Gallery Loaction 86 Newton Road
Eden Terrace, Auckland
goodform.co.nz
Exclusive Representation . Mr. Bigglesworthy
Architectmade . Astep . CC-Tapis
Karimoku Case Study . Ercol . Nedre Foss
OMK 1965 . Oblure . Omann Jun
Rex Kralj . Saito Wood . Stoff Nagel
Tomado . Warm Nordic . Zaha Hadid Design
Also Representing . Dilana . Gidon Bing Studio
Artwork Supplied by Foenander Galleries
Six years ago, we set out with a clear vision: to create a truly boutique lending brokerage – one that’s independent, personal and built entirely around the needs of our clients. As a small team with a big purpose, we’re proud to have been named New Zealand’s Top Brokerage for four consecutive years, proving that heart, experience and integrity go a long way.
With over 20 years of specialist expertise in residential and commercial lending, we offer tailored solutions that reflect the uniqueness of every client we serve. Whether you’re buying your first home, expanding your investments or seeking strategic business finance, we take the time to understand your story – and craft a plan that fits it.
Our independence is central to who we are. It gives us the freedom to provide transparent, unbiased advice with your best interests at heart. We don’t just offer finance – we offer guidance, clarity and genuine care.
Helping clients achieve their goals is more than a mission – it’s our passion. And as we continue to grow, we stay grounded in the values that sparked our journey: to serve with honesty, build lasting relationships and create a brokerage experience that truly puts people first.
Please get in touch to explore how we can partner with you.
SATURDAY 6TH SEPTEMBER 2025
6.30PM TO 11.30PM
Museum of New Zealand Te Papa Tongarewa
Join us for Te Papa Foundation’s annual Gala. A spectacular night in the museum, the Gala features wine, cocktails, a sumptuous dinner, live music, and the opportunity to bid on exclusive experiences and luxury items. All proceeds support Te Papa’s exhibition, research and education programmes, ensuring our national museum thrives – now and for generations to come.
Secure your table or tickets today: www.tepapa.nz/gala
Can’t make it? Our digital auction will be hosted by Webb’s from late August.
Webb’s is honoured to partner with Aotearoa’s foremost, national cultural institution, the Museum of New Zealand Te Papa Tongarewa for a fundraising auction at their annual gala event on Saturday 6 September.
Wellington’s premier black-tie fundraising evening, the Te Papa Foundation Gala, brings together Aotearoa New Zealand’s leading supporters of arts and culture — and Webb’s is proud to lead an auction of luxury items, with proceeds going directly to support the Museum’s work.
The two organisations share a long-standing collaborative relationship, including a significant financial donation by Webb’s in 2022 that enabled Te Papa to acquire specialist preservation equipment (a stereo-microscope and advanced camera gear). This was followed by a successful auction in November 2024 featuring artworks, luxury items, and unique travel experiences — all generously donated. The proceeds from this auction helped fund world-class research, safeguard the national collection, and support inclusive programmes that ensure greater access to Te Papa for all New Zealanders.
“Lending our expertise to public organisations is about actively contributing to the cultural landscape of Aotearoa,” said Webb’s Managing Director Paul Evans. “We’re proud to stand alongside the Museum of New Zealand Te Papa Tongarewa in celebrating, protecting, and preserving the taonga that shape our national identity.”
Webb’s is a committed partner in New Zealand’s creative ecosystem. Through enduring relationships with public and not-for-profit institutions, we contribute to the future of the arts via strategic partnerships, pro bono auctions, exhibitions, and cultural advisory work. Supporting the sector is a fundamental part of our mission — a tangible investment in the people, institutions, and stories that enrich life in Aotearoa. Together with Te Papa and other organisations, we’re helping ensure that the taonga and artists that define us are not only preserved but championed for generations to come.
The Estate at Webb’s is the premier destination for selling furniture and mid-century design. With thousands of active bidders and a strong track record of achieving top prices, our curated auctions consistently deliver exceptional results.
Whether it’s a Danish sideboard, designer armchair, or a timeless classic, we connect your pieces with an eager and knowledgeable audience.
Cameron Millar Manager, The Estate
Artlink has elevated art storage to an art form in itself. Our purpose-built facility maintains optimal conditions in temperature, humidity, and lighting. When you store your art with us, you can be assured that it is protected from environmental and human factors, with a controlled climate and 24/7 monitored security.
REQUEST A QUOTE
contact@artlink.co.nz
021 279 1106
www.artlink.co.nz
SUNLIGHT FREE INDOOR ENVIRONMENT
55% MANAGED HUMIDITY LEVEL
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Publishing Details
printer
Crucial Colour
24 Fairfax Avenue
Penrose Auckland 1061
Publishing Contacts
Edition of 1,800
Offset printed, 120 pages 113gsm Matt Art 100gsm Laser Offset
Freely distributed to subscribers or available at select public art spaces and hospitality venues.
Paul Evans Managing Director paul@webbs.co.nz +64 21 866 000
Caolán McAleer Director of Marketing & Operations caolan@webbs.co.nz +64 27 929 5603
head office advertising press design
Angela Gracie Client & Partnerships Manager angela@webbs.co.nz +64 22 495 3943
Art Department
auckland
Emily Gardener Director of Art emily@webbs.co.nz +64 22 595 5610
Hannah Owen Cataloguer, Art hannah@webbs.co.nz +64 22 068 4932
Jo Bragg Logistics & Inventory Coordinator, Art jo@webbs.co.nz +64 21 113 5001
Elizabeth Boadicea Snow Head of Brand & Marketing elizabeth@webbs.co.nz +64 22 029 5611
Olivia Woodgate Creative Director design@webbs.co.nz
Stephanie AuYeung Manager, Art stephanie@webbs.co.nz +64 22 301 8259
Georgia Clapshaw Administrator, Art georgia@webbs.co.nz +64 9 529 5609
Charles Tongue Valuations Specialist valuations@webbs.co.nz +64 22 406 5514
Georgina Brett Specialist, Art georgina@webbs.co.nz +64 27 929 5609
Stephanie Arrowsmith Administrator, Art art@webbs.co.nz +64 9 529 5609
Mark Hutchins-Pond Senior Specialist, Art mark@webbs.co.nz +64 22 095 5610
Virginia Woods-Jack Exhibitions Manager virginia@webbs.co.nz +64 22 679 8664
Sean Duxfield Specialist, Art sean@webbs.co.nz +64 21 053 6504
2–17 AUGUST 2025
SUPPORTED BY WEBB’S
GRETCHEN ALBRECHT
HIRIA ANDERSON-MITA
JOYCE CAMPBELL
ROBERT ELLIS
HANNAH IRELAND
GREGOR KREGAR
JUDY MILLAR
MICHAEL PAREKŌWHAI
SÉRAPHINE PICK
JAMES ROSS
AVA SEYMOUR
ANN SHELTON
ELIZABETH THOMSON
SALOME TANUVASA
GORDON WALTERS
ANS WESTRA
LAURA WILLIAMS
When you invest in a New Zealand Made design from TRENZSEATER, you can be assured, that each piece is made by hand, for you, to your own unique, specific and bespoke requirements that include your choice in size, finish and material selection. It is essentially tailored specifically for you, right here in New Zealand.
AUCKLAND - 80 Parnell Rd, 09 303 4151
CHRISTCHURCH - 121 Blenheim Rd, 03 343 0876
QUEENSTOWN - 313 Hawthorne Dr, 03 441 2363 www.trenzseater.com
T.T (TAIGA TAKAHASHI)
For nearly five decades, Webb’s has been synonymous with authoritative, independent valuations of fine art and luxury collectibles across New Zealand. Our services are relied upon by private collectors, institutions, legal professionals, and insurers alike—delivering clarity, accuracy, privacy and peace of mind in an ever-evolving market.
The Valuations Department is led by Charles Tongue who has over 20 years of experience in the New Zealand art market with particular expertise in contemporary New Zealand painting and historical works on paper. He has conducted valuations for many of New Zealand's most significant private and institutional collections.
We offer comprehensive valuation services for insurance, estate planning, legal settlements, institutional reporting, and market transactions. With values shifting rapidly in the contemporary art world, regular, expert valuations are essential to ensure appropriate protection and informed decision-making.
