dated and title inscribed 430 × 355mm
EST $1,800 — $2,400
Andrew Beck’s practice navigates the shifting boundaries between photography and sculpture. His installation Genesis meditates on origins and beginnings, a concern that resonates strongly with his photographic works Dualism I and Dualism II Each photograph is a double exposure, but rather than merging opposites within a single frame, the diptych separates them: Dualism II layers architectural forms against themselves, while Dualism I layers waterfalls upon waterfalls. The pairing sets culture and nature side by side, establishing a dialogue between built order and organic flow, permanence and transience. Neither dominates. Instead, each gains meaning through relation to the other, suggesting that these forces are co-dependent, rhythmic systems that continually shape human experience.
As Christina Barton has noted, Beck’s analogue practice is nonetheless marked by a digital condition, where surface and depth, past and present, blur into simultaneity. Read in this light, Dualism I and Dualism II collapse linear narratives of progress and instead propose coexistence—where culture and nature, image and object, presence and absence are always layered and interwoven.
Seen alongside Genesis, these photographs expand Beck’s meditation on beginnings. If Genesis is concerned with the origin point, then Dualism I and Dualism II can be read as charting the two primal forces—structure and nature—that emerge from that beginning and persist in perpetual dialogue. Together, the works suggest that origin is not singular, but dual: two streams flowing side by side, each incomplete without the other.
New Zealand photographer Jono Rotman entered public consciousness in 2014 with Mongrelism, a series of eight portraits exhibited at Auckland’s Gow Langsford Gallery. Known for stark images of psychiatric wards and prisons, in that controversial exhibition Rotman turned his lens on the Mongrel Mob—New Zealand’s largest and most notorious gang, “mythologised for extreme violence… cast as the nation’s monsters,” as Rotman puts it1
His large format pictures—glossy and sharp like a fashion editorial portrait— show gang members staring down the camera, faces inked with gang tattoos, clad in black, white and red. Their leather vests bear the lauded insignias of their membership: cartoonishly aggressive bulldogs with spike collars, Ford Motor’s logos, swastikas and other symbols.
“I was put on this planet to be feared and hated and motherf***er, here I am! Whether you like it or not,”2 said Greco Notorious, one of Rotman’s sitters, and the quote seems to synthesise the dormant force that burns through this series and its accompanying book.
This portrait of Denimz Rogue, a high-ranking member of the Mob’s Rogue chapter, offers a quieter defiance. His head
and shoulders turn slightly away from the lens, eyes affixed on an unknown point away from the frame. A red bandana—around his neck and over a rib-knitted sweater rather than patched leather—more like a whisper of dissent than a war cry.
Denimz has been called a ‘historian’ of the Mob’s Rogue chapter3, photography collages of his own authorship and the informed ways he discusses its structure as an extension of Māori identity further setting him apart.
“To the outside world we’re a gang, to us we’re a club. But we like to go one step further and call our clubs hapū, and those hapū, when we all get as one, becomes our iwi,” he tells Rotman4
The Mongrelism series has been compared to the portraits painted by Gottfried Lindauer and Charles Frederick Goldie. Although they share a technical mastery, bear testament to unparalleled access to social spheres that normally remain tightly shut to outsiders, and offer an intriguing discourse on colonialism and the bicultural gaze; Rotman’s portraits lean more toward Foucault’s ideas of reality. It is work that is: “predicated on the idea that civilization is a delicate fiction…. [focusing] on the point at which different power structures meet: during the colonial process or at the collision of civilization and the natural world.”5
▲ 1 Jono Rotman, https://jonorotman. com/MONGRELISM
▲ 2 Greco Notorious in interview with Jono Rotman, published in Mongrelism (Co-published by Here Press, London and Images Vevey, Switzerland), September 2018.
▲
3 Jarrod Gilbert’s book Patched: The History of Gangs in New Zealand (Auckland: Auckland University Press, 2013) as quoted in Jono Rotman: Mongrel Mob Portraits City Gallery Wellington 14 March – 14 June 2015 Curated by Robert Leonard and Aaron Lister.
