Select Online, October 2025

0722 Auction Catalogue October 2025

Webb's

2025

28

6—20 October

Christina Pataialii, Imagine Me & You

A

Select

Programme

Wellington

Specialist Enquiries

Launch Event Wednesday 8

October

5.30pm — 7.30pm

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.

Viewing Times Thursday 9 — Friday 10

October

10am — 5pm

Saturday 11

October

11am — 3pm

wellington

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

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

christchurch

Auckland

Sean Duxfield Specialist, Art sean@webbs.co.nz +64 21 053 6504

Condition Reports

Gallery Talk Saturday 18

October

Viewing Times

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.

Wednesday 15 — Friday 17

October

10am — 5pm

Saturday 18 — Sunday 19

October

10am — 4pm

Monday 20

October

10am — 5pm

11am

Hannah Owen Cataloguer, Art hannah@webbs.co.nz +64 22 068 4932 Georgia Clapshaw Registrar, Art georgia@webbs.co.nz +64 22 5228 144

auckland

33a Normanby Rd Mount Eden Auckland 1024

Online Auction

wellington

Monday 6 — Monday 20

Webb's

October

October

23 Marion Street Te Aro Wellington 6011 B

Foreword person with a 2.2% merchant fee for Visa, Mastercard and Paywave, and Georgina Brett 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.

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.

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.

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.

5.4.

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.

5.7.

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 Georgina Brettbe permitted to remove the property to a warehouse at the buyer’s expense, and 5.5.

Permits, Licences and Specialist, Art only release the items after payment in Certificates full has been made of removal, storage Under The Protected Objects Act 1975, handling, insurance and any other costs buyers may be required to obtain a incurred, together with payment of all licence for certain categories of items other amounts due to us. in a sale from the Ministry of Culture & Heritage, PO Box 5364, Wellington.

6.

Extent of Webb’s Liability 5.6.

Remedies for Non-Payment Webb’s agrees to refund the purchase If the Buyer fails to make full payment price in the circumstances of the Limited immediately, Webb’s is entitled to Warranty set out in paragraph 7 below. exercise one or more of the following Apart from that, neither the Seller nor we, rights or remedies (in addition to nor any of our employees or agents are asserting any other rights or remedies responsible for the correctness of any available under the law) statement of whatever kind concerning 5.6.1. to charge interest at such a any lot, whether written or oral, nor for any rate as we shall reasonably other errors or omissions in description or decide. for any faults or defects in any lots. Except stated in paragraph 7 below, neither It is with pleasure that Webb’s as presents our Spring Select 5.6.2. to hold the defaulting Buyer liable the Seller, ourselves, our officers, agents for the total amount due and to catalogue. This edition is our final orfor 2025, and werepresentation are proud of employees give any commence legal proceedings for warrantyof or artworks guarantee or showcased. assume any the absolute stellar collection its recovery along with interest, and range liability of any kind in respect of any lot legal fees and offering costs to the of this auction with regard to merchantability, fitness to As always, the is perfectly pitched fullest extent permitted under for a particular purpose, description, applicable law. be both attainable for the new collector and enticing for the size, quality, condition, attribution, authenticity, rarity, importance, medium, seasoned connoisseur.

Seeing our Select catalogues come 5.6.3. to cancel the sale. provenance, exhibition history, literature together is the always enjoyable as ourExcept team orprocess historical relevance. as of Art 5.6.4. to resell propertyan publicly or required by local law any warranty of any privatelysingle on such terms as we specialists out unique kind is excluded by this paragraph. see fit.

works by both notable names and recent talent. to pay the Seller an amount up 7.

Limited Warranty The offering for this catalogue is particularly to thesculptural net proceeds payable in respect of the amount bid by impressive with an exceptional collection works that range Subject to theof terms and conditions of the defaulting Buyer. In these paragraph, the Seller warrants for circumstances from the classicalthetodefaulting innovative: forthis those who prefer something the period of thirty days from the date of Buyer can have no claim upon the two sale that any property described in conventional from medium, the Llew Summers bronze Webb’s in the eventthis that the this catalogue (noting such description are sold for an amount worksitem(s) are sure to please.

For those fond of something quirkier, may be amended by any saleroom notice greater than the original invoiced or announcement) which is stated there amount. are two delightful Bronwynne Cornish ceramics, a playful without qualification to be the work of a namedwork author or is authentic Bob Gerrard painted ark, and a kinetic byauthorship Australian artist 5.6.6. to set off against any amounts and not a forgery. The term “Author” or which Webb’s may owe the Buyer Ross Manning.

