Plates 141 Lots
22 095 5610
Specialist Enquiries Condition Reports Mark Hutchins-Pond Specialist, Art mark@webbs.co.nz +64
27 929 5609
Georgina Brett Cataloguer, Art cataloguer@webbs.co.nz +64
21
Hannah Owen Registrar, Art registrar@webbs.co.nz +64 9 529 5600
1 Robin White, Nautilus 1984 handcoloured woodcut print on paper, 3/30 signed, dated and title inscribed 300 × 185mm
EST $1,500 — $2,500
2 Robin White, Two Shells called Nouo 1984 handcoloured woodcut print on paper, 3/30 signed, dated and title inscribed 300 × 185mm
EST $1,500 — $2,500
3 Robin White, Three Nouo Broken Shells 1984 handcoloured woodcut print on paper, 3/31 signed, dated and title inscribed 300 × 185mm
EST $1,500 — $2,500
4 Robin White, The Clam 1984 handcoloured woodcut print on paper, 3/32 signed, dated and title inscribed 300 × 185mm
22
EST $1,500 — $2,500
5 Eion Stevens, Bridge 1992 oil on board signed, dated and title inscribed 880 × 870mm EST $3,000 — $5,000
6 Pat Hanly, Life Goes On 1982 screenprint on paper, 3/40 signed, dated and title inscribed 530 × 530mm EST $3,000 — $5,000
7 Pat Hanly, Woman & Bouquet 1995 lithograph on paper, 21/50 signed, dated and title inscribed 330 × 430mm EST $4,000 — $8,000
23
8 Richard Killeen, Dragonfly Book 2020 digital print on paper signed, dated and title inscribed 280 × 280mm EST $2,000 — $4,000
10 Joanna Margaret Paul, Afternoon watercolour on paper title inscribed 185 × 560mm EST $1,200 — $1,800
9 Richard Killeen, Still Life with Fork 1995 gouache on paper signed, dated and title inscribed 440 × 568mm EST $2,000 — $4,000
11 Joanna Margaret Paul, Self Portrait acrylic on paper 590 × 440mm EST $1,500 — $2,500
24
12 Joanna Margaret Paul, untitled 1992 graphite on paper signed and dated 300 × 210mm EST $1,000 — $2,000
13 Joanna Margaret Paul, untitled (Swimmers) pastel and graphite on paper 230 × 320mm
EST $1,000 — $2,000
25
14 Joanna Margaret Paul, Still Life oil on board 435 × 435mm EST $1,000 — $2,000
Glenn Jowitt was an artist, author and educator whose photographic practice is recognised as significant both locally and internationally. He studied art and design at the University of Canterbury’s Ilam School of Fine Arts in Ōtautahi Christchurch in the late 1970s. Jowitt’s artistic legacy is his photographic oeuvre of the 80s onwards that captured, through his signature documentary style, Pacific communities in public and personal spaces both in Tāmaki Makaurau Auckland and back in their island homes.
Jowitt travelled in 1980 to America for a study trip, and it was this experience that provoked his life-long interest in photographing Indigenous cultures, particularly those communities that had immigrated from continents elsewhere; but it was images of the lives of Pacific people and their cultures he wished to document in a way that showed how they have culturally enriched Aotearoa New Zealand. During his time in the US he met former Life magazine editor Ruth Lester. Lester remarked to the artist about “the number of Pacific Islanders who appeared in his black and white shots of Auckland’s Karangahape Rd and Queen St, suggesting that they would change the face of this city in the same way that Latinos had changed New York.”1
Jowitt returned to Aotearoa and began to avidly photograph the Pacific families who lived in his Tāmaki Makaurau home neighbourhoods of Ponsonby and Grey Lynn. Jowitt only photographed those with whom he was familiar, either because he was considered a friend, or because he had spent enough time with those being photographed that he was afforded the right to use his camera. The relationships Jowitt
forged with his subjects were so significant that he found himself then invited to visit their families back in the Islands. In 1981 he spent six months in the Cook Islands, Niue, Sāmoa, Tonga and Tokelau; the body of work that transpired during this island sojourn was later exhibited alongside images taken in Tāmaki Makaurau, in an exhibition titled Polynesia Here and There (1983). Many of these photographs featured in his 1986 monograph Pacific Images.
▲
Glen Jowitt Traditions of the Pacific
▲ 1 Athol McCredie, “Photographer Glenn Jowitt Passes Away,” Te Papa Blog, 26 July 2014, https://blog.tepapa.govt. nz/2014/07/26/photographer-glenn-jowitt-passes-away/
26
2 Ron Brownson, “Eulogy: Glenn Jowitt 1955–2014,” Jowitt Photography, https://www.jowittphotography.co.nz/copy-of-louse-van-rooyen
Jowitt produced photographs in both black and white, and colour. The choice to use one over the other was made to convey mood and communicate a certain atmosphere. The four monochrome photographs featured in this catalogue predate his Pacificthemed, colour photographs of the 1980s and 90s. In three of the featured prints, She Devil and Baldie, Black Power (1979) and Riccarton (1978), the blackness is intentionally subfusc, to create a serious and sombre effect. Conversely, there is a more convivial mood captured in Rangiora Races (1978) and Waterloo, Blenheim (1978), from Jowitt’s Race Day series. Later in his career, rather than take images of Pacific people at work in factories or cleaning, that would show the financial realities for many living in Aotearoa, Jowitt chose to capture events and moments that celebrated an innate capacity for joy despite hardship.
In a eulogy at Glenn Jowitt’s funeral in 2014, the late Ron Brownson (then Senior Curator New Zealand and Pacific Art at Auckland Art Gallery Toi o Tāmaki) described his friend as someone who “cherished the astonishingly important traditions of the Pacific — be they expressed in heritage, traditional and customary ways as well as in contemporary and urban ways. The energy and the talent of Pacific peoples became one of the beacons which Glenn Jowitt’s art sought to affirm, acknowledge and celebrate. Glenn was trusted. He undertook his legwork properly and with politeness and correctness.2
silver
1/5
and title
320 × 490mm EST $1,000 — $2,000
silver
140
200mm EST $1,000 —
15
Glen Jowitt, She Devil and Baldie, Black Power
1979
gelatin print,
signed, dated
inscribed
16
Glen Jowitt, Riccarton
1978
gelatin print signed, dated and title inscribed
×
$2,000
silver
140
200mm EST $1,000 —
17 Glen Jowitt, Rangiora Races
1978
gelatin print signed, dated and title inscribed
×
$2,000
silver
signed,
230 × 340mm EST $1,000 — $2,000
18 Glen Jowitt, Waterloo, Blenhiem, 11th of April, 1978
gelatin print
dated and title inscribed
27
19 Roger Mortimer, untitled acrylic on canvas 1040 × 740mm
28
EST $7,000 — $9,000
20 Max Gimblett, My History 2011 screenprint with gold foil on paper 380 × 280mm EST $2,000 — $4,000
21 Andy Leleisi'uao, untitled acrylic on canvas signed 605 × 450mm
EST $4,500 — $8,500
22 Hariata Ropata–Tangahoe, I Want it Iwi! 2022 acrylic on canvas signed and dated 890 × 585mm
29
EST $6,500 — $8,500
23 Ian Scott, Small Lattice No. 134
c1986 acrylic on canvas signed and title inscribed 910 × 910mm
30
EST $18,000 — $26,000
Ian Scott was a New Zealand artist who, during the course of his fifty-year career, continued to challenge local art conceptions of what constituted good taste, and what defined New Zealand art. It could be said that Scott was a bit of a punster; he frequently poked fun at the New Zealand art world in the form of cliché and parody as critical commentary. When Scott began his career, naturalistic landscape painting was the leading style in New Zealand. He naturally followed suit, and established himself as a distinguished landscape painter. However, by the late 1960s Scott began to rebel against these confines to forge a new style as he turned his focus to what was happening and current internationally in Europe and America. By the 1970s all traces of realist scene representation were gone from his work.