▲ 4 Denimz Rouge in interview with Jono Rotman, published in Mongrelism (Co-published by Here Press, London and Images Vevey, Switzerland), September 2018.
▲ 5 Jono Rotman, https://jonorotman. com/ABOUT
EST
Arvid McColl “Harry” Watson (1965 – 21 June 2025) was a New Zealand artist, poet, playwright and teacher who became best known for his quirky wall-mounted sculptures incorporating semi-naive three-dimension hand-carved figures in a mock-votive context.
The structure of Watson’s works was inspired by Catholic reliquaries and medieval roadside shrines he saw in Europe, but their bright, playful colouration and often eccentric ‘inhabitants’ make them more like a witty, often irreverent form of contemporary folk art.
The son of semi-autobiographical comic novelist, Barry Crump, Watson lived most of his life in the Wairarapa where his whacky idiosyncratic work—always delivered with sharp socio-political humour and great charm—made him something of local folk hero.
A completely self-taught carver, Watson developed his own enigmatic style and visual language over decades of experimentation. From the mid-1990s on, his work became more socially reflective and anarchic. His mature votive-like constructions became an amalgam of references from New
Zealand history, contemporary society, and popular culture. Watson’s idiosyncratic works act as portals into alternative realities, echoing Medieval mysticism through its suggested practices of religious ritual, but presenting unexpected manifestations of what we experience in everyday life rather than adorations of the supernatural. Anthropomorphised versions of common animals, birds and fish dressed in suits or pseudo- ecclesiastical garb frequently appear as imaginary idols, while more traditional votive figures become strangely normal and common place. Watson always resisted requests to provide conceptual interpretation, preferring to let his sculptures speak for themselves, to emphasise the playful qualities of his practice. However, there is no denying that his practise is a highly personal response to the complexities of the modern world, problematic legacy of colonialism, and the destructive impact of rampant consumerism.
▲ 1 Jonathan Mane-Wheoki, The Black Light Paradox, The Sumptuous Austerity of Ralph Hotere’s Art, Art New Zealand 98 Autumn 2001
▲ 2 Jonathan Mane-Wheoki, The Black Light Paradox ibid referencing Te Ao Hou, December 1959, p. 39.
81 Ralph Hotere, Window in Spain, Madrid 1978 graphite and coloured pencil on paper signed, dated and title inscribed 315 × 230mm
EST $8,000 — $14,000
Hone Papita Raukura Hotere was brought up in a devout Roman Catholic family. His father, Tangirau, was a katikita (Catechist); his mother, Ana Maria, was named for St Ann, and her daughter, St Mary, the mother of Jesus. The Hahi Katorika tradition into which he was born near Mitimiti and baptised in 1931 had originated with French missionaries.
Hotere completed his secondary school education at St Peter’s Māori College (Hato Petera) in Auckland. Steeped in Catholic liturgy, theology, sacramentalism, mysticism, iconography and Latin texts, the young Hotere had been provided with a magnificent resource from which, as an artist, he would draw inspiration for the rest of his life.1
Jonathan Mane-Wheoki points out that Hotere’s affinity with mainland European modern religious art was already apparent in an expressionist painting of Christ, illustrated in the Māori magazine Te Ao Hou in 19592, but it wasn’t until 1962 that Hotere made his visit to continental Europe.
In 1978, Hotere returned to France to take up a residency at Avignon and subsequently went on to travel in Italy and Spain. Pope Paul IV died while Hotere was in Avignon and newspaper headlines proclaimed, ‘Le Pape Est Mort’, ‘È Morto il Papa’ from every news stand. Later that year when Hotere was staying in Menorca, the Papal successor John Paul I also died. Now the headlines were in Spanish: ‘El Papa Ha Muerto’.
The Window in Spain series were notable among Hotere’s responses to these extraordinary experiences during his second European visit, testifying to the enduring emotional and aesthetic empathy he had with Spain and its great tradition of Catholic art.