Our insurance valuations reflect Retail Replacement Value (RRV), factoring in scarcity, provenance, condition, and market demand—ensuring collections are neither underinsured nor overexposed. Should loss or damage occur, we also provide post-loss assessments based on images or prior records, streamlining claims with all major insurers.
In sensitive contexts such as bereavement or relationship dissolution, Webb’s provides fair market valuations—net of sales costs—for equitable division of assets. Our discreet, professional service supports executors, solicitors, and families with full documentation tailored to legal and probate requirements.
We serve public galleries, museums, and corporate collections with large-scale valuations for insurance and financial reporting under NZ IAS 16 and Treasury guidelines. Our reports meet governance standards and include condition reporting and comprehensive analysis.
For collectors buying, selling, or managing their portfolios, our market appraisals and profit/loss valuations provide data-driven insights into current values and investment performance—empowering strategic acquisition, deaccession, and long-term planning. With decades of market leadership, Webb’s remains the trusted choice for discerning collectors seeking valuation excellence.
When the Range Rover launched in 1970, it was unlike anything that had come before it. Styled with clean, architectural simplicity and engineered to tackle any terrain, it offered something no other vehicle could: true offroad capability combined with the comfort of a passenger car. It was a farmer’s tool, but also a design icon—so much so that the original model earned a place in the Musée du Louvre before even the Bentley Blower, Alfa 8C, or Bugatti Type 57SC.
Where the Land Rover was utilitarian, the Range Rover introduced a sense of aspiration. It created an entirely new category: the luxury SUV—now a mainstay of modern motoring.
Among its most significant iterations was the 1990 CSK—named after Charles Spencer King, the visionary engineer behind the original concept. Limited to just 200 examples, the CSK introduced sportier handling and signaled a new intent. It laid the foundation for today’s SUV, marrying elegance and utility in a single, cohesive package.
Another milestone came in 1994 with one of the last Range Rover Vogues produced before the Classic gave way to the P38A. Together, these late-model Classics helped close a defining chapter in not just Range Rover’s history, but in automotive design at large.
The enduring relevance of the Classic lies in its design. Its iconic boxy silhouette—born from function, with flat glass, straight panels, and a perfectly balanced ratio of metal to window— became sculptural in its simplicity. It looked modern in 1970 and still feels contemporary, echoed in everything from the latest Defenders to the newest electric SUVs.
The Classic, and the CSK in particular, demonstrated that ruggedness and refinement could coexist. Today’s luxury SUVs—from Lamborghini to Rolls-Royce— owe their existence to this pioneering vision. For collectors, these late-model Classics are highly sought after. They represent milestones in engineering, and their styling resonates even with those outside the automotive world. The Vogue reflects 25 years of thoughtful evolution, while the CSK commemorates a design so influential it helped shape an entire segment. Few vehicles can claim such a legacy—and even fewer wear it with such grace.
If you're interested in adding a classic Range Rover to your collection, our specialist team would be happy to assist you. Alternatively, if you're considering selling, contact us for a confidential, noobligation appraisal.
opposite 1993 Range Rover Vogue
this page
A 1970 Classic on display at the Louvre—a testament to the revolutionary model’s design credentials.
Chris Wiseman Specialist, Collectors’ Cars chris@webbs.co.nz +64 22 187 7693
Tucked into the heart of Mt Eden, Normanby Fine Wine & Spirits offers a fresh take on how we buy, enjoy, and experience fine wine and spirits. Normanby brings together a boutique retail store, wine bar, and café in one carefully curated space.
The project is led by Liz Wheadon, who also serves as Director of Wine at Webb’s. Normanby is something truly distinctive — a destination shaped by expertise, hospitality, and a shared passion for quality.
Designed by CTRL Space, the interior blends warmth and elegance: reclaimed timbers, soft lighting, and natural textures come together to create a welcoming, timeless space. At its heart is La Cave, a glasswalled, temperature-controlled tasting room for private events and intimate experiences. Throughout the space, artworks and furniture from Webb’s Estate Gallery are on display — and available to take home.
The shelves are stocked with over 1,300 bottles, including wines, spirits, sake and craft beers. A strong focus on France — particularly Champagne and Burgundy — is balanced by a carefully chosen selection of New Zealand’s most exciting boutique producers. A large number of the bottles imported by Normanby, each bottle has a story worth sharing.
By day, the café offers Eighthirty coffee, pastries, deli goods and sandwiches. As the evening draws in, the focus shifts to seasonal light plates, a rotating wine-by-the-glass list, classic cocktails from Theo Tjandra, and a spirit wall that boasts over 200 fine whiskies and cognacs. Any bottle from the retail shelves can be opened and enjoyed onsite for a $20 corkage — making fine drinking both accessible and unpretentious.
With expert guidance from Liz Wheadon, Anthony “T” Sorensen, Zane Winskill, and sommelier Andrea Martinisi, guests are invited to explore at their own pace — to ask questions, discover something new, and take something special home.
This isn’t just a wine shop. It’s a place for discovery, conversation, and connection — shaped by experience and driven by passion.
The Colin McCahon Legacy Project is a unique undertaking to protect and promote the work of one of Aotearoa’s most precious taonga –Colin McCahon.
Colin McCahon, born 1 August 1919 in Timaru, Aotearoa, is one of New Zealand’s most celebrated artists. Alongside painters like Rita Angus and Toss Woollaston, McCahon helped introduce modernism to New Zealand. His work is epic, and it contributes to the way we see Aotearoa.
The Colin McCahon Legacy Project has been initiated by the Colin McCahon Trust with experts from the Museum of New Zealand Te Papa Tongarewa, Auckland Art Gallery Toi o Tāmaki, and the McCahon Family. It is endorsed by former prime ministers, internationally acclaimed contemporary artists, and communities across New Zealand.
This interactive digital platform will showcase McCahon’s remarkable life and works, significantly enhancing the beloved existing catalogue at www.mccahon.co.nz. It will continue to serve researchers, collectors, and enthusiasts by providing access to verified works by McCahon.
The new platform will offer increased accessibility and functionality, creating innovative ways to engage with McCahon’s exceptional life and work. Accompanied by an educational resource for senior secondary students, this project will provide access for millions of viewers both in Aotearoa and abroad.
New features will include:
• Visual descriptions for each of McCahon’s 1,800+ works
• Expanded catalogue entries including contextual information and literary references
• High resolution, zoomable images
• A media-rich biography of McCahon’s life and work
• Diverse perspectives on McCahon’s enduring impact and significance.
We invite you to support and celebrate McCahon’s legacy through this exciting new initiative.
www.mccahonproject.co.nz
Miri Young-Moir, Project Lead | The Colin McCahon Trust | catalogue@mccahon.co.nz
The Colin McCahon Trust is a Registered Charity CC28806 Thank you to Webb’s, a strategic partner of the Colin McCahon Legacy Project
Colin McCahon, Angel of the Annunciation, oil on cardboard, 1947. Purchased 1980 with Special Projects in the Arts funds. Te Papa (1980-0008-3). CM001039. Reproduction courtesy of the Colin McCahon Trust.
COLIN M c CAHON | CLOUDS 3 , 1975 (2024)
EDITION OF 100
Screen-print / 640 gsm Hahnemühle cold pressed paper / 1035 x 700 mm
The Trust is excited to present a limited edition print of Clouds 3, 1975 (2024) for purchase to support the fundraising effort for this project. Proceeds will go directly to the Trust.
To discuss purchasing a print, please get in touch with Webb’s art department.
Stephanie AuYeung, Manager, Art | stephanie@webbs.co.nz
DDI (+64) 09 529 5600 | M (+64) 022 301 8259
Tivaevae, the vibrant quilted textiles created by Cook Islands women, are far more than decorative craft—they are repositories of memory, community, and cultural continuity. Each tivaevae is lovingly hand-sewn, often over months or even years, in collaborative settings where stories are shared as stitches are made. The practice is not only a form of textile art but a living expression of Pacific values: patience, generosity, and deep familial ties.