And for those who lean more into the medium’s “authorship” refers to the creator of the in any other transactions, the property or to the period, culture, source, outstanding amount conceptual side, weremaining have thought provoking works by artists or origin as the case may be, with which unpaid by the Buyer. creationCalder; of such property is identified Andrew Beck, Glen Hayward andtheHelen these artists in the catalogue.

5.6.7. where several amounts are owed seek to collapse the material conventions of sculpture and by the Buyer to us, in respect of The warranty is subject to the following: different to apply painting intotransactions, one. any amount paid to discharge any it does not apply whereof a) the Painting always make up the largest proportion ourcatalogue offering: amount owed in respect of any description or saleroom notice particular transaction, whether or corresponded to the generally accepted my personal highlights for this catalogue are two early career not the Buyer so directs. opinion of scholars and experts at the date Star Gossage’s and two Christina Pataialii works.

Gossage is one of the sale or fairly indicated that there 5.6.8. to reject at any future auction any a conflict of opinions, b) correct bids made by or oncohort behalf of the amongst a strong of Māoriwas practitioners whoor are at the identification of a lot can be demonstrated Buyer or to obtain a deposit from forefront of Aotearoa’s most not just onnot the only byartists means ofand a scientific process the Buyer prior to accepting anyacclaimed generally accepted for use until after bids.international art stage. Meanwhile, local but Pataialii’s publication of the catalogue orpractice a process whichand at thePākehā date of theheritage, publication ofand the 5.6.9. to exercise all the rightsof and embraces both sides her Sāmoan catalogue was unreasonably expensive remedies of a person holding her recent participation in the 2022 New Museum Triennial in or impractical or likely to have caused security over any property in damage to the property. our possession owned by the New York shows clear demand and engagement with her work Buyer whether by way of pledge, the benefits of the warranty are not security interest in any both at home andorabroad. assignable and shall apply only to the other way, to the fullest extent From the international stage, original we have art world fashion buyer of the lot asand shown on the 5.6.5.

Webb's

2025

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 Tysoncontinue Campbell, guest for Webb’s Select, shall to be validspeaker to the fullest October 2025. by law. extent permitted 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

iconsterms Tracey Emin and Andy Warhol. It is always exciting to have These and conditions and any matters concerned with the foregoing an Emin work amongst our offering – the art world ‘bad girl’ has fall within the exclusive jurisdiction of the courts of New Zealand, otherwise a reputation not unless just as one of the most important artists of her stated.

generation, but as a significant contemporary feminist figure withinPre-Sale the canon of woman artists who use the female body as 11.

Estimates a powerful tool of provocation within critical discourse. The raw Webb’s publishes with each catalogue our to the estimated price Fuck A Shoe! encapsulates the artist’s andopinion grittyasspirit of You Can’t range for each lot. These estimates unapologetically unfiltered are approximate prices only and are autobiographical practice. Meanwhile not intendedwho to be definitive.

They are figure in the 20th century cultural Warhol, was a leading prepared well in advance of the sale and scene, wastonot just a prolific artist, but also an avid collector may be subject revision.

Interested parties should contact Webb’s prior to and lover of art in all its forms. Many of Warhol’s objects of auction for updated pre-sale estimates and starting prices. not just his sophisticated taste but his obsession desire reflect with image. In his lifetime Warhol accumulated a total of 313 12.

Sale Results luxury watches. The work in this catalogue Times/5 was one of Webb’s will provide auction results, which Warhol’s last creations and will be available as soon as possible afteronly 250 were produced, designed the sale. Results will include in collaboration withbuyer’s luxury American watch brand Movado. premium. These results will be posted at It is inspiring to see the rise in representation of a younger www.webbs.co.nz. wave of contemporary artists come to auction, and amongst this 13.

Goods Serviceare Tax local names to watch: Tira Walsh, Noel iteration ofand Select GST is applicable on the Hayward. hammer price Ivanoff and Glen in the case where the seller is selling As spring into brighter and spritely seasons property thatwe is owned by anforward entity registered for GST. GST is also applicable for our final Select of 2025, we introduce a new weekend event on the hammer price in the case where the sellerin is not a Newof Zealand resident. Tuesday evening previews. It is an series place our previous These lots are denoted by a dagger absolute honor tothewelcome for our first event Tāmaki Makaurau symbol † placed next to estimate. GST is also applicable on the buyer’s premium. 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.