In 1975 Scott began working on a series of purely abstract compositions that would become his trademark style, ubiquitously know as his Lattice series. Stylistically, these paintings draw heavily on the formal and conceptual work of European modernists Piet Mondrian and Theo van Doesburg, and American pop artists Roy Lichtenstein and Kenneth Noland.
The visual influences of Mondrian’s and Noland’s clean geometric designs, van Doesburg’s field paintings, and Lichtenstein’s use of commercial tropes are clearly recognisable in Scott’s Lattice works. Scott was well aware of these practices and intentionally borrowed and incorporated aspects into his own. In the case of his Lattice paintings, appropriation is partly an act of homage. However, this motif is uniquely the artist’s own, and it served as a modus operandi for rigorous formal exploration. While the majority of works in Scott’s Lattice series were produced between 1976 and 1982, he frequently returned to the abstract motif, right up until the 1990s. Small Lattice No. 134, featured here, is a sophisticated work; it has the trademark finesse of Scott’s Lattice series — that combination of chic cool and intellectual refinement. The lattice motif is composed of interlaced diagonal bands of line and colour that come together with a striking effect, which is part of the reason that these remain covetable works of art to this day.
Ian Scott Small Lattice No. 134
31
24 André Hemer, An Image Cast by the Sun #19 2019 acrylic and pigment on canvas signed, dated and title inscribed 230 × 160mm EST $2,500 — $3,500
32
25 Judy Millar, Untitled 2005 acrylic on canvas signed and dated 1020 × 720mm EST $5,000 — $10,000
26 Stephen Bambury, Site Works Set 5 (No. 5) 1980 acrylic on canvas signed, dated and title inscribed 735 × 380mm (widest points)
EST $6,000 — $10,000
27 Stephen Bambury, Homage to Morandi (No. 6) 1984 acrylic on canvas signed, dated and title inscribed 310 × 310 × 60mm (widest points)
EST $9,000 — $12,000
28 Lorraine Rastorfer, Abend Himmel (Evening Sky) 2008 acrylic on board signed, dated and title inscribed 1200 × 2400mm
33
EST $8,000 — $12,000
29 Tony de Lautour, Monument Plan 2002 oil and acrylic on canvas signed, dated and title inscribed 500 × 300mm EST $4,500 — $7,500 34
30 Bill Hammond, Singer Songwriter I 2001 lithograph on paper signed, dated and title inscribed 700 × 840mm
35
EST $15,000 — $20,000
31 Terry Stringer, Tribute to Giacometti 2018 bronze signed and dated 1790 × 305 × 305mm (widest points) EST $17,500 — $25,000 36
32 Paul Dibble, untitled 2002 bronze, 2/3 signed and dated 640 × 240 × 200mm (widest points)
EST
$12,000 — $18,000
33 Anthony Quinn, Sebah c1983 marble signed 600 × 200 × 200mm (widest points)
EST
$6,000 — $12,000
34 Terry Stringer, Head of Madame Moitessier 2011 bronze, 2/2 signed and dated 550 × 150 × 150mm (widest points)
EST
$10,000 — $15,000
37
35 Terry Stringer, Youth 1997 bronze, 1/3 signed, dated and title inscribed 310 × 130 × 140mm
EST
$5,000 — $8,000
36 Michael Parekōwhai, Kapa Haka 2014 automotive paint on Fibreglass, edition of 100 410 × 125 × 100mm (widest points)
38
EST $30,000 — $50,000
Michael Parekōwhai’s (Ngā Ariki Kaiputahi, Ngāti Whakarongo) installation piece Kapa Haka was commissioned for the exhibition Paradise Now? Contemporary Art from the Pacific (2004), held at the Asia Society Museum in New York. The 15 near-identical, lifesized, glossy fibreglass figures, posed as security guards, were originally positioned outside the museum as though guarding the precious treasures within. Measuring around six feet tall and solid in stature, each of the guards stood with legs apart and arms staunchly crossed, collectively packing a powerful punch.
This work, Kapa Haka (2014), is smaller in stature and is wallmounted. The figure’s head is slightly tilted up, and even at 42cm high and standing alone the work commands presence, strength and stature. In a similar manner to Parekōwhai’s earlier work Poorman, Beggarman, Thief (1996), which was modelled on his father, Kapa Haka is modelled on the artist’s brother, Paratene, who was working as a security guard. The use of repetition in Kapa Haka draws attention to issues of identity, since Parekōwhai’s mannequins are afforded scant individuality. The various iterations of Kapa Haka are only differentiated by small features. By crafting a crowd of identical sameness, Parekōwhai invites the spectator to imagine the full spectrum of difference and individuality that quietly thrives under the pretence of an apparently indistinguishable exterior.
Michael Parekōwhai Kapa Haka
39
37 Carl Sydow, Untitled 1974 Letrafilm on paper signed and dated 840 × 610mm
EST
$3,000 — $6,000
38 Ani O'Neill, There's No Place Like Home 1998 wool on steel ring 105 × 105mm (diameter, each) EST $2,500 — $4,500
39 Martin Thompson, untitled ink on paper 520 × 1030mm EST $3,500 — $5,500
40
40 Carl Sydow, untitled 1973 Letrafilm on paper signed and dated 610 × 840 mm EST $3,000 — $6,000
41 Gordon Walters, Tiki 1966. printed 2022 screenprint on paper, edition of 100 indented with Walters Estate blindstamp 1055 × 805mm
EST $5,500 — $7,500
42 Gordon Walters, Tahi 1969. printed 2021 screenprint on paper, edition of 100 indented with Walters Estate blindstamp 1055 × 805mm
EST $5,500 — $7,500
43 Gordon Walters, Genealogy 5 1971. printed 2023 screenprint on paper indented with Walters Estate blindstamp 1170 × 1045mm
EST $5,500 — $7,500
44 Tia Ansell, Rae 2021 acrylic on handmade weaving signed, dated and title inscribed 330 × 220mm
41
EST $2,500 — $4,500
45 Jeffrey Harris, Figures in Landscape (With Crucifixion Angels) 1976 oil on board signed and dated 180 × 260mm EST $8,000 — $12,000
46 Jeffrey Harris, Cross IV 2001–2002 oil on board signed, dated and title inscribed 565 × 753mm EST $4,500 — $8,500
42
47 Jeffrey Harris, untitled 1987 charcoal on paper signed and dated 1020 × 1500mm EST $6,000 — $8,000
Much like Colin McCahon, Don Binney and Rita Angus — who also navigated figurative painting in the 1970s — Jeffery Harris’s oeuvre is permeated by the spectral aura of New Zealand’s pastoral tradition. Harris was of a younger generation, and his artistic vision diverged markedly from that of these predecessors. Where earlier artists had imbued the New Zealand terrain with mythic sensibilities, offering fertile ground for both sustenance and existential contemplation, Harris opted for a more complex tableau. He employed the landscape as a backdrop for unfolding psychodramas, punctuated by characters with abstracted facial features. Despite often employing a vibrant palette, Harris’s landscapes exude a darker resonance, faintly echoing the tension found in Grant Wood’s American Gothic (1930).