They are traditionally gifted for life’s most significant occasions—weddings, birthdays and funerals. In doing so, they carry emotional weight: they are gifts of time, care, and collective identity. Their bold, symmetrical patterns often feature local flora—frangipani, hibiscus, breadfruit leaves—rendered in rich colours that celebrate the natural beauty of the islands. Each motif is chosen with intent, speaking of love, loss, hope, and belonging.
Leah Morris Head of Decorative Arts
+64 22 574 5699
leah@webbs.co.nz
The origins of tivaevae are a blend of adaptation and resilience. Introduced in the 19th century through missionary influence and colonial textile traditions, quilting was embraced and transformed by Cook Islands women into something wholly unique. While the tools may have come from abroad, the meaning was rooted firmly in Polynesian ways of seeing and being.
Today, tivaevae remains a living art form—evolving, yet steadfast. Contemporary makers are pushing its boundaries, integrating new materials and political narratives, while maintaining the spirit of collective creation. In exhibitions and private homes alike, tivaevae stand as powerful visual statements—of women’s artistry, of cultural pride, and of the enduring strength found in softness.
To encounter a tivaevae is to be wrapped in a story. Every stitch is a conversation between generations. Every fabric choice is an act of remembrance. And every completed quilt is a legacy—not just sewn, but felt.
—Our Fine Jewels, Watches & Luxury Accessories Department
With experience gained across three continents and in some of the most prestigious luxury retailers in the world, our Fine Jewels, Watches & Luxury Accessories team are known for their deep industry knowledge and relationships with their clients—as well as bringing the brightest smiles and most splendid outfits to the Webb’s gallery.
With monthly online auctions, and quarterly premium online auctions, the Fine Jewels, Watches & Luxury Accessories department brings to market the finest gold, diamonds, precious metals and stones, rare and special watches, designer handbags and accessories. Our team of specialists work closely to curate and present high-quality catalogues. These are the people in charge of assessing, appraising, documenting and finding new homes for your most precious objects of adornment.
Head of Fine Jewels, Watches & Luxury Accessories, ajp (gia) christinep@webbs.co.nz
+64 27 929 5607
Christine leads our Fine Jewels, Watches & Luxury Accessories department, bringing with her nearly three decades of experience in the jewellery industry. Her expertise spans bespoke design, wholesale sourcing, and luxury retail, underpinned by respected credentials including GIA Diamond Grader and Accredited Jewellery Professional (AJP) certifications, alongside a diploma in Fashion Design.
Her career has seen her source pieces both regionally and internationally, including a business development role with Lester Brand, and most notably, sixteen distinguished years as Boutique Manager for Partridge Jewellers in Newmarket. There, she built strong relationships with global jewellery maisons and Swiss watchmakers, developing a particular expertise in Rolex and Tudor timepieces.
Christine joined Webb’s in April 2022 to lead this growing category. Her deep knowledge, discerning eye, and clientfirst approach have been instrumental in shaping our luxury offering.
Manager, Fine Jewels, Watches & Luxury Accessories, ajp (gia) sam@webbs.co.nz
+64 22 499 5610
Sam is our Manager of Fine Jewels, Watches & Luxury Accessories at Webb’s, bringing with him two decades of experience in luxury retail — with a strong focus on fine jewellery and timepieces. Over the past 14 years, he has built deep expertise in horology, specialising in both modern and vintage watches.
His career has included senior roles with some of the UK’s most prestigious names in retail, including Harvey Nichols, Selfridges, the Rolex Boutique in London’s Knightsbridge, Smythson of Bond Street, and David M. Robinson Jewellers. Since relocating to Aotearoa, Sam continued to contribute to the industry through his work with Partridge Jewellers.
Sam holds a Jewellery AJP diploma from the Gemological Institute of America (GIA), and brings a discerning eye, technical insight, and genuine passion for luxury craftsmanship to every client interaction at Webb’s.
Anne Xu
Administrator, Fine Jewels, Watches & Luxury Accessories, ajp gd (gia) jewels@webbs.co.nz +64 9 529 5607
Anne Xu brings a considered and detaildriven approach to her role at Webb’s, shaped by a family heritage of ceramic artists and writers that fostered an early appreciation for craftsmanship and aesthetics.
She holds a bachelor’s degree in art and a master’s in management, and is GIA-certified as both an Applied Jewellery Professional (AJP) and Graduate Diamonds (GD). She is currently completing the prestigious Graduate Gemmologist (G.G.) programme.
Anne is known for her thoughtful and reliable service, working closely with clients and colleagues to ensure every auction catalogue is meticulously managed, delivered on time, and handled with care.
Gemmologist & Specialist in Fine Jewels, ajp g.g (gia) marcela@webbs.co.nz
+64 22 427 0233
Marcela brings over 25 years of international experience in the jewellery industry, with a career that spans South America, the United States, and New Zealand.
She began her journey in her family’s gemstone wholesale business in South America, which sparked a lifelong passion for gemmology. In 1995, she trained as a Graduate Gemmologist at GIA’s Santa Monica campus. In the 2000s, she managed her own jewellery business in Fort Lauderdale, Florida, followed by ten years running a gemmological laboratory in Colombia.
Since moving to New Zealand, Marcela has worked with renowned luxury brands including Rolex. In 2019, she joined Webb’s as a Fine Jewels & Watches Specialist, where she continues to share her deep knowledge and love for jewellery with clients across the country.
Luxury Accessories Specialist sarah@webbs.co.nz +64 22 096 5610
Sarah Barty brings a rich background in fashion, textiles, and luxury retail to the Fine Jewels, Watches & Luxury Accessories department. Her career has included two decades in wholesale, ownership of the boutique label Sarah Grey Jewellery & Accessories for eight years, and seven years running Little Stitch Boutique—curating exclusive fashion brands from the US.
Inspired by her father, a manufacturing jeweller, Sarah has long held a deep appreciation for exceptional design and meticulous craftsmanship. Her expertise lies in the appraisal of luxury accessories, with a strong focus on authenticity, quality, and timeless style.
At the heart of Sarah’s approach is a commitment to building trusted client relationships and delivering memorable, detail-driven service. Her passion for the ever-evolving worlds of fashion and luxury continues to guide her discerning eye for standout pieces.
Pan Head of Asian Arts
In a landmark moment for Asian art in New Zealand, Webb’s recent live auction on Sunday 18 May 2025, offered collectors a rare convergence of quality, provenance, and connoisseurship. At the heart of the sale was an extraordinary private collection—one that captivated bidders both here and abroad.
The auction’s centrepiece—the Tui Collection—emerged as a defining success. Lovingly assembled by a Napierbased family over a span of 30 years, the collection speaks to a refined eye and a deep, intuitive understanding of Asian material culture. With a particular emphasis on traditional Chinese design, the collection included fine examples of huanghuali furniture—coveted for its golden hue, complex grain, and historic associations with the Ming and Qing dynasties. Each piece told a story of discernment and of travel, acquired during extended periods spent living and working in Asia.
The Tui Collection would go on to set a new benchmark: the highest grossing singleowner Asian art collection ever offered at auction in New Zealand. Collectors responded with vigour, recognising the integrity and rarity of the works on offer. From intricately-carved jade pendants to elegantly-composed ink scrolls, the
est $8,000 — $12,000
collection demonstrated the full sweep of Asian artistic tradition. The competitive spirit was evident, with every major lot drawing strong interest across multiple platforms, both in-room and online.
What set the Tui Collection apart—beyond its quality—was a sense of authenticity and emotional investment. It was not the result of opportunistic buying, but of sustained, thoughtful collecting driven by curiosity and admiration. In this, it resonated with today’s buyers, who increasingly value narrative and provenance as much as visual impact.
Tom Pan, Head of Asian Arts at Webb’s, reflected on the significance of the event:
“The Tui Collection represents an extraordinary journey through Asian art—one that we’ve been privileged to share with the public. Its success speaks not only to the quality of the works, but to a growing appetite among collectors for pieces that carry both beauty and meaning.”
As Webb’s continues to shape and respond to the evolving art market in Australasia, this auction stands as a milestone—a moment where private passion became public revelation, and where the act of collecting met its ultimate recognition.