01

1

2

3

4

1 Mervyn Williams, Flat Racer 2012 acrylic on canvas signed, dated and title inscribed 700 × 700mm EST $5,500 — $8,000

2 Sara Hughes, Weft 2003 acrylic on canvas signed, dated and title inscribed 1200 × 1200mm EST $6,000 — $9,000

3 Shaun Waugh, Photo BoxLid, Agfa 6 1/2 × 8 × 1/2 2011-2021 Agfa paper box-lid with mounted solid archival pigment print signed, dated and title inscribed 230 × 170mm EST $2,000 — $4,000

4 Shaun Waugh, Photo BoxLid, Agfa 4 3/4 × 6 1/2 2011-2021 Agfa paper box-lid with mounted solid archival pigment print signed, dated and title inscribed 180 × 130mm EST $2,000 — $4,000

Webb's

October

5

5 Shaun Waugh, Photo BoxLid, Agfa 3 1/2 × 5 1/2 2011-2021 Agfa paper box-lid with mounted solid archival pigment print signed, dated and title inscribed 155 × 105mm EST $1,500 — $2,500

02

6

6 Nicola Farquhar, Rae 2014 oil on linen signed and dated 600 × 500mm EST $2,000 — $3,000

Webb's

2025

03

7

“The most beautiful thing is honesty, even if it’s really painful to look at.”

—Tracey Emin

The artist Tracey Emin as pictured in her photographic work I’ve Got It All (2000), documenting a performance piece from the same year.

8

7 Tracey Emin, You Can’t Fuck a Shoe!

2010 polymer gravure on paper, 182/200 signed 290 × 410mm EST $6,000 — $8,000

8 Tony de Lautour, untitled 2007 acrylic on paper signed and dated 105 × 185mm EST $2,000 — $3,000

Webb's

October

04

9

9 Séraphine Pick, untitled (Chair) 1994 watercolour and graphite on paper 375 × 285mm EST $2,000 — $4,000

10 Séraphine Pick, untitled (Bath-tub) 1994 watercolour and graphite on paper 375 × 285mm EST $2,000 — $4,000

Webb's

10

2025

05

11

12

13

11 Julian Dashper, Boulder at Silverdale 1986 pastel on paper signed, dated and title inscribed 280 × 360mm EST $2,200 — $4,000

12 Anne Noble, William’s Field II 2002 pigment print on archival paper, 1/10 400 × 475mm EST $2,000 — $3,000

Webb's

October

13 Anne Noble, William’s Field I 2002 pigment print on archival paper, 1/10 400 × 475mm EST $2,000 — $3,000

06

14

15

16

14 Jeena Shin, Plane III 2004 acrylic on canvas signed, dated and title inscribed 1000 × 1000mm EST $4,000 — $6,000

15 Allen Maddox, Couples I Have Known (Judy and I) 1976 oil on linen signed, dated and title inscribed 465 × 335mm EST $6,000 — $10,000

Webb's

2025

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

07

17

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 Webb's

October

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.

08

18

17 Star Gossage, Ave 2003 oil on board 230 × 310mm EST $8,000 — $12,000

▲ S tar Gossage in conversation with 1

▲ ▲

Megan Tamati-Quennell, Taiāwhio: Conversations with Contemporary Māori Artists (Te Papa Press, 2002), 18.

2 L isa 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).

Webb's

18 Star Gossage, Ao Tahi (Dawn) 2003 oil on board 230 × 310mm EST $10,000 — $14,000

2025

09

19

20

19 Gavin Hurley, Paper Work 2014 collage; paper on paper 270 × 580mm EST $2,500 — $3,500

20 Frank Schwere, NY Building inkjet print on paper 1000 × 870mm EST $4,000 — $6,000

Webb's

October

21 Gavin Hurley, Dealing 2014 collage; paper on paper 435 × 310mm EST $2,500 — $3,500

10

21

22

23

24

22 Gavin Hurley, The Point 2018 collage; paper on paper 245 × 375mm EST $2,000 — $3,000

23 Gavin Hurley, Business 2018 collage; paper on paper 245 × 375mm EST $2,000 — $3,000

Webb's

2025

24 Simon Denny, NSA Slide Redesign Proposal (FAZ) 2013 photographic print from a newspaper scan; perspex 435 × 310mm EST $1,000 — $2,000

11

25

Artist Andy Warhol, as pictured with one of the 313 watches from his personal collection.

“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.”