Born in 1949 in the bucolic area known as French Farm on Banks Peninsula, Harris’s dairy-farming lineage is not merely confined to his depicted settings; it reverberates in his use of Christian iconography. In Peter Ireland’s 1977 article about Harris’s practise, Ireland describes his use of religious motifs as simultaneously ‘overt’ and ‘covert’.1 He invokes Luit Bieringa’s commentary on McCahon, featured in the catalogue for the 1972 Manawatū Art Gallery exhibition, McCahon: ‘Religious’ Works 1956 to 1952: “Bieringa [was] careful to qualify the adjective ‘religious’ so as to avoid any narrow interpretations of the term, to avoid labelling the works as Christian despite their obvious Christian symbolism.”2 Ireland thus posited that while McCahon and Harris differed in their invocation of religious themes, they could be analysed through a similar interpretive lens. This catalogue includes a trio of works from divergent facets of Harris’s oeuvre. Though hailing from disparate periods, they all incorporate religious motifs. Figures in Landscape (With Crucifixion Angels) is a seminal painting from the mid-1970s, awash with Christian symbology – angels, crucifixion and baptism – rendered in a pared-down, cartoon-like style that builds upon Michael Smither’s hyperrealism of the 1960s. An untitled charcoal work from 1987 dispenses with overtly Christian symbols, opting instead for a serpent as an admonitory allegory of avarice, poignantly created in the same year as a significant stock market crash. Finally, Cross IV, conceived between 2001 and 2002 after Harris’s return to Dunedin from an extended time in Australia, incorporates a palette and abstract crucifix that pay homage to McCahon’s late series, Truth from the King Country (1978).
While curators, historians and ‘those in the know’ have long recognised Harris’s importance, his works are still available at auction for relatively modest sums. Yet this window of opportunity won’t last forever. Figures in Landscape (With Crucifixion Angels), in particular, is a salient expression of New Zealand culture, emblematic of both the fears and aspirations that defined its era. It occupies an established place within the national canon, and its significance will be amplified by the passage of time.
Jeffrey Harris Religion and the Pastoral Tradition
▲
43
▲
1 Peter Ireland, “The Recent Small Paintings of Jeffrey Harris,” Art New Zealand 6, June/July 1977, 12.
2 Ibid.
48 Ralph Hōtere, Jetty c1950s watercolour on paper signed 280 × 380mm EST $5,000 — $8,000
50 Doris Lusk, Hawea Jan 1972 1972 watercolour on paper signed, dated and title inscribed 370 × 540mm EST $4,000 — $6,000
51 Leo Bensemann, untitled 1967 watercolour on paper signed and dated 310 × 470mm EST $6,000 — $8,000
44
49 Doris Lusk, Two Reclining Women: Life Study 1986 oil on canvas signed, dated and title inscribed 600 × 720mm EST $5,000 — $10,000
52 Louise Henderson, untitled c1935–40 watercolour on paper signed 430 × 320mm
45
EST $5,000 — $8,000
55 Adele Younghusband, Begonia Still Life 1963 pastel and gouache on paper signed and dated 450 × 330mm
EST $12,000 — $18,000
EST
54 Adele Younghusband, Girl Ironing linocut on paper signed
190 × 150mm
$1,800 — $2,800
500
600mm EST
46
53 Adele Younghusband, Gulls Resting 1959 oil on board signed and dated
×
$15,000 — $25,000
Adele Younghusband (1878–1969) was an artist who made a profound contribution to New Zealand art in the twentieth century. In 1937, Younghusband travelled to Melbourne, Australia, where she studied with George Bell, and during this period she developed an interest in abstract and surrealist ideas. Following this, she became known as a modernist, was called “a New Zealand surrealist” by Arthur Hipwell in Art in New Zealand in 1941, and was one of the Phoenix Group of “progressive painters” in the 1950s.
Younghusband established a reputation for her art deco linocuts, such as the woman with an iron here. Her prints exude a tactile quality, inviting viewers to explore every crevice and line. Through this medium, Younghusband captures fleeting moments, translating them into enduring pieces that speak of her keen observations of life’s nuances. The simplicity and directness of printmaking was especially well suited to the depiction of this new, modern twentieth-century life.
With an established and successful career in photography, it wasn’t until her 40s that Younghusband made a serious commitment to painting, where her creativity found a new avenue for expression. With a palette that dances between bold and
subdued, she navigates the world of colour with remarkable finesse, seen here in Resting Gulls. The fluidity of her brushstrokes reveals a mastery of technique, while her compositions tell stories that transcend words.
Younghusband’s still lifes are equally impressive. Evidenced in Begonia Still Life, she breathes life into inanimate subjects, infusing them with a sense of quiet elegance. Her compositions are a symphony of soft hues and subtle contrasts, showcasing her keen eye for detail and harmonious arrangement. Through all her work, Younghusband invites viewers to appreciate the often overlooked intricacies of the mundane, elevating them to a realm of artistic significance.
Younghusband’s work, frequently described as derivative of multiple styles, and stylised, often depicts the fabric of everyday life. Infatuated with abstraction, she fearlessly experimented across a spectrum of mediums. This collection features three distinct examples of her artistry, a rare juxtaposition that spans varied subjects and techniques. To witness three of Younghusband’s works united within one catalogue is an uncommon privilege, underscoring her expansive artistic range.