Webb’s consistently achieves excellent results for Aotearoa’s renowned blue chip artists. We have observed first-hand competitive bidding for many fantastic works which have often exceeded their expected estimates. Aotearoa’s secondary market is booming and this is an excellent time to consign your artworks with the team of specialists at Webb’s.
1
2
3 Pat Hanly D
4
5
auckland
33a Normanby Road
Mount Eden
Auckland, 1024
wellington
23 Marion Street
Te Aro
Wellington, 6011
webbs.co.nz
We are currently accepting entries for our Material Culture Live Auction scheduled for Wednesday 12 November, 6.30pm at our Mount Eden Gallery.
Material Culture is a celebration of history, bringing together rare items from around the globe and which represent a snapshot of human history across various cultures, eras and expert art and craft traditions.
A recent sales highlight which reflects the market’s enthusiasm for exceptional objects is a framed kahu kiwi (pictured above). Crafted using traditional weaving techniques to incorporate the feathers of the kiwi bird into muka fibre for special garments, this lot sold for $131,450 (including BP) in our recent May 2025 auction.
If you have an item or collection you are exploring bringing to market, please contact our expert team for a complimentary appraisal.
A Framed Kahu Kiwi,
est $120,000 — $150,000
price realised $131,450
Leah Morris
Head of Decorative Arts
leah@webbs.co.nz
+64 22 574 5699
Christchurch Programme
The first stop on the Works of Art tour allows our growing South Island audience to experience these seminal pieces, in person, in central Christchurch. Webb’s Art Director Emily Gardener and Christchurchbased Art Specialist Sean Duxfield will be available throughout the viewing period to discuss any of the artworks and accept consignments for upcoming auctions.
Wellington Programme
Dr Chelsea Nichols, Senior Curator at the Dowse Art Museum will join Webb’s Mark Hutchins-Pond at the Wellington launch event to discuss the works on show and celebrate this fantastic exhibition. Highlights include pieces by Ralph Hotere, Robyn Kahukiwa, Bill Hammond, Peter Robinson, Tracey Emin, and many more.
Auckland Programme
Our launch event will see Neil Ieremia’s iconic dance troupe Black Grace offer their trademark, emotive, contemporary and intensely local dance response to some of the masterworks on offer. The entire catalogue will be on display ahead of the live auction.
auckland
33a Normanby Rd
Mount Eden
Auckland 1024
wellington
23 Marion Street
Te Aro
Wellington 6011
christchurch
141 Cambridge Terrace
Central City
Christchurch 8013
Viewing on Request
Emily Gardener Director of Art
We are delighted to present our mid-season Works of Art catalogue for 2025. This offering combines all the rare privileges of working in the auction world from repatriating significant works to Aotearoa, to reacquainting ourselves with past treasures, seeing artworks in all their glory in situ, celebrating artists and notorieties, and uncovering stories that may otherwise have gone untold.
Our cover star features Ralph Hotere’s Requiem (B) (For Tony) . Its seductive surface rendering and workmanship alone are enough to make one pause for a closer look; however, the story of how it came to be here is equally as intriguing. Until quite recently, it was believed that Ralph Hotere’s series Requiem (B) (For Tony) consisted of three paintings. The artist in fact created four, one of which was bought by the Tokoroa Arts Trust in 1974. Hotere had entered the painting into the Tokoroa Arts Society’s annual art competition and won; the Trust was so taken with the work they subsequently acquired it. The painting was never exhibited publicly following its competition debut and, due to insufficient funds for insurance, the work was loaned to the South Waikato District Council, where it hung outside the mayor’s office until now. Its recent unearthing only adds to the painting’s fascinating provenance.
As we approach Webb’s 50th anniversary next year and reflect on our history, it has been a treat to delve into our archives to research the original sales records of a suite of works that have returned to market. Of note is the breathtaking arrival of Charles Frederick Goldie’s Portrait of Te Aho o te Rangi Wharepu (1939). First auctioned by Webb’s in July 1985, the work was acquired by a private collector before being gifted to the current owners, where it has remained in their care for the past three decades. The masterpiece exudes the same aura, or wairua, as if it had freshly captured the illustrious sitter on canvas.
Decades on, portraiture by contemporary artists continues to inspire and pay homage to key figureheads. Liz Maw’s Mary is a love poem to a revered art dealer in the Aotearoa art world, echoing the European old-master tradition of portrait painting. Maw’s portraits testify to the ongoing relevance of the art of the past to the urgent present.
Paul Dibble’s majestic Soft Geometric Medium Comb was a private commission in 2008, which found its home amidst farmland, overlooking the shores of the Pakiri coastline. Our team visited the sculpture to capture its grandeur and met its herd, including Minxsy, the most assured and inquisitive of the flock.
We are honoured to work alongside the leaders that have come to define art history in Aotearoa and to share their stories. Art historian Christina Barton recalls the shocking moment when Billy Apple’s protest piece The Given as an Art-Political Statement (1979) made waves in Wellington; artist and writer Darcy Nicholas offers a touching personal account of the legacy of senior Māori artists Buck Nin and Sandy Adsett; and Robin Kahukiwa’s record of her participation as an international delegate in the 1993 United Nations Year of Indigenous Peoples, alongside Caren Wickliffe, now a Judge of the Māori Land Court, embodies the essence of her creation. Other auction highlights include British YBA artist Tracey Emin’s International Woman limited edition with Longchamp, and important pieces by eminent Aotearoa practitioners Bill Hammond, Pat Hanly, Chris Heaphy, Julia Morison, Jude Rae, Peter Robinson, Grahame Sydney, Suzanne Tamaki, Gordon Walters, Robin White, Brent Wong and many more.
In visceral response to these masterworks, Webb’s is thrilled to invite Black Grace dance company to translate their emotive power across art forms into new modes of expression, movement and understanding during our Auckland Preview.
We look forward to celebrating this remarkable offering with you.
385
$7,000 — $9,000
Private collection, Auckland.
2 Michael Illingworth Study for Androcles Last Year ink on paper
195 × 250mm
est $5,000 — $7,500
provenance
Private collection, Auckland. Acquired from The Estate of Michael Illingworth, Art+Object, Auckland, 14 September 2017, Lot 15. Acquired directly from the artist's estate, The Estate of Michael Illingworth.
3 Terry Stringer Green Man 2022 bronze, 4/10 signed Terry Stringer, dated 2022 and inscribed GREEN MAN with incision on base
280 × 80 × 85mm (widest points) est $4,000 — $6,000
Private collection, Auckland.
2013 pigment inks on Hahnemühle Photo Rag, 2/10
815 × 1090mm
est $12,000 — $18,000
provenance
Private collection, Auckland.
6 Ralph Hotere
Winter Solstice, Carey's Bay 1991
5 Gordon Walters Karaka
1979
screenprint on paper, 26/50
signed Gordon Walters, dated 1979 and inscribed Karaka in graphite lower edge
540 × 430mm
est $25,000 — $35,000
provenance
Private collection, Canada.
oil stick on board
signed Hotere, dated 13-11-91 and inscribed Carey's Bay in pastel lower right
350 × 260mm
est $15,000 — $25,000
provenance
Private collection, Northland. Acquired from Fine Arts, Webb's, Auckland, 7 December 2004, Lot 97. Acquired from Fine New Zealand Paintings, Webb's, Auckland, 7 December 2004, Lot 97.
7 Bill Hammond Fish Finder 3 2003
lithograph on paper, 21/45
signed W D Hammond, dated 2003 and inscribed Fish Finder 3 in graphite lower right; editioned 21/45 in graphite lower left 560 × 455mm
est $6,000 — $8,000
provenance
Private collection.
8 Bill Hammond Singer Songwriter II 2001
lithograph on paper
signed W D Hammond, dated 2001 and inscribed Singer Songwriter II in plate upper right 690 × 840mm
est $15,000 — $20,000
provenance
Private collection, Christchurch.
10
Joanna Braithwaite Dog's Life 2011 oil on canvas
signed J Braithwaite, dated 2011 and inscribed Dog's Life in ink verso 1120 × 1120mm
est $9,500 — $15,000
provenance
Private collection, Wellington. Acquired from NZ & International Fine Art — Part One, Dunbar Sloane, Wellington, 21 April 2021, Lot 26.
exhibitions Joanna Braithwaite: Significant Others, New Zealand Portrait Gallery, Wellington, 2 June — 7 August 2011.