Window in Spain, Madrid, is a layered graphite drawing that features Hotere’s distinctively expressive hatching, worked back in areas with an eraser. The artist’s richly evocative marks somehow manage to convey the rich patina on the buildings of Madrid over countless generations. Hotere has chosen to employ the cross mounted on a heart within the window frame as his principal motif, referencing the ancient French cult of devotion: The Sacred Heart (Sacré Cœur).
▲ 1 Megan Tamati-Quennell, “Suzanne Tamaki’s Treaty of Why Tangi,” Art Monthly Australasia 242, August 2011.
▲ 2 Ibid.
92 Suzanne Tamaki, For God, For Queen, For Country 2011
C-type print on Fuji Gloss 246gsm archival paper, edition of 3 1190 × 840mm
EST $6,000 — $8,000
93 Suzanne Tamaki, For Māori, For Sure 2011
C-type print on Fuji Gloss 246gsm archival paper, edition of 3 1190 × 840mm
EST $6,000 — $8,000
Suzanne Tamaki is a Wahine Toa of Ngāti Maniapoto and Tūhoe descent. with an interdisciplinary practice focused on political activation.
She was one of the founding members of the Pacific Sisters collective of avant garde Māori and Pasifika women artists in the early 1990s, whose urban cross-cultural agenda to reclaim colonised spaces using ceremony, art, adornment and performance continues to underpin Tamaki’s own Native Sista label.
Aotearoa New Zealand curator Megan Tamati-Quenell identifies the primary motivation behind Tamaki’s work as being political. She writes of her work: “they are created conceptually, provocatively, and with political intent.”1
Suzanne Tamaki's Treaty of Why Tangi series highlights the continuation of a shift in her art practice first seen in 2005. Two works from this series first featured in the City Gallery Wellington exhibition, Maiden Aotearoa (21 May – 26 June 2011) which highlighted the exotic, objectified representations of Māori women as ‘dusky maidens’ in nineteenth- and early twentieth-century tourist postcards.
‘The show's ostensible focus was… photography — the basis of those constructed historical images by contemporary Māori artists' mediations on the politics of photographic representation. Made specifically for the City Gallery Wellington exhibition, Tamaki's artworks consisted of two very large photographic images of Lisa Ward, who wears moko kauae (traditional chin tattoo), is dressed in a customised Union Jack dress created by Tamaki from a New
Zealand flag.”2 Tamaki acquired this flag when it was decommissioned from Te Papa’s official flagpole.
In her sardonically titled photographic series Treaty of Why Tangi, Tamaki uses word play to agitate discussions about colonisation and its effect on Māori culture. Taking the New Zealand flag as her starting point, Tamaki destabilises symbols of nationhood in a pair of three-quarter, life-size, full length portraits of a powerful Māori woman proudly wearing her moko kauae. The garments, fabricated by Tamaki to enunciate the narrative and set off heavily symbolically loaded accessories, are modelled by the artist’s friend, Lisa Ward, who was the Collection Manager, Humanities at Te Papa Tongarewa, Museum of New Zealand at the time.
In the first image, For God, For Queen, For Country, 2011, the model wears a top hat, gloves and pearls, and is draped in a New Zealand flag that has handstitched tāniko (weaving) through the red cross to imitate korowai (traditional Māori cloaks).
In the second image, For Māori, For Sure, 2011, Ward stands defiantly, fiercely clutching scissors in one hand and a ripped piece of flag in the other. Gone is the top hat to better display her moko kauae, as is the pearl necklace, which has been replaced by a pounamu pendant and earrings made from white satin ribbon. When read together, these portraits of Ward move from what Tamaki describes as “the perfect colonised native” to a wāhine toa (female leader), claiming tino rangatiratanga (sovereignty).
▲ 1 Jill Trevelyan, “The Path Followed: Robin White in Collaboration with Ruha Fifita, “ Art New Zealand Issue #146, Winter 2013.
▲ 2 Ruha Fifita, as quoted by Jill Trevelyan, Nina Tonga, and Sarah Farrar, “An Act of Faith,” Robin White: Something is Happening Here (Auckland Art Gallery Toi o Tāmaki and Te Papa Press, 2022), 200.