Adele Younghusband Progressive Painter
47
58 Miranda Parks, Curler 2019 acrylic on canvas signed, dated and title inscribed 1040 × 140mm (widest points) EST $4,000 — $7,000
56 Stephen Bambury, Ghost (XXII) 2005 chemical action and silver leaf on aluminium signed, dated and title inscribed 190 × 340mm EST $5,000 — $8,000
48
57 Don Peebles, "Canvas Relief" Red and Green 1989 acrylic on canvas on board signed, dated and title inscribed 600 × 1200mm EST $5,000 — $8,000
61 Oliver Roake, untitled 2021 stained timber signed and dated 500mm (diameter) EST $5,000 — $8,000
59 Elizabeth Thomson, North West Story I 2014 polychrome bronze on board signed, dated and title inscribed 800 × 900 × 20mm (widest points) EST $12,000 — $18,000
49
60 Wayne Youle, I Am What You Make Me screenprint on paper bags 325 × 590mm EST $2,500 — $4,500
62 Don Binney, Lake Omapere 1963 charcoal on paper dated and title inscribed 270 × 374mm EST $3,000 — $6,000
63 Don Binney, Te Henga 1964 charcoal on paper signed, dated and title inscribed 274 × 374mm EST $5,000 — $8,000
50
64 Don Binney, untitled c2003 graphite on paper 285 × 210mm EST $3,500 — $5,000
65 Colin McCahon, 15 Drawings lithographs on paper 255 × 182mm (each panel)
51
EST $6,500 — $11,000
66 Dick Frizzell, It's About Time 2007 screenprint on paper, 140/250 signed, dated and title inscribed 680 × 930mm
EST $2,500 — $5,000
67 Dick Frizzell, Double Feature 1992 graphite and coloured pencil on paper signed, dated and title inscribed 300 × 350mm EST $4,000 — $8,000
68 Dick Frizzell, Ed's Eggs 2006 oil on canvas signed, dated and title inscribed 760 × 1015mm
EST $16,000 — $24,000
52
69 Dick Frizzell, Another Big Kiss 2009 screenprint on paper, artist's proof signed, dated and title inscribed 800 × 800mm EST $2,000 — $4,000
EST
EST
EST
EST
NOTE
Accompanied by Certificate of Authenticity
70 Richard Killeen, Cool McLeavey 2001 acrylic on powdercoated aluminium signed, dated and title inscribed 360 × 230mm (widest points)
$7,000 — $9,000
71 Richard Killeen, Local Sign 2001 acrylic on powdercoated aluminium signed, dated and title inscribed 265 × 400mm (widest points)
$6,000 — $8,000 72 Billy Apple, Interstate Longboard 2009 Longboard; computer cut vinyl, 1/10 1130 × 275 × 150mm (widest points)
$4,000 — $8,000
73 After Andy Warhol, Moonwalk (Pink) 2000 screenprint on board, printed 2020 950 × 950mm
$3,000 — $6,000
53
Street art has a history of being a form of social critique and political rebellion, typically lasting only as long as it takes for municipal authorities to remove it. The British street artist known only as Banksy, however, has elevated street art from its low-art origins into the gallery and the realm of high art.
Banksy has become famous for his distinctive stencilled artworks that touch on anti-consumerist and anti-authoritarian themes. His work includes powerful, often controversial images, and his disruptive vision has impacted viewers across the globe at important moments in history. Although his identity remains mysterious and the subject of speculation, Banksy has become the world’s most well-known street artist, whose work has broken down boundaries and perceptions of street art and how it can function. Banksy has produced various limited edition print runs in a similar visual style to his stencilled street works, and his art has become highly sought after in the marketplace.
The imagery in CND Soldiers first appeared outside the Houses of Parliament in London during an antiwar protest. It depicts two soldiers crouching on the ground, one holding a machine gun and the other in the process of painting a red peace sign. This sign originally symbolised the British Campaign for Nuclear Disarmament (CND), founded in 1957, and is now widely known as an international symbol of peace. In Banksy’s typical manner, the heavily armed soldiers are contrasted against the iconic symbol, questioning authority and the role that war plays in keeping peace. The soldiers, who would normally act on behalf of the government, are now represented as activists, graffitiing the wall in protest. The dripping red paint recalls blood; yet another contrast with the peace symbol.
Banksy CND Soldiers
54
74
EST
NOTE
55
Banksy, CND Soldiers 2005 screenprint on paper, 93/350 700 × 500mm
$40,000 — $60,000
Accompanied by Pest Control Certificate of Authenticity.
79 Fiona Pardington, Still Life with Laszlo's Wilting Tulips 2018 inkjet print, 31/100 signed and dated 180 × 238mm
EST $2,000 — $4,000
75 Yvonne Todd, Next time it will be Different 2021 offset print on paper, edition of 200 841 × 594mm EST $600 — $1,200
77 Heather Straka, George 2023 acrylic on board signed, dated and title inscribed 500 × 350mm EST $7,000 — $10,000
76 Robin White, Kereru 2011 screenprint on paper, artist's proof signed, dated and title inscribed 260 × 180mm EST $6,000 — $10,000
78 Robin White, Towards Makiu, 3pm 1988 screenprint and thread on paper, 5/10 signed, dated and title inscribed 285 × 210mm EST $2,000 — $4,000
56
80 Cora Allen Lafaiki-Twiss, Tides Shift Softly 2022 acrylic on board signed, dated and title inscribed 200 × 355mm EST $2,000 — $3,000
82 Shane Cotton, Things Behind the Sun XII 2021 acrylic on canvas signed and dated 255 × 350mm
EST
$8,500 — $12,500
57
81 Stephen Ellis, Tanker at Anchor ink on paper 730 × 900mm
EST
$10,000 — $15,000
Yvonne Todd is one of Aotearoa New Zealand’s finest contemporary photographers. Emerging in the late 1990s, she won the inaugural Walters Prize in 2002, and has consistently produced work since then. She is best known for her provoking portraits of women that incorporate styles of commercial fashion photography with a hint of irony. Todd’s work is often presented in series, to form a narrative between images.
The work here, Augusta, differs from Todd’s usual portraits. As a limited edition of three plus artist’s proofs, this work is part of the Barnacles series exhibited at Tauranga Art Gallery in 2016. Barnacles supposedly draws on Todd’s experience of pregnancy and parenthood; although she has not been explicit about the exact meaning behind much of her art, her work offers a dialogue between pieces that allows for mulitple interpretations of each work, intentionally ambiguous.1
The titles of Todd’s works are evocative. Augusta has connotations of motherhood and concepts of femininity, as Augusta was historically a name given to the wives and daughters of Roman emperors, from the Latin word meaning majestic and grand.
Augusta is an image of a discarded pink raincoat that Todd found in a gutter. The raincoat is portrayed with a sentient quality, floating eerily in an otherworldy atmosphere of inky black and pink. The hood and right arm of the coat appear to want to conform to its intended utility, yet the tattered and withered left of the object is conversely resistant to doing so. Todd’s image could be conceived to be a jellyfish-like creature illuminating the darkest depths of its environment, while connecting this fluid form with the discarded plastic pollution in the sea, left to drift for eternity. However, in the context of the Barnacles series, Augusta alludes to the aftermath of pregnancy, specifically the post-birth matter of the placenta. The thin, degrading plastic is soft and familiar, yet also fleshy and alien. Todd places this aftermath on a stage, spotlighting the unspoken, the visceral, the inevitable. Augusta has a mood akin to Todd’s eerie portraits of women. Yet here, the subject is the by-product of reproduction; unwanted waste that has been highlighted in this portrait-like still life.
Yvonne Todd Augusta
58
▲ 1 Lucy Jackson, “Interpreting Barnacles,” Ramp Gallery, 2017, https://rampgallery. co.nz/assets/Uploads/Essay-LucyJacksonBarnacles-RampGallery-2017.pdf
83 Yvonne Todd, Augusta 2016 c-type print signed, dated and title inscribed 1190 × 935mm EST $10,000 — $15,000
59
In Augusta, the connection between Todd’s gutter raincoat and the abandoned placenta becomes apparent – a shared transience, their significance realised only in times of necessity. When the sun comes out, the baby is born, these once-vital elements find themselves forsaken, cast aside and left to disintegrate.