Tracey Emin International Woman 2004
fabric and wool applique collage on leather; ink on linen, cotton lining, edition of 200 signed Tracey Emin and inscribed NUREMBURG LONGCHAMP in ink on fabric rosette upper right 360 × 500 × 180mm (widest points) est $5,000 — $9,000 provenance
Private collection, Auckland. Acquired from Longchamp, Paris, 2004.
13
Billy Apple EXPOSÉ: 17 November 1979, The Given as an Art-Political Statement, National Art Gallery 1979 ink and graphite on exhibition poster; timber batten and screw signed Billy Apple in graphite lower right; signed Billy Apple and dated December 1979 in ink lower edge 650 × 910mm; 585 × 850mm est $12,000 — $20,000 provenance
Private collection, Auckland.
Excerpt from Art New Zealand, Issue 15 Autumn 1980.
Front cover of Art New Zealand, Issue 15 Autumn 1980.
For ten months between October 1979 and March 1980, conceptual artist Billy Apple (1935–2021) returned to New Zealand from his base in New York to undertake a second ‘national tour’ – after his notorious first visit in 1975 – in which he executed a new series of site-specific installations, each subtitled The Given as an Art-Political Statement. With assistance from art writer and tour organiser Wystan Curnow, Apple delivered nine projects in public and dealer galleries in Auckland, New Plymouth, Whanganui, Wellington, Christchurch and Dunedin. In each case these entailed the artist assessing the site (what he understood as the ‘given’), proposing to the gallery owner or museum director an alteration to their space, and enlisting gallery staff and local artists to undertake the designated changes, usually in the interests of aligning it more fully with the clean lines of the modernist white cube.
An intriguing adjunct to the artist’s actual interventions are the posters Apple produced for each project, which, to varying degrees, conform to a graphic template that was to become Apple’s enduring signature. Each poster operated to announce
the ‘exhibition’, but also functioned as a visual remainder, documenting the before and after of what the artist had done. As part of a conceptual practice that did not produce saleable objects, Apple’s alterations could not be commodified, nor were the posters imbued with intrinsic value, being designed as multiples for distribution.
However, there were exceptions to this, and the framed artworks produced alongside Exposé, the project he undertook at the National Art Gallery in Wellington, are a case in point. Here, the artist laid out evidence of his working process, rendering visible the exacting attention he paid to the graphics he designed to announce this ‘art-political statement’, and including artefacts associated with the event that took place in the gallery on 17 November 1979. These are unique relics that reveal the ‘hand’ of the artist and preserve items salvaged from the occasion.
‘Exposé’ has a double meaning. On the one hand it describes the action that took place, which consisted of the deinstallation of two mural-scale paintings by British artist Sir Frank Brangwyn (1867–1956) that had hung in the entrance foyer
to the National Art Gallery for more than two decades, adding to the atmosphere of fussy provincialism that incoming director Luit Bieringa (1942–2022) was happy to dispel when Apple proposed the idea. Removing the paintings literally exposed the bare walls that had been hidden for years, leaving two ghostly rectangles of lighter paintwork that gallery staff had regularly painted around.
But an ‘exposé’ was also the inevitable consequence of finding that the paintings had been secured with screws through the face of each canvas and stretcher, a shocking act of professional incompetence hidden by the addition of battens painted to match the original frames. Apple had no inkling this would be the outcome of his injunction, so as well as calling out the museum’s conservatism he was able to lambast the institution for its ineptitude, taking a section of batten and the only screw that his helpers were able to retrieve intact as evidence of this transgression. No wonder he decided to frame his proof, and diarise the place and occasion in the distinctive form of a Billy Apple poster.
Billy Apple generously contributed his time and talent to a wide range of fundraising and community initiatives. Rather than simply donating existing works, he created unique, one-off pieces tailored specifically to each event or cause.
A striking example of this generosity is Art for AIDS , originally created as a painting in 2000 and later developed into an editioned screenprint. For the 2002 MAC AIDS Fund Art Auction, Apple reworked the original design, combining screen printing with hand colouring — using MAC’s “Merry Mistress” lipstick to fill in the outline of the ribbon.
This simple gesture of ‘applying makeup’ highlights Apple’s masterful ability to blend art and branding, creating a powerful visual statement that became an enduring symbol of the campaign.
Through initiatives such as Art for AIDS, Apple demonstrated the vital role artists can play in addressing urgent social and humanitarian concerns – showing that art can be more than personal expression; it can also be a powerful tool for solidarity and progress.
14
Billy Apple Art for Aids 2002
MAC Merry Mistress lipstick and screenprint on paper
560 × 760mm
est $18,000 — $24,000
provenance
Private collection, South Island. Acquired from MAC Art for Aids charity auction in support of New Zealand Aids Foundation, Auckland, 2002.
est $4,000 — $6,000
17
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
provenance
Private collection.
exhibitions Declaration: A Pacific Feminist Agenda, Auckland Art Gallery Toi o Tāmaki, Auckland, 26 March 2022 — 31 July 2022, another of the edition.
literature
Ane Tonga (ed.), Declaration: A Pacific Feminist Agenda, (Auckland: Auckland Art Galley Toi o Tāmaki, 2022), 168.
18
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
provenance
Private collection.
exhibitions Declaration: A Pacific Feminist Agenda, Auckland Art Gallery Toi o Tāmaki, Auckland, 26 March 2022 — 31 July 2022, another of the edition.
literature
Ane Tonga (ed.), Declaration: A Pacific Feminist Agenda, (Auckland: Auckland Art Galley Toi o Tāmaki, 2022), 170.
1 Megan Tamati-Quennell, “Suzanne Tamaki’s Treaty of Why Tangi,” Art Monthly Australasia 242, August 2011. 2 Ibid.
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.
NZ Curator Megan Tamati-Quenell identifies the primary motivation behind Tamaki’s work as being political. She writes of her work: “they are created conceptually, provocatively, and with political intent.”1
Suzanne Tamaki's Treaty of Why Tangi series highlights the continuation of a shift in her art practice first seen in 2005. Two works from this series first featured in the City Gallery Wellington exhibition, Maiden Aotearoa (21 May – 26 June 2011) which highlighted the exotic, objectified representations of Māori women as ‘dusky maidens’ in nineteenth- and early twentieth-century tourist postcards.
‘The show's ostensible focus was… photography — the basis of those constructed historical images by contemporary Māori artists' mediations on the politics of photographic representation. Made specifically for the City Gallery Wellington exhibition, Tamaki's artworks consisted of two very large photographic images of Lisa Ward, who wears moko kauae (traditional chin tattoo), is dressed in a customised Union Jack dress created by Tamaki from a
New Zealand flag.”2 Tamaki acquired this flag when it was decommissioned from Te Papa’s official flagpole.
In her sardonically titled photographic series Treaty of Why Tangi, Tamaki uses word play to agitate discussions about colonisation and its effect on Māori culture. Taking the New Zealand flag as her starting point, Tamaki destabilises symbols of nationhood in a pair of three-quarter, life-size, full length portraits of a powerful Māori woman proudly wearing her moko kauae. The garments, fabricated by Tamaki to enunciate the narrative and set off heavily symbolically loaded accessories, are modelled by the artist’s friend, Lisa Ward, who was the Collection Manager, Humanities at Te Papa Tongarewa, Museum of New Zealand at the time.
In the first image, For God, For Queen, For Country, 2011, the model wears a top hat, gloves and pearls, and is draped in a New Zealand flag that has handstitched tāniko (weaving) through the red cross to imitate korowai (traditional Māori cloaks).
In the second image, For Māori, For Sure, 2011, Ward stands defiantly, fiercely clutching scissors in one hand and a ripped piece of flag in the other. Gone is the top hat to better display her moko kauae, as is the pearl necklace, which has been replaced by a pounamu pendant and earrings made from white satin ribbon. When read together, these portraits of Ward move from what Tamaki describes as “the perfect colonised native” to a wāhine toa (female leader), claiming tino rangatiratanga (sovereignty).