25 after Andy Warhol, Andy Warhol Times 5 1988 Movado black stainless steel quartz quintuple-time bracelet watch, 195/250 signed in plate 215 × 30mm (watch, widest points); 70 × 305 × 100mm (original box) EST $12,000 — $15,000

Webb's

—Andy Warhol

October

12

26

27

26 Billy Apple, Forty Years: 1962-2002 2002 graphite on screenprint on paper signed 380 × 570mm EST $3,000 — $4,000

27 Billy Apple, Art for Aids 2002 MAC Merry Mistress lipstick and screenprint on paper 560 × 760 mm EST $16,000 — $22,000

Webb's

2025

13

28

28 Christina Pataialii, Imagine Me & You 2019 acrylic and house paint on canvas signed, dated and title inscribed 760 × 760mm EST $6,000 — $8,000

Webb's

October

14

29 Christina Pataialii, Baby 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 29

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

▲ C hristina Pataialii, interviewed by 1

Clare Gemima , December 2021; https://contemporaryhum.com/ writing/a-painters-painter/

Webb's

2025

15

30

31

32

33

30 Richard Killeen, Tropical Pattern 1978 screenprint on paper, 45/50 signed, dated and title inscribed 340 × 330mm EST $4,000 — $6,000

31 Leon van den Ejikel, The Mind is a Reflective Orange 1 2000 reflective vinyl on ACM substrate signed, dated and title inscribed 500 × 500mm EST $2,000 — $3,000

Webb's

October

32 Gordon Walters, Genealogy III 1971. printed 2020 screenprint on archival paper, edition of 100 indented with Walters Estate blindstamp 1050 × 780mm EST $6,000 — $10,000

33 Gordon Walters, Tautahi 1970. printed 2024 screenprint on paper, 3/100 indented with Walters Estate chop mark 1070 × 810mm EST $6,000 — $10,000

16

34

35

36

34 Fiona Pardington, Studies for a Portrait of a Tui 2005-2007 C-type photographic print on Fuji Flex Paper, 1/5 490 × 600mm EST $12,000 — $18,000

35 Fang Hui, China Youth 2018 acrylic on canvas signed and dated 1300 × 1500mm EST $8,000 — $12,000

Webb's

2025

36 Yvonne Todd, Next Time It Will Be Different 2021 offset print on paper, edition of 200 835 × 585mm EST $2,000 — $3,000

17

37

38

37 Eion Stevens, Dog Act 2006 oil on canvas on wood signed and dated 500 × 770mm (widest points) EST $1,800 — $3,400

38 Bob Gerrard, untitled (Noah’s Ark) 1993 acrylic and oil on wood; metal signed and dated 300 × 630 × 300mm (widest points) EST $900 — $1,300

Webb's

October

18

40

39

39 Henryk Szydlowski, Komparycja 150, Maska Krakowiaka (Comparison 150, The Krakowiak Mask) 1980-81 oil on polcut print on paper signed, dated and title inscribed 395 × 300mm EST $6,000 — $8,000

40 Richard Killeen, Here and There 1979 watercolour on paper signed, dated and title inscribed 295 × 430mm EST $8,000 — $14,000

41 Richard Killeen, Dream Time 1980 oil on paper signed, dated and title inscribed 560 × 380mm EST $6,000 — $10,000

Webb's

41

2025

19

42

42 John Reynolds, untitled 1993 graphite, ink and acrylic on found paper; perspex signed and dated 480 × 650mm (each panel) EST $10,500 — $16,000

Webb's

October

20

43

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.

43 Hannah Beehre, Seagull II 2021 dye, acrylic and Swarovski crystal on velvet 1000 × 2800mm (overall) EST $6,000 — $8,000

Webb's

2025

21

44

45

44 Philip Clairmont, At Paranoia’s Poison Door (21st Century Schizoid Man) 1972 collage; acrylic and graphite on found paper on board signed, dated and title inscribed 510 × 365mm EST $8,000 — $16,000

45 Philip Clairmont, The Ghost Who Walks c1978 collage; acrylic and ink on found comic signed and title inscribed 370 × 360mm EST $9,000 — $14,000

Webb's

October

22

46

47

48

46 Bronwynne Cornish, Sphynx 2014 ceramic signed, dated and title inscribed 80 × 330 × 90mm (widest points) EST $1,400 — $2,000

47 Bronwynne Cornish, Cat 2014 ceramic signed, dated and title inscribed 80 × 320 × 90mm (widest points) EST $1,200 — $1,800