84 Andrew McLeod, untitled (Club Casanova) gouache on digital print on paper 295 × 210mm
EST
$1,000 — $2,000
85 Andrew McLeod, untitled (Satin and Lace) gouache on digital print on paper 295 × 210mm EST $1,000 — $2,000
86 Andrew McLeod, untitled (Cheque) gouache on digital print on paper 295 × 210mm EST $1,000 — $2,000
87 Andrew McLeod, untitled (Femme Fatales) gouache on digital print on paper 295 × 210mm
EST
$1,000 — $2,000
88 Andrew McLeod, untitled (Candy Club) gouache on digital print on paper 295 × 210mm EST $1,000 — $2,000
89 Andrew McLeod, untitled (The Pelican Club) gouache on digital print on paper 295 × 210mm EST $1,000 — $2,000
90 Andrew McLeod, untitled (Uptown Girls) gouache on digital print on paper 295 × 210mm EST $1,000 — $2,000
91 Andrew McLeod, untitled (Famous Floras) gouache on digital print on paper 295 × 210mm EST $1,000 — $2,000
60
92 Andrew McLeod, untitled (Oriental) gouache on digital print on paper 295 × 210mm EST $1,000 — $2,000
93 Andrew McLeod, untitled (Monicas) gouache on digital print on paper 295 × 210mm
EST $1,000 — $2,000
94 Andrew McLeod, untitled (Salon 28) gouache on digital print on paper 295 × 210mm
61
EST $1,000 — $2,000
95 Ralph Hōtere, Set Design for "The Devils" Globe Theatre Dunedin watercolour on paper 430 × 520mm EST $8,000 — $12,000
62
96 Ralph Hōtere, untitled 1975 watercolour on paper signed and dated 320 × 230mm EST $10,000 — $15,000
97 Martin Ball, untitled graphite on paper signed 100 × 95mm EST $500 — $1,000
98 Ralph Hōtere, Round Midnight 2000 lithograph on paper signed, dated, title inscribed 570 × 760mm EST $8,000 — $10,000
99 Paul Maseyk, My Version of a Greek Krates II 2005 ceramic signed, dated and title inscribed 470 × 280 × 280mm (widest points) EST $5,000 — $6,500
63
100 Ralph Hōtere, Keep New Zealand Out of Iraq 2003 lithograph on paper 940 × 730mm EST $6,000 — $8,000
101 Lisa Reihana, untitled acrylic on ostrich egg, glass, polycarbonate plastic, steel, feathers 350 × 230 × 230mm (widest points) EST $3,000 — $5,000
103 Michael Hight, Stocktaking at Te Were Store Il 2012 oil on canvas signed, dated and title inscribed 600 × 600mm EST $5,000 — $8,000
104 Tony de Lautour, Initial Inventory 1 2019 acrylic and oil on canvas signed, dated and title inscribed 1015 × 755mm EST $12,000 — $18,000
64
102 Troy Emery, Yellow Fanged Blue Stinger 2021 polyester, polyurethane, adhesive, screws, pins 250 × 700 × 250mm (widest points) EST $4,500 — $8,000
106 Kushana Bush, To Catch a Fish 2019 watercolour and gouache on paper 195 × 275mm EST $4,000 — $6,000
65
105 Andrew McLeod, Seascape 2009 oil on linen signed 1580 × 1580mm EST $35,000 — $45,000
490
EST $2,000
108 Dick Lyne, Squaring Rimu Logs for Bridge Stringers 2011 oil on board signed, dated and title inscribed
× 700mm
— $4,000
530
EST
109 Dick Lyne, Breaking out Large Rimu Log with Purchase to Block Tree
2011 oil on board signed, dated and title inscribed
× 740mm
$2,000 — $4,000
290
EST
107 Dick Lyne, Kauri 2006 oil on hardboard signed, dated and title inscribed
× 150mm
$2,000 — $3,000
470
EST
66
110 Michael Smither, untitled oil on board
× 900mm
$15,000 — $20,000
111 Nigel Brown, untitled 1971 oil on board signed and dated 425 × 425mm EST $4,000 — $8,000
112 Karl Maughan, Colyton screenprint on paper signed and title inscribed 1200 × 800mm EST $5,000 — $7,000
114 Nigel Brown, Gates of Arles 1988-89 oil on canvas signed, dated and title inscribed 750 × 600mm EST $6,000 — $10,000
67
113 Colin Wheeler, The Hope River at Glen Wye (A Canterbury High Country Sheep Station) c1960 oil on canvas board signed 800 × 600mm EST $5,000 — $8,000
115 Peter Siddell, untitled oil on board signed 590 × 440mm
EST
$20,000 — $30,000
116 Peter Siddell, Black and White 1982 oil on board signed, dated and title inscribed 600 × 450mm EST $10,000 — $15,000
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117 Peter Siddell, untitled 1966 oil on board signed and dated 300 × 395mm EST $9,000 — $12,000
119 Olivia Spencer Bower, Spinning Triptych c1970s acrylic on board signed and title inscribed 760 × 1485mm
EST
$28,000 — $32,000
120 Peter Siddell, Foundation for the Blind Building 1988 oil on board signed and dated 600 × 900mm EST $35,000 — $50,000
69
118 Olivia Spencer Bower, Spinner Series #8 watercolour on paper signed 640 × 870mm EST $4,000 — $6,000
Melvin Norman Day was born in Hamilton in 1923, his family later relocated to Howick in Auckland. In 1939 Day enrolled as a fulltime student at Elam, where he received a Preliminary Diploma of Fine Arts. His teachers included A. Lois White and, significantly, John Weeks, among others.
In 1941, Day was called to serve in the New Zealand Forces in 1941. After the war, he decided to settle in Ngongotaha, near Rotorua, where he got a job teaching at the local school. It was at this time that he became fascinated with cubism, and become friends with Wilfred Stanley Wallis, a recreational painter, whom he would later share a studio with. Day and Wallis worked side by side, making still-lives and landscapes which married modernist influences with plein air observation.
Wallis was close friends with artist John Weeks, who he regularly visited the artist in Northcote, and they would have lengthy discussions about artists and painting styles of the time. There were conversations on abstract painting, especially critiques on the work of French artist, Paul Cézanne. Whom, Weeks particularly would theorise about Cézanne’s compositions, mathematical proportions and colour tone relationships, of which he believed should be “orchestrated” so that a ‘symphony emerged conveying mood and emotion’.
In 1949 Day left New Zealand for the first time to travel to England, France, Spain and Italy, gaining valuable
first-hand experience of paintings by European modernist artists. While Day was in London, a major exhibition of paintings by Cézanne was on show at the galleries of the Royal Academy. This experience surpassed his already high expectations of the artist's work. Day was impressed by the vibrancy of the French master’s palette, the lightness of paint application and the glowing translucency of the works.
When Day returned to New Zealand the following year, he focussed on applying his new artistic knowledge of Cézanne’s unique style of painting and composition, to his own practice. Waimungu (Cézanne style), is an obvious homage to the great French painter. Another work in the series titled Waimungu (Japanese style), inspired by Hokusai, is in the collection of Auckland Art Gallery Toi o Tamaki. And in Street Scene-Toledo, Spain, circa 1952, Day demonstrates a new level of sophistication and confidence he has for Cubism.