19 Richard Killeen From Here to There With Love 1979
watercolour on paper
signed Killeen, dated 2.5.79 and inscribed From here to there with love in graphite lower edge
295 × 420mm
est $8,000 — $14,000
provenance Private collection, Canada.
20 Richard Killeen untitled 1979 ink on paper signed Killeen and dated 5.7.79 in graphite lower edge
275 × 450mm
est $8,000 — $14,000
provenance Private collection, Canada.
21 Richard Killeen
Columns Everywhere 1984
watercolour on paper
signed Killeen, dated 6.84 and inscribed
Columns Everywhere in brushpoint lower right
905 × 705mm
est $7,000 — $12,000
provenance
Private collection.
22 Richard Killeen
Forgotten Memory 1982
acrylic and graphite on paper; acrylic on card on paper
signed Killeen, dated 1982 and inscribed
Forgotten Memory in graphite lower edge
760 × 560mm
est $10,000 — $15,000
provenance
Private collection, Christchurch.
23 Laith McGregor untitled 2016 graphite on paper 2310 × 1520mm
est $19,000 — $25,000
provenance
Private collection, Auckland. Acquired from Starkwhite, Auckland, 2016.
exhibitions Laith McGregor, Swallow the Sun, Starkwhite, Auckland, 2016.
You could say that artist Laith McGregor is one of Australia’s art-coolies, one amongst the country’s mob of early-career artists to have established themselves within both the Antipodean and international contemporary circuits.
Regular patrons of Auckland’s Starkwhite, McGregor’s local dealer gallery, will be familiar with the artist’s signature monochromatic palette of inky blue, matt black and vacant white. The artist is an avid skateboarder, and his work is notable for its recurring pop iconography and use of (stationery-issue) blue biro and pencil — mediums he uses to painstakingly, ritualistically create highly detailed hand-drawn works. The large work Untitled, featured in this catalogue, spans a surface area of 2310 × 1520mm, and is entirely hand drawn.
While drawing is McGregor’s cardinal modus operandi, he also engages with a range of materials to present bodies of work that are texturally diverse. There’s a technical tension that McGregor creates by juxtaposing disparate styles; his mark making shifts between meticulously rendered and playfully loose. Materially, he contrasts the handmade with culptures and readymades. By the number of opposing happenings recurring in McGregor’s work, he seems to have a keen fascination for constructing contrary situations.
In Untitled, which featured in McGregor’s Starkwhite show Swallow the Sun (2016), we see two prominently positioned orbital hollows, or, rather, two solid but featureless forms. Plausibly both, because the twin voids or conformations consistently appear throughout McGregor’s work, “sometimes as devices through which to look at another piece, or as negative spaces that give the suggestion of eyes in otherwise non-figurative art works.”1 There’s something about McGregor’s approach that feels together gnostic and absurd – unnerving while also comical – alluding to a practice underpinned by perennial existential concerns. However, for an artist who cites the British comedy The Mighty Boosh as a creative influence, providing an interpretative resolution to the work would equate to trying to decode a riddle.
1 “Laith McGregor,” Starkwhite, https:// www.starkwhite.co.nz/exhibition/ laith-mcgregor-swallow-the-sun/
Robin White Mangaweka 1974
screenprint on paper, 30/36 signed ROBIN WHITE, and dated JULY, '74 in graphite lower right; inscribed MANGAWEKA and editioned 30/36 in graphite lower left 610 × 450mm est $15,000 — $20,000
provenance Private collection, Cambridge.
25 Robin White Olympia, Maketu 1973
screenprint on paper, 18/35 signed ROBIN WHITE and dated JUNE, '73 in graphite lower right; inscribed OLYMPIA, MAKETU and editioned 18/35 in graphite lower left 490 × 620mm
est $15,000 — $20,000
provenance
Private collection, Cambridge.
The Complete Set of Barry Lett Multiples, with frontispiece and original box 1968 screenprint on paper
750 × 560mm (each; Hotere, Mrkusich, Binney, Walters, Ellis, Smither, Hanly, Williams), 560 × 750mm (each; Ritchie, Woollaston, McCahon, Illingworth, frontispiece), 910 × 695mm (original box) est $24,000 — $32,000
provenance
Private collection, Hamilton. Acquired from A2 Art, Webb's, Auckland, 28 February 2017.
note
A complete set of Barry Lett Gallery Multiples (1968) accompanied by frontispiece and original box. Including the following prints: Colin McCahon, North Otago Landscape; Toss Woollaston, Two Heads; Ross Ritchie, Three; Gordon Walters, Tawa; Michael Smither, Wave Invading Rockpool; Mervyn Williams, Midas Finds his Soul; Robert Ellis, Motorways; Michael Illingworth, Tawera; Pat Hanly, Inside the Garden; Ralph Hotere, Red on Black; Don Binney, Pacific Frigate Bird; Milan Mrkusich, Passive Element
27 Séraphine Pick No Rest for the Wicked 2004 oil on canvas on board
signed S.PICK and dated 2004 in brush point lower right (each work)
335 × 265mm (each) est $6,000 — $8,000
Private collection, Christchurch.
“Walters’s work is important not just because he was one of the first to produce successfully resolved abstractions in a generally unsympathetic artistic and social climate in New Zealand, but also because his abstractions make nonsense of the still commonly found prejudice that work of this kind is no more than ‘pattern making’, limited, ‘empty’, ‘ail head and no heart’. His work is, if you like, 'about' seeing, and the subtleties of perception and feeling, non-objective feelings.”1
— Leonard Bell
est $40,000 — $60,000
29 Gordon Walters
Untitled (XIV) Grey Stripes Abstract 1979
acrylic on canvas
signed Gordon Walters and dated 79 in ink verso 610 × 490mm est $40,000 — $60,000
provenance
Private collection.
exhibitions
Gordon Walters: New Vision; Dunedin Public Art Gallery, Dunedin, 10 November 2017 — 4 April 2018. Gordon Walters: New Vision; Auckland Art Gallery
Toi o Tāmaki, Auckland, 7 July 2018 — 4 November 2018. Gordon Walters: New Vision; Christchurch Art Gallery Te Puna o Waiwhetū, Christchurch, 24 November 2018 — 17 March 2019. Gordon Walters: New Vision; Museum of New Zealand Te Papa Tongarewa, Wellington, 29 May 2019 — 29 September 2019.
acrylic on copper signed W D Hammond, dated 1990 and Dead Ironwood Auckland Islands #1 in brushpoint lower right
est $35,000 — $45,000
collection, Greymouth.
31 Bill Hammond Crime Watch 1990
acrylic on wallpaper signed W D Hammond, dated 1990 and inscribed CRIME WATCH in brushpoint lower edge 1050 × 1570mm est $50,000 — $80,000
Private collection, Auckland. Acquired from Fine New Zealand & Foreign Paintings and Prints, Webb's, Auckland, 12 December 2002.
Before he became obsessed by birds and began painting the signature bird-people that would establish him as a market favourite, Bill Hammond was a melomaniac, a drummer with a paintbrush making punky, fleshy, volatile, dystopian, gritty, repulsive, rock’n’roll paintings.
If that seems like a lot of adjectives, it’s because Hammond’s early work is hyperactive, angular, filled with multiple, jarring perspectives, figures morphing into land masses, the alps sprawling across tabletops, snow-capped mountains sprouting veins, theatrical curtains falling from the sky to divide acidic plains, splicing space that could be interior, exterior or both.
As curator Justin Paton points out, Hammond’s interiors came at a time when “the domestic interior had begun to trump landscape as a subject for local painters”; a necessary response to a canon dictated for so long by colonial depictions of the land.1
The titular work from his 2011 exhibition at Wellington’s Peter McLeavey Gallery, Cornwall Road Cav e (2011), is an aqueous teal-green scene of graceful bird-people gathered inside the mouth of a large cave, many of them holding vessels from which emerald smoke rises in sinuous plumes. The title Cornwall Road Cave references an actual road in Lyttleton, one that intersects with Canterbury Street, where Hammond’s long-time studio was located. Although there is no written record of a cave of this name, the hills of Lyttleton are pocked with caves such as Urumau, a sacred cave and urupā just a short hike from Hammond’s studio.