Webb's

2025

48 Richard Parker, untitled ceramic 325 × 185 × 185mm (widest points) EST $1,000 — $1,600

23

49

50

51

52

49 Bridget Smith, Observatory Mount John 2006 C-Type photograph, edition of 3 600 × 600mm EST $2,000 — $4,000

50 Ans Westra, Ruatoria (Jimmy with Bread) 1963 gelatin silver print on paper 290 × 280mm EST $4,000 — $6,000

Webb's

October

51 Fiona Pardington, Hermes Mercury, Cannelles and Parsonage Road 2023 inkjet print on Hahnemühle Photo Rag, 3/10 1400 × 1120mm EST $18,000 — $26,000

52 Ans Westra, Hikurangi 1982 gelatin silver print on paper 280 × 220mm EST $4,000 — $6,000

24

53

54

55

53 Michael Smither, Study for a Painting 1972 tempera on cardboard signed and dated 590 × 920mm EST $3,200 — $5,500

54 Su Xinping, Netted Sheep 1992 lithograph on paper, 19/30 signed, dated and title inscribed 595 × 440mm EST $5,800 — $7,800

Webb's

2025

55 Robin White, Harbour Cone 1973 screenprint on paper, 38/50 signed, dated and title inscribed 310 × 210mm EST $5,000 — $8,000

25

56

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

57

Webb's

October

26

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.

58

Webb's

59

2025

27

60

61

62

63

60 Joan Miro, untitled lithograph on paper 810 × 590mm EST $2,800 — $4,000

61 Richard Killeen, untitled 1980 oil on paper signed and dated 370 × 270mm EST $6,000 — $10,000

Webb's

October

62 Richard Killeen, untitled 1979 ink on paper signed, dated and title inscribed 310 × 460mm EST $8,000 — $14,000

63 Richard Killeen, Forgotten Memory 1982 acrylic, graphite and card on paper signed, dated and title inscribed 760 × 560mm EST $7,500 — $9,500

28

65

64

66

64 Richard Killeen, Geometry 1981 oil on paper signed and dated 570 × 390mm EST $6,000 — $10,000

65 Arie Helledorn, Hatch 2011 oil on linen signed, dated and title inscribed 700 × 550 mm EST $2,000 — $3,000

Webb's

2025

67

66 Giovanni Intra, untitled (For Laure) ink on paper 630 × 440mm EST $6,000 — $9,000

67 Giovanni Intra, untitled (Fish Shop) ink on paper 630 × 440mm EST $6,000 — $9,000

29

68

69

70

71

68 Max Gimblett, Mirror Edge 2002 ink on paper signed and dated 406 × 406mm EST $5,000 — $7,000

69 Julia Morison, untitled 2000 glazed ceramic signed and dated 290 × 285mm EST $3,000 — $4,000

Webb's

October

70 Warwick Freeman, Layer Bracelet (Paua) c1980s paua, thread signed 90mm diameter × 20mm (widest points) EST $2,500 — $4,500

71 et al., untitled 2000 glazed ceramic 290 × 285mm EST $3,000 — $4,000

30

72

72 Eddie Clemens, untitled c2007 ink on paper 985 × 840mm EST $1,500 — $3,000

Webb's

2025

31

73

73 Jono Rotman, Denimz Rogue 2009 C-type photograph, 1/3 2000 × 1600mm EST $5,000 — $10,000 note

Accompanied by hardcover Mongrelism publication.

Webb's

October

32

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

▲ J ono Rotman, https://jonorotman. com/MONGRELISM ▲ Greco Notorious in interview 1

2

▲

▲ ▲

Webb's

2025

with Jono Rotman, published in Mongrelism (Co-published by Here Press, London and Images Vevey, Switzerland), September 2018.

3 J arrod 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

33

74

75

76

74 Gerda Leenards, Maungapika (Spirits Bay) 1989 oil on canvas signed and dated 2000 × 980mm (each panel) EST $14,000 — $18,000

75 attributed to Sydney Lough Thompson, untitled oil on canvas 530 × 630mm EST $12,000 — $22,000

Webb's

October

76 Louise Henderson, Cahors 1952 coloured pencil on paper signed, dated and title inscribed 520 × 370mm EST $2,000 — $3,000

34

77

78

79

77 John Blackburn, Evolution 2015 oil and mixed media on canvas on board dated 560 × 920mm EST $9,000 — $15,000

78 John Blackburn, Window 2008 oil and mixed media on canvas on board signed and dated 610x 1200mm EST $10,000 — $15,000

Webb's

2025

79 Chris Charteris, Ngaru andesite signed 510 × 170 × 170mm (widest points) EST $3,000 — $5,000

35

80 Harry Watson and Megan Campbell, Mother and Child Shrine 1997 oil on wood signed 1000 × 780 × 250mm (widest points) EST $5,500 — $9,000 80

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 Webb's

October

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.