Paintings by George Braque and Juan Gris also left a significant impression on Day. Still life with Roses Variation, circa 1955, is clearly inspired by the crisply delineated angularly of stilllife compositions by Braque that Day had so admired in British and French galleries six years earlier. Particularly, we see the influence of these two artist’s styles in Day’s urban compositions and still-life works he subsequently painted up to the mid-50s. From 1951 onwards Day’s work becomes bolder and more complex, and his handling of Cubism shifts from imitation of a style, to something which is uniquely his own.
Melvin Day Cubism in New Zealand
70
EST
121 Melvin Day, Waimangu (Cézanne style) 1950 oil on board signed and dated
570
×
700mm
$5,000 — $10,000
EST
122 Melvin Day, Street Scene–Toledo, Spain c1952 tempera on board signed 545 × 410mm
$4,000 — $8,000
EST
71
123 Melvin Day, Still life with Roses Variation c1955 oil monotype on paper signed 520 × 415mm
$2,500 — $5,000
EXHIBITIONS
124 Margaret Stoddart, untitled 1905 watercolour on paper signed and dated 330 × 240mm EST $4,000 — $8,000
125 Margaret Stoddart, untitled watercolour on paper signed 330 × 240mm EST $6,000 — $8,000
127 Evelyn Page, untitled oil on canvasboard signed 220 × 330mm EST $3,000 — $6,000
128 Margaret Stoddart, The Waterfront Papete watercolour on paper signed 245 × 345mm EST $5,500 — $8,500
Société des Artistes Français, Paris, 1925.
129 Helen Brown, untitled oil on board signed 670 × 890mm EST $5,500 — $8,000
130 Rata Lovell-Smith, untitled oil on canvasboard signed 355 × 515mm EST $2,500 — $5,000
72
126 G P Nerli, The Lovers watercolour on paper signed 330 × 210mm EST $3,500 — $5,500
EST
131 John Barr Clarke Hoyte, Lake Pupuke c1870s watercolour on paper signed 245 × 925mm
$30,000 — $50,000
132 Peter McIntyre, untitled watercolour and ink on paper signed 530 × 750mm
EST
$10,000 — $15,000
133 Sydney Lough Thompson, At Boulogne Harbour oil on canvasboard signed and title inscribed 400 × 500mm
EST
$6,000 — $10,000
134 Russell Clark, Y watercolour on paper signed 480 × 520mm
EST
$3,000 — $6,000
73
135 Charles Blomfield, untitled oil on board 260 × 550mm EST $4,500 — $9,000
137 Tony Lane, Red, Red Heart 2005-06 oil paint on gesso ground signed, dated and title inscribed 400 × 650mm EST $2,000 — $4,000
138 Michael Hight, Mangatawhiri 1999 oil on canvas on wood signed, dated and title inscribed 252 × 1265mm EST $7,000 — $10,000
139 Tyne Gordon, Maunder 2020 oil on aluminium with glitter and resin frame signed, dated and title inscribed 420 × 320mm EST $2,500 — $4,500
140 J S Parker, Plain Song – The Inscape – Late Summer Grasses 2004 oil on canvas signed, dated and title inscribed 500 × 500mm EST $3,000 — $6,000
74
136 Tony Lane, The Chandelier 2008 oil, gold leaf and composition ornaments on gesso signed, dated and title inscribed 300 × 500mm EST $4,000 — $6,000
141 Paul Thompson, The Language Series Lambda print 190 × 240mm (each panel)
75
EST $5,000 — $8,000
1. Background to the Terms used in these Conditions
The conditions that are listed below contain terms that are used regularly and may need explanation. They are as follows:
“the Buyer” means the person with the highest bid accepted by the Auctioneer.
“the Lot” means any item depicted within the sale for auction and in particular the item or items described against any lot number in the catalogue.
“the Hammer price” means the amount of the highest bid accepted by the auctioneer in relation to a lot.
“the Buyer’s Premium” means the charge payable by the Buyer to the auction house as a percentage of the hammer price.
“the Reserve” means the lowest amount at which Webb’s has agreed with the Seller that the lot can be sold.
“Forgery” means an item constituting an imitation originally conceived and executed as a whole, with a fraudulent intention to deceive as to authorship, origin, age, period, culture or source, where the correct description as to such matters is not reflected by the description in the catalogue. Accordingly, no lot shall be capable of being a forgery by reason of any damage or restoration work of any kind (Including re-painting).
“the insured value” means the amount that Webb’s in its absolute discretion from time to time shall consider the value for which a lot should be covered for insurance (whether or not insurance is arranged by Webb’s).
All values expressed in Webb’s catalogues (in any format) are in New Zealand Dollars (NZD$). All bids, “hammer price”, “reserves”, “Buyers Premium” and other expressions of value are understood by all parties to be in New Zealand Dollars (NZD$) unless otherwise specified.
2. Webb’s Auctions as Agent
Except as otherwise stated, Webb’s acts
paid for in full before it will be released to the purchaser or his/her agreed expertising committee or specialist. Payments received for such items will be held “in trust” for up to 90 days or earlier, if the issue of authenticity has been resolved more quickly. Extensions must be requested before the auction.
Foreign buyers should note that all transactions are in New Zealand Dollars so there may be a small exchange rate risk. The costs associated with acquiring a good opinion or certificate will be carried by the purchaser. If the item turns out to be forged or otherwise incorrectly described, all reasonable costs will be borne by the vendor.
3.3. Buyers Responsibility
All property is sold “as is” without representation or warranty of any kind by Webb’s or the Seller. Buyers are responsible for satisfying themselves concerning the condition of the property and the matters referred to in the catalogue by requesting a condition report.
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
as agent for the Seller. The contract for the sale of the property is therefore made between the Seller and the Buyer.
3. Before the Sale
3.1. Examination of Property Prospective Buyers are strongly advised to examine in person any property in which they are interested before the Auction takes place. Neither Webb’s nor the Seller provides any guarantee in relation to the nature of the property apart from the Limited warranty in the paragraph below.
The property is otherwise sold “AS IS”
3.2. Catalogue and Other Descriptions
All statements by Webb’s in the catalogue entry for the property or in the condition report, or made orally or in writing elsewhere, are statements of opinion and are not to be relied upon as statements of fact. Such statements do not constitute a representation, warranty or assumption of liability by Webb’s of any kind. References in the catalogue entry to the condition report to damage or restoration are for guidance only and should be evaluated by personal inspection by the bidder or a knowledgeable representative. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. Estimates of the selling price should not be relied on as a statement that this is the price at which the item will sell or its value for any other purpose. Neither Webb’s nor The Seller is responsible for any errors or omissions in the catalogue or any supplemental material.
Images are measured height by width (sight size). Illustrations are provided only as a guide and should not be relied upon as a true representation of colour or condition. Images are not shown at a standard scale. Mention is rarely made of frames (which may be provided as supplementary images on the website) which do not form part of the lot as described in the printed catalogue.