In his poetic essay “In Search of the Birdman” (printed alongside writing from numerous other creatives in the
book Across the Evening Sky , published after Hammond’s death in 2021), Ngāi Tahu writer Nic Low describes cycling in search of the caves that appear across many of Hammond’s paintings, visiting Horomaka Island, Te Ana a Hineraki, Moncks Cave and Evans Pass. From here, Low describes what he sees, what Hammond saw, “This is the view from Hammond’s caves: Horomaka as smoking volcano, as stands of bush against luminous space. As a place peopled by birds.” 2
Low’s text reflects the Aotearoa Hammond conjures in his birdland paintings, which he began painting after visiting the sub-Antarctic Auckland Islands south of Bluff, a trip that inspired him to imagine a prehistoric land, predator free and populated only by birds. In his Cornwall Road paintings, Hammond visualises his anthropomorphic birds in a renovated cave, the ceiling reinforced by an ionic column, with terraced seating and a polished floor upon which is placed a large, Greek-style urn decorated with images of nature: clouds, leaves, grasses and waves, as well as a ghostly bird-person holding another urn above a maunga, suggesting that these anthropomorphic figures have formed their own culture not dissimilar to that of ancient human civilisations. While this image is beautiful, even utopian, one cannot help but wonder about these birds revealing such human proclivities as the desire to build, to engage in rituals, to make art. So far, all peaceful activities, but ones that mirror the so-called progress of human civilisation, a march that eventually reaches the scenes Hammond was painting in the 1980s, of madness, excess, paranoia and decay.
1 Justin Paton, “Apocalyptic Wallpaper,” 23 Big Pictures (Dunedin Public Art Gallery, 1999), 8.
2 Nic Low, “Bill Hammond: In Search of the Birdman,” The Spinoff, December 7, 2021, https://thespinoff.co.nz/books/07-12-2021/ bill-hammond-in-search-of-the-birdman
32 Bill Hammond
Cornwall Road Cave 2011
oil on linen
signed W. D. Hammond, dated 2011 and inscribed CORNWALL ROAD CAVE in brushpoint lower right 690 × 1490mm
est $300,000 — $450,000
provenance
Private collection.
exhibitions
Cornwall Road Cave, McLeavey Gallery, Wellington, 16 November — 10 December 2011.
literature
Peter Vangioni with Tony de Lautour, Rachael King, Nic Low, Paul Scofield and Ariana Tikao, Bill Hammond: Across the Evening Sky, (Christchurch: Christchurch Art Gallery Te Puna o Waiwhetū, 2021), 118–121.
33 Peter Robinson
This Weeks Special c1994 acrylic and oilstick on wood inscribed THIS WEEKS SPECIAL in oil stick centre face; inscribed THIS WEEKS SPECIAL in oil stick verso 850 × 1000 × 350mm (widest points) est $10,000 — $15,000
Auckland.
The mechanics of humour is a funny thing. Any good joke requires a cultivation of community and mutual understanding, often relying on shared knowledge or presumed truths. Therein, the joker lays their set-up, building like a tower of cards, before the final punchline pulls the rug out from under us. Artists like Peter Robinson (Kāi Tahu, Pākehā) employ the whiplash potential of humour to its full capacity – inciting a laugh, but also leaving us to reflect on our own discomfort and the complicity of understanding that brought us here.
Robinson’s sardonic approach can be considered in part a response to, and result of, his time. He is credited as one of Aotearoa’s ‘Young Guns’ – dubbed by the late art historian, curator and academic Jonathan Mane-Wheoki – the generation of young Māori artists who emerged from their art school training in the 1990s to challenge the more traditional leanings of their Māori modernist forebears. Bolstered by growing appetites both at home and abroad, especially after the success of 1984’s Te Māori exhibition at the Metropolitan Museum of Art in New York, ‘Young Guns’ such as Peter Robinson, Lisa Reihana, Michael Parekōwhai and Shane Cotton carved out their own irreverent and postmodern approaches: navigating the contradictions of indigeneity in a rapidly globalising world and, indeed, the complexities of Māoritanga in an Aotearoa where biculturalism was becoming a point of increasingly hot contention.
Culture and commerce certainly collide with deliberately uncomfortable effect in the pointed phrases of This Weeks Special and Sorry Sold Out, scrawled haphazardly in oil stick across their surfaces. On the one hand, black, white and red are the deeply symbolic colours of Māori visual language, seen
abundantly from traditional kōwhaiwhai patterns through to the modern-day Tino Rangatiratanga flag. Yet simultaneously, this same palette is also entrenched in the everyday language of commercial enterprise: to be ‘in the red’, ‘in the black’, and so forth. To flog ‘this week’s special’ suggests the commodification of Māori identity – quite literally boxed up and roughly packaged – as something that can fall cyclically in and out of favour, value ascribed one day and quickly retracted the next, subject to the follies of market trends and public favour. In the same vein, Sorry Sold Out also dances playfully, and painfully, in double-edged meaning. To be sold out implies clear, recognised value and admirable demand for the commodity in question, and yet the phrasing also proffers the idea of the cultural ‘sell-out’, someone to be decried for riding on the coat tails of their cultural identity as a means to curry favour and socioeconomic capital. Robinson is no stranger to such allegations, having explicitly quantified his own 3.125 percent Māori heritage in his widely referenced Percentage Paintings from the same period. His work acknowledges the contradictory yet symbiotic nature of culture as commodity; it is at once a “strategy of cultural survival” and also “[cultural] resistance consequent upon the impact of colonialism.” 1
In returning to the wisdoms of Mane-Wheoki, let us consider: “all art is contemporary, in the sense that it is of its time, yet it can be approached only from the vantage point of the ever-changing present.”2 Reflecting on Robinson’s works in 2025, it is clear they have retained their razor-edged wit and ironic impact. Which of course begs the question: If the punchline still lands some 30-odd years later, then how far have we really come as a nation?
34 Peter Robinson
Sorry Sold Out c1990s
acrylic and oilstick on wood
inscribed SORRY SOLD OUT in oil stick centre; signed Peter Robinson and inscribed SORRY SOLD OUT in graphite verso 735 × 890 × 65mm (widest points)
est $20,000 — $30,000
provenance
Private collection, Auckland.
35 Peter Robinson Easy Pay Plan 1993
oil stick and acrylic on paper signed PRobinson and dated '93 in graphite lower right 565 × 745mm
est $5,000 — $15,000
provenance
Private collection, Auckland.
37
There's More To Life Than Being a Maori
oil stick and acrylic on paper
1000 × 680mm
est $15,000 — $20,000
provenance
Private collection, Wellington. Acquired from Peter McLeavey Gallery, Wellington, 1996.
exhibitions
Home and Away: 24 Recent Paintings by Peter
, Peter
Wellington, 12 November — 31 November, 1996.
There's More To Life Than Being a Pakeha
oil stick and acrylic on paper
1000 × 680mm
est $15,000 — $20,000
provenance
Private collection, Wellington. Acquired from Peter McLeavey Gallery, Wellington, 1996.
exhibitions
Home and Away: 24 Recent Paintings by Peter
, Peter
12 November — 31 November, 1996.
Robyn Kahukiwa
We Listen to Our Heartbeat 1993 oil on canvas on board signed Robyn F Kahukiwa and dated 93 in brushpoint right edge; inscribed WE LISTEN TO OUR HEARTBEAT in brushpoint lower edge 2110 × 1385mm
est $30,000 — $50,000
provenance
Private collection, Auckland.
exhibitions We Listen to Our Heartbeat, Jonathan Jensen Gallery, Christchurch, 1993.