36

▲ J onathan Mane-Wheoki, The Black Light 1

▲

Paradox, The Sumptuous Austerity of Ralph Hotere’s Art, Art New Zealand 98 Autumn 2001 2 J onathan 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 81

one Papita Raukura Hotere was brought up in a devout H 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. otere completed his secondary school education at St H 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.

Webb's

2025

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).

37

82

83

84

85

82 Max Gimblett, Gilded Oasis 2012-15 mixed media on paper signed and dated 762 × 104 mm EST $6,500 — $8,500

83 John Reynolds, Psychogeography Blues #8 2018 oil paint marker and acrylic on canvas signed, dated and title inscribed 340 × 440mm EST $3,000 — $5,000

Webb's

October

84 Tony de Lautour, Untitled 2011 acrylic on paper 580 × 406mm EST $4,000 — $6,000

85 Taisha Brehaut, Landmark VI (White Wall III) 2002-2025 oil on canvas 615 × 1220mm EST $4,000 — $7,000

38

86

87

88

86

Marita Hewitt, Of Itself (Paper Bag) 2016 watercolour on handmade recycled paper 610 × 810mm EST $3,000 — $5,000

87 Tira Walsh, Illest 2018 acrylic, enamel and spray paint on canvas signed, dated and title inscribed 1550 × 1150mm EST $3,000 — $5,000

Webb's

2025

88 Philip Trusttum, untitled (Tennis Series) acrylic on canvas signed 2120 × 1940mm EST $5,000 — $8,000

39

89

90

91

89 Ross Manning, Small Spiral 2013-2014 oscillating fan, wool yarn 280mm diameter × 2000mm (dimensions variable) EST $2,000 — $4,000

90 Noel Ivanoff, Contact II 2006 oil on found pallet signed, dated and title inscribed 1060 × 1050 × 120mm EST $3,000 — $6,000

Webb's

October

91 Brad Lochore, Fan 2003 acrylic on board signed, dated and title inscribed 1260 × 2460mm (widest points) EST $4,000 — $8,000

40

92

93

▲ M egan Tamati-Quennell, “Suzanne Tamaki’s Treaty of Why Tangi,” Art Monthly Australasia 242, August 2011. ▲ I bid.

1

2

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

Webb's

2025

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

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).

41

94

95

96

97

94 Nigel Brown, Van Gogh for Peace 1988 oil on board signed, dated and title inscribed 275 × 205mm EST $5,000 — $8,000

95 Nigel Brown, Gustavus Ferdinand von Tempsky 2007 acrylic and pastel on paper signed, dated and title inscribed 770 × 570mm EST $6,000 — $9,000

Webb's

October

96 Ralph Hotere, Round Midnight October 2000 lithograph on paper, 18/24 signed, dated and title inscribed 565 × 760mm EST $5,000 — $8,000

97 Ralph Hotere, Round Midnight March 2000 lithograph on paper, 16/24 signed, dated and title inscribed 565 × 760mm EST $5,000 — $8,000

42

98

99

100

98 Mitjili Napurrula, untitled acrylic on canvas signed 1250 × 915mm EST $5,000 — $7,000

99 Rob Gardiner, Untitled 2017 crayon on paper signed 295 × 205mm EST $600 — $1,200

Webb's

2025

100 Minnie Pwerle, Awelye Atnwengerrp 2000 acrylic on canvas signed, dated and title inscribed 900 × 605mm EST $3,000 — $5,000

43

101

102

103

104

101 Michel Tuffrey, Whai Repo Hiriwa Rua 2017 aluminium, lasercut wood and acrylic signed 550 × 720 mm EST $1,500 — $2,000

102 Jan Dekkers, untitled 1966 terracotta signed and dated 1140 × 300 × 200mm (widest points) EST $3,000 — $5,000

Webb's

October

103 Robyn Kahukiwa, Haka Wahine 2004 watercolour and gouache on paper signed and dated 580 × 370mm EST $6,000 — $10,000

104 Bill Hammond, untitled (Bird Man) 1980 oil on wood; metal coil; plastic signed and dated 375 × 325 × 50mm (widest points) EST $1,500 — $2,500

44

105 Robin White and Ruha Fifita, Ko e Hala Hangatonu - Detail V 2013 natural pigments on barkcloth signed, dated and title inscribed 890 × 450mm EST $11,000 — $16,000

▲ J ill Trevelyan, “The Path Followed: 1

Robin White in Collaboration with Ruha Fifita, “ Art New Zealand Issue #146, Winter 2013.