An item bought “on Extension” must be
No lot to be rejected if, subsequent to the sale, it has been immersed in liquid or treated by any other process unless the Auctioneer’s permission to subject the lot to such immersion or treatment has first been obtained in writing.
4. At the Sale
4.1. Refusal of Admission
Webb’s reserves the right at our complete discretion to refuse admission to the auction premises or participation in any auction and to reject any bid.
4.2. Registration Before Bidding
Any prospective new buyer must complete and sign a registration form and provide photo identification before bidding. Webb’s may request bank, trade or other financial references to substantiate this registration.
4.3. Bidding as a Principal
When making a bid, a bidder is accepting personal liability to pay the purchase price including the buyer’s premium and all applicable taxes, plus all other applicable charges, unless it has been explicitly agreed in writing with Webb’s before the commencement of the sale that the bidder is acting as agent on behalf of an identified third party acceptable to Webb’s and that Webb’s will only look to the principal for payment.
4.4. International Registrations
All International clients not known to Webb’s will be required to scan or fax through an accredited form of photo identification and pay a deposit at our discretion in cleared funds into Webb’s account at least 24 hours before the commencement of the auction. Bids will not be accepted without this deposit. Webb’s also reserves the right to request any additional forms of identification prior to registering an overseas bid.
This deposit can be made using a credit card, however the balance of any purchase price in excess of $5,000 cannot be charged to this card without prior arrangement.
This deposit is redeemable against any auction purchase and will be refunded in full if no purchases are made.
4.5. Absentee Bids
Webb’s will use reasonable efforts to execute written bids delivered to us AT LEAST 24 Hours before the sale for the
Priority will be given to overseas and bidders from other regions. Please refer to the catalogue for the Telephone Bids form. Arrangements for this service must be confirmed AT LEAST 24 HOURS PRIOR to the auction commencing. Webb’s accepts no responsibility whatsoever for any errors or failure to execute bids. In telephone bidding the buyer agrees to be bound by all terms and conditions listed here and accepts that Webb’s cannot be held responsible for any miscommunications in the process. The success of telephone bidding cannot be guaranteed due to circumstances that are unforeseen. Buyers should be aware of the risk and accept the consequences should contact be unsuccessful at the time of Auction. You must advise Webb’s of the lots in question, and you will be assumed to be a buyer at the minimum price of 75% of estimate (i.e. reserve) for all such lots. Webb’s will advise Telephone Bidders who have registered at least 24 hours before the auction of any relevant changes to descriptions, withdrawals, or any other sale room notices.
4.7. Online Bidding
Webb’s offers an online bidding service. When bidding online the buyer agrees to be bound by all terms and conditions listed here by Webb’s.
Webb’s accepts no responsibility for any errors, failure to execute bids or any other miscommunications regarding this process. It is the online bidder’s responsibility to ensure the accuracy of the relevant information regarding bids, lot numbers and contact details. Webb’s does not charge for this service.
4.8. Reserves
Unless otherwise indicated, all lots are offered subject to a reserve, which is the confidential minimum price below which the Lot will not be sold. The reserve will not exceed the low estimate printed in the catalogue. The auctioneer may open the bidding on any Lot below the reserve by placing a bid on behalf of the Seller. The auctioneer may continue to bid on behalf of seller up to the amount of the reserve, either by placing consecutive bids or by placing bids in response to other bidders.
4.9. Auctioneers Discretion
The Auctioneer has the right at his/ her absolute and sole discretion to refuse any bid, to advance the bidding according to the following indicative steps:
Increment Dollar Range Amount $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
77
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.
Terms & Conditions
$5,000 $50,000 – $100,000 $10,000 $100,000–$200,000 $20,000 $200,000–$500,000 $50,000 $500,000–$1,000,000
Absentee bids must follow these increments and any bids that don’t follow the steps will be rounded up to the nearest acceptable bid.
5. After the Sale
5.1. Buyers Premium
In addition to the hammer price, the buyer agrees to pay to Webb’s the buyer’s premium. The buyer’s premium is 19.5% of the hammer price plus GST. (Goods and Services Tax) where applicable.
5.2. Payment and Passing of Title
The buyer must pay the full amount due (comprising the hammer price, buyer’s premium and any applicable taxes and GST) not later than 2 days after the auction date.
The buyer will not acquire title to the lot until Webb’s receives full payment in cleared funds, and no goods under any circumstances will be released without confirmation of cleared funds received. This applies even if the buyer wishes to send items overseas.
Payment can be made by direct transfer, cash (not exceeding NZD$5,000, if wishing to pay more than NZD$5,000 then this must be deposited directly into a Bank of New Zealand branch and bank receipt supplied) and EFTPOS (please check the daily limit). Payments can be made by debit card or credit card in person with a 2.2% merchant fee for Visa, Mastercard and Paywave, and 3.3% for American Express. Invoices that are in excess of $5,000 and where the card holder is not present, cannot be charged to a credit card without prior arrangement. Cheques are no longer accepted.
The buyer is responsible for any bank fees and charges applicable for the transfer of funds into Webb’s account.
5.3. Collection of Purchases & Insurance
Webb’s is entitled to retain items sold until all amounts due to us have been received in full in cleared funds. Subject to this, the Buyer shall collect purchased lots within 2 days from the date of the sale unless otherwise agreed in writing between Webb’s and the Buyer. At the fall of the hammer, insurance is the responsibility of the purchaser.
5.4. Packing, Handling and Shipping
Webb’s will be able to suggest removals companies that the buyer can use but takes no responsibility whatsoever for the actions of any recommended third party. Webb’s can pack and handle goods purchased at the auction by agreement and a charge will be made for this service. All packing, shipping, insurance, postage & associated charges will be borne by the purchaser.
5.5. Permits, Licences and Certificates
Under The Protected Objects Act 1975, buyers may be required to obtain a licence for certain categories of items in a sale from the Ministry of Culture & Heritage, PO Box 5364, Wellington.
5.6. Remedies for Non-Payment
If the Buyer fails to make full payment immediately, Webb’s is entitled to exercise one or more of the following
rights or remedies (in addition to asserting any other rights or remedies available under the law)
5.6.1. to charge interest at such a rate as we shall reasonably decide.
5.6.2. to hold the defaulting Buyer liable for the total amount due and to commence legal proceedings for its recovery along with interest, legal fees and costs to the fullest extent permitted under applicable law.
5.6.3. to cancel the sale.
5.6.4. to resell the property publicly or privately on such terms as we see fit.
5.6.5. to pay the Seller an amount up to the net proceeds payable in respect of the amount bid by the defaulting Buyer. In these circumstances the defaulting Buyer can have no claim upon Webb’s in the event that the item(s) are sold for an amount greater than the original invoiced amount.
5.6.6. to set off against any amounts which Webb’s may owe the Buyer in any other transactions, the outstanding amount remaining unpaid by the Buyer.
5.6.7. where several amounts are owed by the Buyer to us, in respect of different transactions, to apply any amount paid to discharge any amount owed in respect of any particular transaction, whether or not the Buyer so directs.
5.6.8. to reject at any future auction any bids made by or on behalf of the Buyer or to obtain a deposit from the Buyer prior to accepting any bids.