There is the long-held refrain that says ‘we are in art, as we are in life,’ and this certainly holds true for Robin White (Ngāti Awa, Pākehā), whose works have long reflected the evershifting continuum of her life’s journey: its geographies, natural environments, communities, and relationships.
Attending Elam School of Fine Arts in the 1960’s, White recalls the institutional emphasis on the life of the solitary artist and its singular, individualistic pursuit, an idea generally favoured by Western art histories. This would sit somewhat in contention with the Baháʼí faith in which she was raised, the same faith that spurred her and her young family’s move to the island nation of Kiribati for a transformative seventeen years before returning to Aotearoa in 1999.
It is also through her faith that White would later meet the young Tongan artist Ruha Fifita at a Baháʼí summer school in 2010, where a deep friendship would grow across generational, transnational, and artistic lines. Ko e Hala Hangatonu - Detail V would be birthed three years after this initial meeting, as part of the pair’s collaborative exhibition of the same name at Two Rooms Gallery.
At its surface, White and Fifita offer us symbols neatly painted upon the ngatu (barkcloth) surface, including a dove clutching an olive branch—a universally understood symbol of peace—and two hands enclosing as if mid-embrace, the exact form of which is drawn directly from Hans Memling’s 15th-century painting of the condemned Christ, wrapped in the mournful embrace of the Virgin Mary.1 However, to decode its semiotics alone would be too shortsighted a view of the work itself, whose materiality is intrinsically imbued with the “long hours of silent contemplation, laughter, storytelling, tears, prayerful problemsolving, deep consultation, a rhythm of challenges and small victories, the evolution of new friendships and strengthening of family ties”2 that unfolded over the course of its very making. The work bears testament not only to the continuing resilience of ngatu and tapa-making traditions across the Pacific, but also to the refreshing strength of women-led, community-forward collaboration in the oftentimes secular and solitary pursuits of contemporary art.
At age 10, Anthony Christian (b. 1945, London, UK), became the youngest artist to study at London’s National Gallery, gaining recognition for his masterful reproductions. This early, prodigious start, set him off in a career that has seen him paint portraits for royals and celebrities, exhibit globally, and earn praise from art world luminaries and critics.
His many renowned sitters have included Lord Mountbatten, members from the Rothschild banking dynasty, the British actress Julie Christie among a stellar plethora of others.
A globe-trotter, his career spans Europe, Asia, and the United States, with notable periods in Morocco, Bali, and India. This wandering spirit is reflected in much of his eclectic oeuvre, which has included classic-influenced portraits, still life’s, and, more recently, erotic tableaus with tinges of surrealism that run the gamut from Bosch to Dali and even as far as Eleanora Carrington.
In 2011, the multi-faceted Christian visited New Zealand and produced a series of paintings including those in this current auction.
The three landscapes offered here are a celebration of the Waitemata and Hauraki Gulf’s coastal attributes painted in
Christian’s trademark rich palette, sensuous curvatures, and the skillful rendering of geographical landmarks.
As if exercising his sight, the painter begins with a long, wide gaze of the city in his Auckland Seen from Waiheke painting culminating in a tighter Palm Beach Paradise with a midpoint in Matiatia Magic.
Executed in a style that blends elements of naturalism with a distinctly idyllic, almost pastoral romanticism, these three artworks’ horizontality accentuate a flat plane where land, sea and sky inhabit in balance, their tele photo lens approach revealing varying perspectives at each approximation.
Although Christian comes from a British tradition, these saturated renditions of a New Zealand maritime scene seem to almost converse, lightly, with the local canon. One can catch faint technical echoes of a Michael Smither, perhaps less stylised elements from Don Binney, and, at a stretch, the quick rolling hill brushstrokes of the Regionalists.
These three highly representational and luminous renditions of Auckland and Waiheke offer a gentle perspective, a panoramic divertimento that is part nautical and pastoral, part romanticised and very approachable perspectives by an intriguing global artist.
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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