▲ R uha Fifita, as quoted by Jill 2

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.

105

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.

Webb's

2025

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.

45

106

107

108

109

106 Heather Straka, S.O.S 2012 oil on linen on board signed, dated and title inscribed 225 × 485mm EST $6,000 — $8,000

107 Peter Siddell, Western View oil pastel on paper signed 330 × 500mm EST $5,500 — $8,000

108 Peter Siddell, el Greco 1996 pastel on paper signed and dated 475 × 340mm EST $6,000 — $10,000

109 Llew Summers, Fly By bronze, 2/7 signed 330 × 160 × 120mm (widest points) EST $3,000 — $5,000

Webb's

October

110

110 Llew Summers, Heaven Above, Sky Below 2014 bronze, 6/7 signed 220 × 260 × 190mm (widest points) EST $4,000 — $6,000

46

111

112

113

111 Gordon Walters, Painting No. 7 1965. printed 2016 screenprint on paper, edition of 100 indented with Walters Estate blindstamp 500 × 370mm EST $5,000 — $8,000

112 Robert Ellis, untitled 1961 acrylic and wax on card signed and dated 760 × 535mm EST $5,000 — $6,000

Webb's

2025

113 Gordon Walters, Then 1980 screenprint on paper, 52/125 signed, dated and title inscribed 405 × 535mm EST $4,000 — $7,000

47

114

115

116

117

114 Dick Frizzell, untitled oil on board 1800 × 980mm EST $6,000 — $9,000

115 Dick Frizzell, untitled oil on board 1800 × 1200mm EST $6,000 — $9,000

Webb's

October

116 Dick Frizzell, untitled oil on board 1800 × 1200mm EST $6,000 — $9,000

117 Nacho Eterno, untitled 2025 oil on canvas signed and dated 1710 × 2010mm EST $13,500 — $15,500

48

118

119

120

121

118 Tony Fomison, Tarawera Eruption 1986 lithograph on paper, artist’s proof signed, dated and title inscribed 560 × 360mm EST $3,000 — $5,000

119 Toss Woollaston, untitled (Portrait of a Friend of the Artist’s Daughter) ink and crayon on paper 360 × 260mm EST $4,000 — $6,000

121 Colin Luxton, Standing Figures charcoal on paper 1920 × 1500mm EST $4,000 — $6,000

122 Stephen Bambury, Untitled (NC1637) 2002 acrylic and graphite on handmade Moulin de Larroque paper signed and dated 490 × 320mm EST $4,000 — $5,000

Webb's

2025

122

120 Julia Morison, Objet Trouv 1991 Indian ink on vellum with lead 840 × 870mm EST $5,000 — $8,000

49

123

123 Helen Calder, untitled 2011 acrylic paint skin, screw signed and dated 1020 × 115mm EST $1,500 — $2,500

Webb's

October

50

124

125

124 Glen Hayward, untitled 2006 enamel on wood signed and dated 270 × 215 × 370mm EST $2,800 — $4,500

125 Kingsley Baird, Spirit in Vivian Street 1992 bronze and rimu 1100 × 650mm × 260mm (body); 310 × 250 × 110mm (bronze face) EST $2,000 — $3,500

Webb's

2025

51

126

127

128

126 Anthony Christian, Palm Beach Paradise 2011 oil on board signed and dated 295 × 1210mm EST $6,000 — $10,000

127 Anthony Christian, Auckland Seen from Waiheke 2011 oil on board signed and dated 295 × 1210mm EST $6,000 — $10,000

Webb's

October

128 Anthony Christian, Matiatia Magic 2011 oil on board signed and dated 295 × 1210mm EST $6,000 — $10,000

52

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 Webb's

2025

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.