5.6.9. to exercise all the rights and remedies of a person holding security over any property in our possession owned by the Buyer whether by way of pledge, security interest or in any other way, to the fullest extent permitted by the law of the place where such property is located. The Buyer will be deemed to have been granted such security to us and we may retain such property as collateral security for said Buyer’s obligations to us.
5.6.10. to take such other action as Webb’s deem necessary or appropriate.
If we do sell the property under paragraph (4), then the defaulting Buyer shall be liable for payment of any deficiency between the total amount originally due to us and the price obtained upon reselling as well as for all costs, expenses, damages, legal fees and commissions and premiums of whatever kinds associated with both sales or otherwise arising from the default.
If we pay any amount to the Seller under paragraph (5) the Buyer acknowledges that Webb’s shall have all of the rights of the Seller, however arising, to pursue the Buyer for such amount.
5.7. Failure to Collect Purchases
Where purchases are not collected within 2 days from the sale date, whether or not payment has been made, we shall be permitted to remove the property to a warehouse at the buyer’s expense, and only release the items after payment in full has been made of removal, storage handling, insurance and any other costs incurred, together with payment of all other amounts due to us.
6. Extent of Webb’s Liability
Webb’s agrees to refund the purchase price in the circumstances of the Limited Warranty set out in paragraph 7 below. Apart from that, neither the Seller nor we, nor any of our employees or agents are responsible for the correctness of any statement of whatever kind concerning any lot, whether written or oral, nor for any other errors or omissions in description or for any faults or defects in any lots. Except as stated in paragraph 7 below, neither the Seller, ourselves, our officers, agents or employees give any representation warranty or guarantee or assume any liability of any kind in respect of any lot with regard to merchantability, fitness for a particular purpose, description, size, quality, condition, attribution, authenticity, rarity, importance, medium, provenance, exhibition history, literature or historical relevance. Except as required by local law any warranty of any kind is excluded by this paragraph.
7. Limited Warranty
Subject to the terms and conditions of this paragraph, the Seller warrants for the period of thirty days from the date of the sale that any property described in this catalogue (noting such description may be amended by any saleroom notice or announcement) which is stated without qualification to be the work of a named author or authorship is authentic and not a forgery. The term “Author” or “authorship” refers to the creator of the property or to the period, culture, source, or origin as the case may be, with which the creation of such property is identified in the catalogue.
The warranty is subject to the following: it does not apply where a) the catalogue description or saleroom notice corresponded to the generally accepted opinion of scholars and experts at the date of the sale or fairly indicated that there was a conflict of opinions, or b) correct identification of a lot can be demonstrated only by means of a scientific process not generally accepted for use until after publication of the catalogue or a process which at the date of the publication of the catalogue was unreasonably expensive or impractical or likely to have caused damage to the property.
the benefits of the warranty are not assignable and shall apply only to the original buyer of the lot as shown on the invoice originally issued by Webb’s when the lot was sold at Auction.
the Original Buyer must have remained the owner of the lot without disposing of any interest in it to any third party.
The Buyer’s sole and exclusive remedy against the Seller in place of any other remedy which might be available, is the cancellation of the sale and the refund of the original purchase price paid for the lot less the buyer’s premium which is non-refundable. Neither the Seller
nor Webb’s will be liable for any special, incidental nor consequential damages including, without limitation, loss of profits.
The Buyer must give written notice of claim to us within thirty days of the date of the Auction. The Seller shall have the right, to require the Buyer to obtain two written opinions by recognised experts in the field, mutually acceptable to the Buyer and Webb’s to decide whether or not to cancel the sale under warranty.
the Buyer must return the lot to Seller in the same condition that it was purchased.
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.
& Conditions 78
Terms
A Ansell, Tia 41 Apple, Billy 53 B Ball, Martin 62 Bambury, Stephen 32, 33, 48 Banksy 54 Bensemann, Leo 44 Binney, Don 50 Blomfield, Charles 73 Brown, Helen 72 Brown, Nigel 67 Bush, Kushana 65 C Cotton, Shane 57 Day, Melvin 70 D de Lautour, Tony 34, 64 Dibble, Paul 37 E Ellis, Stephen 52 Emery, Troy 64 F Frizzell, Dick 52 G Gimblett, Max 29 Gordon, Tyne 74 H Hammond, Bill 34 Hanly, Pat 23 Harris, Jeffrey 42 Hemer, André 32 Henderson, Louise 45 Hight, Michael 64, 74 Hōtere, Ralph 44, 62, 63 Hoyte, John Barr Clarke 72 J Jowitt, Glen 26 K Killeen, Richard 23, 24, 52, 53 L Lafaiki-Twiss, Cora Allen 56 Lane, Tony 74 Leleisi'uao, Andy 29 Lovell-Smith, Rata 72 Lusk, Doris 44 Lyne, Dick 66 M Maseyk, Paul 63 Maughan, Karl 67 McCahon, Colin 51 McIntyre, Peter 73 McLeod, Andrew 60, 61, 65 Millar, Judy 32 Mortimer, Roger 28 N Nerli, G P 72 O O'Neill, Ani 40 P Page, Evelyn 72 Pardington, Fiona 56 Parekowhai, Michael 38 Parker, J S 74 Parks, Miranda 48 Paul, Joanna Margaret 24, 25 Peebles, Don 48 Q Quinn, Anthony 37 R Rastorfer, Lorraine 33 Reihana, Lisa 64 Roake, Oliver 49 Ropata–Tangahoe, Hariata 29 S Scott, Ian 30 Siddell, Peter 68 Smither, Michael 66 Spencer Bower, Olivia 68, 69 Stevens, Eion 22 Stoddart, Margaret 72 Straka, Heather 56 Stringer, Terry 36, 37 Sydow, Carl 40 T Thompson, Martin 40 Thompson, Paul 75 Thompson, Sydney Lough 73 Thomson, Elizabeth 49 Todd, Yvonne 56, 59 W Walters, Gordon 41 Warhol, After Andy 53 Wheeler, Colin 67 White, Robin 22, 56 Y Youle, Wayne 49 Younghusband, Adele 46
79
84 Pages Index of Artists
24 25 26 27 28 29 12 13 14 15 16 17 18 19 20 21 22 23 1 2 3 4 5 6 7 8 9 10 11 141 Lots 80
30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 81
82 83 84 85 86 87 64 65 66 67 68 69 70 71 72 73 74 75 76 77 78 79 80 81 58 59 60 61 62 63 82
94 95 96 97 98 99 100 101 102 103 104 105 106 107 108 109 110 88 89 90 91 92 93 111 112 113 114 115 116 83
123 124 125 126 127 128 129 130 131 132 133 134 135 136 137 138 139 140 141 117 118 119 120 121 122 84
33a Normanby Rd Mount Eden Auckland 1024 23 Marion St Te Aro Wellington 6011 webbs.co.nz
52
Louise Henderson, untitled
Designer Furniture, Lighting and Objects
L. Ercolani –Studio Daybed by Lucian Ercolani, Canvas Media Unit by Norm Architects,
IO Coffee Table by Lars B. Fjetland. Astep –VV Cinquanta Floor Lamp