53

129

130

131

132

129 R. Hedley, untitled 1889 oil on canvas signed and dated 1300 × 1010mm EST $8,000 — $14,000

130 Maud Sherwood, untitled (The Striped Skirt) watercolour and pencil on paper signed 485 × 465mm EST $5,000 — $10,000

Webb's

October

131 Joanna Braithwaite, Bright Spark (Portrait of Colleen McCullough) 2014 oil on canvas signed, dated and title inscribed 1980 × 1980mm EST $6,000 — $12,000

132 Peter McIntyre, untitled Opera House Wellington c1950 oil on board signed 670 × 830mm EST $3,500 — $5,500

54

133

134

135

136

133 Toss Woollaston, Blackball 1962 watercolour on paper signed 270 × 360mm EST $8,000 — $15,000

134 John Tole, Māori Settlement Whakatane 1945 oil and graphite on board signed and dated 210 × 270mm EST $6,000 — $10,000

Webb's

2025

135 Toss Woollaston, Mt Taranaki 1963 watercolour on paper signed and dated 300 × 385mm EST $3,000 — $6,000

136 Pat Hanly, Inside The Garden, No. 41 1969 watercolour on paper signed, dated and title inscribed 530 × 520mm EST $4,500 — $6,500

55

137

138

137 Brian Dahlberg, Rangipo Desert oil on board signed 515 × 780mm EST $4,000 — $6,000

138 Paul Olds, untitled 1948 oil on canvas signed and dated 600 × 445mm EST $3,000 — $5,000

Webb's

October

56

139

140

139 David Gibbon, Sea Change 2023 acrylic on canvas signed, dated and title inscribed 900 × 1800mm EST $2,000 — $4,000

140 Dean Buchanan, Goat Island 2000 oil on canvas signed and dated 450 × 1150 mm EST $3,000 — $4,000

Webb's

2025

57

141

142

143

144

141 Steve Harris, Tomatoes 2001 acrylic on canvas signed 1032 × 441mm EST $2,500 — $5,000

142 Steve Harris, Crab Apples 2001 acrylic on canvas signed 1045 × 792mm EST $3,000 — $6,000

Webb's

October

143 Margaret Stoddart, Roses watercolour on paper signed 360 × 530mm EST $6,000 — $8,000

144 G. P. Nerli, Girl with Mandolin Descending a Stairway oil on canvas signed 510 × 230mm EST $8,000 — $10,000

58

145

146

147

147

145 Garth Tapper, Self Portrait 1975 oil on canvas signed, dated and title inscribed 600 × 580mm EST $3,000 — $6,000

146 Sydney Lough Thompson, Glendhu Peninsula, Lake Wanaka oil on canvasboard signed and title inscribed verso 370 × 450mm EST $10,000 — $12,000

Webb's

2025

147 Garth Tapper, Ngungaru 1994 oil on board signed, dated and title inscribed 465 × 575mm EST $5,000 — $8,000

148 Tony de Lautour, Badlands 2001 acrylic on screenprint on canvas signed, dated and title inscribed 1040 × 1020mm EST $11,000 — $14,000

59

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.

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.

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.

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.

The contract for the sale of the property is therefore made between the Seller and the Buyer.

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.

Webb's

October

2.

Webb’s Auctions as Agent

Except as otherwise stated, Webb’s acts as agent for the Seller.

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

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

4.6.

Telephone Bids Priority will be given to overseas and bidders from other regions. Please refer to the catalogue for the Telephone Bids form. Arrangements for this service must be confirmed AT LEAST 24 HOURS PRIOR to the auction commencing. Webb’s accepts no responsibility whatsoever

for any errors or failure to execute bids.

In telephone bidding the buyer agrees to be bound by all terms and conditions listed here and accepts that Webb’s cannot be held responsible for any miscommunications in the process. The success of telephone bidding cannot be guaranteed due to circumstances that are unforeseen. Buyers should be aware of the risk and accept the consequences should contact be unsuccessful at the time of Auction. You must advise Webb’s of the lots in question, and you will be assumed to be a buyer at the minimum price of 75% of estimate (i.e. reserve) for all such lots. Webb’s will advise Telephone Bidders who have registered at least 24 hours before the auction of any relevant changes to descriptions, withdrawals, or any other sale room notices.

4.7.

Online Bidding Webb’s offers an online bidding service.

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

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

4.8.

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

4.9.

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

Dollar Amount $0–$500 $500–$1,000 $1,000–$2,000 $2,000–$5,000 $5,000–$10,000 $10,000–$20,000 $20,000–$50,000

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

$50,000 – $100,000 $100,000–$200,000 $200,000–$500,000 $500,000–$1,000,000

Absentee bids must follow these increments and any bids that don’t follow the steps will be rounded up to the nearest acceptable bid.

5.

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

60

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.

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.

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

Webb's

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.

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.

the benefits of the warranty are not assignable and shall apply only to the original buyer of the lot as shown on the

2025

61

33a Normanby Road Mount Eden Auckland 1024 23 Marion Street Te Aro Wellington 6011 Webb's

webbs.co.nz

October

6

Nicola Farquhar, Rae

62