“The
United Nations designated 1993 the Year of Indigenous Peoples. A small group of people including Karen Wickliffe (now judge of the Maori Land Court), Walton Walker and myself obtained funding to invite several indigenous artists from other countries to Aotearoa to attend workshops and panel discussions and exhibit their art at Te Taumata Gallery, Auckland. My series of paintings and drawings were based around the theme of ‘Listen to our heart beat’. Rather than look outside to see who we are, we must search inside ourselves for the mana and strength of our ancestors.”2
— Robyn Kahukiwa
Conjure an image of atua wāhine – Māori female gods – to your mind. What do you see? For many of us, the images created by Robyn Kahukiwa (Ngāti Porou, Te Aitanga-a-hauiti, Ngāti Kōnohi, Te Whānau -a-Rautauoare) flood our internal image banks. The words she blazes across canvas sting our consciousness into action. It’s the knowing look of a woman’s penetrating gaze. It’s the haunting head-tilt of a pou, so inspired by its carved predecessor, now canvassed in 2D. These are the elements of ngā toi Māori that make a contemporary artist’s mark on our history.
Kahukiwa’s role in our cultural landscape has told the story of the revolution of us – wāhine Māori, Ngāi Māori and our Treaty partners. Her storytelling abilities wield truth, anger and heartache in ways that words never could. Through her work, we see our world transform, to add to change and be agitated into something new – something so unapologetically Māori that we can’t help but pick each item up to add to for our own hungry narratives. All at once, we receive from her works the chance to take solace, power and pain from within their grasp. With these tools in hand, we dive into the living history of what we are given. No matter what our whakapapa, Kahukiwa’s work provides us each a chance to be seen.1
1 Essay excerpt by Rangimarie Sophia Jolley (Waikato – Tainui) from Sight Lines: Women and Art in Aotearoa, by Kirsty Baker, Auckland University Press, 2024, 167–175.
2 Robyn Kahukiwa, Hinemoa Hilliard, Edward LucieSmith and Jonathan Mane-Wheoki; The Art of Robyn Kahukiwa (Auckland: Reed Publishing, 2005), 104.
Sandy Adsett Shadow Over Te Whenua
acrylic on tempered hardboard
1280 × 1080mm
est $18,000 — $28,000
provenance
Private collection, Lower Hutt. Acquired by bequest, 2024; Acquired directly from the artist.
Darcy Nicholas QSO (Kāhui Maunga, Te Ātiawa, Ngāti Ruanui, Tauranga Moana and Ngāti Hauā) is a New Zealand artist and writer, who previously served as the Director of Pātaka Art + Museum.
Sandy Adsett is an artist, educator and curator who is still at the forefront of the contemporary Māori art movement. He is of the Ngāti Kahungunu and Ngāti Pāhauwera tribes.
Through his elders, Sandy had access to the oral history of Māori culture, as well as hearing their concerns for the future for Māori caused by the rapidly changing world environment. A significant elder who was part of his life was the Ngāti Porou master carver Pine Taiapa. Pine had a strong influence on many of the artists who were to form the contemporary Māori art movement from the 1960s on, and they held him in great respect.
In the arts, the introduction of metal tools, coloured paint, electrical tools, cameras, the movie industry and 3D printing would universalise the way we would speak to the world through our visual language we call art. Although that is the history of change in all cultures, the contemporary Māori art movement started with the emergence of artists in the early 1950s who were working for the Department of Education. Sandy Adsett became one of the very significant artists in that group.
The contemporary Māori art movement started taking on a national and international profile during the mid-1960s and 70s, which grew with the formation of the Māori Artists and Writers Association in 1973. This was followed
by exhibitions curated by Māori artists. These artists were meeting nationally each year as well as within small groups around the country, and exchanging new and exciting creative ideas. The artists were also interacting considerably with creative artists from around the world.
Sandy Adsett has been a significant part of that group of Māori artists who worked for the Department of Education from the 1960s onward. He made major creative changes to the kōwhaiwhai patterns you see running from the backbone of the ancestral house to the poupou (carvings of ancestors). Many of those old patterns in my tribe were a visual language that symbolised the ancestral connections between the subject in the poupou carving and the tribe.
Sandy introduced creative colour changes, shapes, rhythms and new meaning to the patterns. His art gave new identity and creative freedom to the patterns that you now see in fashion and in modern artworks, and ongoing changes have been inspired by many students who graduated from his teachings over the years. His art belongs to the world, and he is seen by many of his peers both past and present as a master Māori artist.
Nicholas
40 Sandy Adsett Neriata 1981
acrylic on board signed Sandy Adsett, dated 1981 and inscribed “NERIATA” in ink verso 1000 × 1000mm est $20,000 — $30,000
provenance Private collection.
Fans of early twentieth century movies will be familiar with the trope of a smoking woman. The sirens of Hollywood’s classic age Marlene Dietrich, Greta Garbo, Rita Hayworth and Lauren Bacall all smouldered on screen in black-and-white alongside their cigarettes. As Vita Cochran pointed out in her 1998 Art History thesis Portrait of a Self-Portrait: Rita Angus’s Self Portrait 1937–8 , in New Zealand’s art history it is the twentieth century woman artist Rita Angus who is famous for taking that motif from popular culture and translating it into an iconic painting. In her depiction, the tip of Angus’s cigarette meets the surface of the canvas right where her loaded paintbrush would land, perhaps denoting the hot touch of her creativity.
In this full-length portrait, Liz Maw hands the rangy figure of Auckland art consultant Mary Vavasour the torch. Mary’s contrapposto figure is placed against a transparent background, occupying the right-hand-side of the composition. This emphasises the cigarette in her elegant hand, its long ash about to drop. Smoking was once a male pursuit, with women who smoked thought to be challenging gender norms in a way that was transgressive or unfeminine. Through the strategic deployment of cigarettes by cinema’s leading ladies – asking for a light, blowing smoke into male faces and so on – smoking by women came to be a rebellious act. Tobacco companies marketed their products to women. To light up was to be independent and
liberated in their advertisements. As an accoutrement here, Mary’s cigarette in this image carries these associations.
Trained as an art curator at the Auckland Art Gallery before becoming the Director of the Fisher Gallery in Pakuranga for three years in the late 1980s, Mary was a well-known Auckland gallerist, running Works on Paper Gallery in the Strand, Parnell in the early 1990s. With Antoinette Godkin as co-director, operating the eponymous Vavasour/ Godkin Gallery at 35 High Street in the city for six years from 1994 until 2000. This painting of Mary fits into the long tradition of Liz Maw’s other portraits of art world personalities: she has painted her Wellington dealer Robert Heald, lifesize, barefoot and with cross stitching around his neck in 2005, Lyttelton artist Bill Hammond as a ghostly cowboy in 2006, international superstar Francis Upritchard with blank eye sockets in 2010, and golden-haired Walters Prize finalist Owen Connors accompanied by a hyena garlanded in poppies in 2020. Like her other “portraits”, this image is symbolic, and not just for the cigarette. Mary is shown wearing a sequinned bustier – not her usual garb – reminiscent of Lynda Carter’s outfit as Wonder Woman, undercutting her androgyny. Oddly, her hair is film star platinum blonde rather than the Bianca Jagger brunette she is known for. Painted in 2013, when Mary had been working as an art consultant for seven years, Liz Maw shows her as a female art world figure in charge of her destiny, assured and relaxed.
41 Liz Maw Mary 2013 oil on board
2120 × 1090mm
est $60,000 — $90,000
provenance
Private collection.
Darcy Nicholas QSO (Kāhui Maunga, Te Ātiawa, Ngāti Ruanui, Tauranga Moana and Ngāti Hauā) is a New Zealand artist and writer, who previously served as the Director of Pātaka Art + Museum.
est
provenance
Private collection, Northland. Gifted by the artist, c.1977.
exhibitions
Untitled exhibition, Mātai Whetū Marae, Thames, c1977.
Buck Nin was an artist, educator and curator who was at the forefront of the Māori art movement in the 1960s. His mother was Parehikanga Tatana, from Ngāti Toa and Ngāti Raukawa tribes. His father was Choung Nin, from Guangzhou, China.
I met Buck Nin in the mid-1960s, along with Selwyn Muru. I immediately recognised two soul brothers as we discussed the arts of the world, including Picasso, Braque, and many of the revolutionary artists of the modern and ancient worlds. We explored the need for new symbols and ways of expressing our culture as told to us by our elders of the day, and met several times after that to discuss new ideas and what was happening internationally in the world of art. We had stimulating discussions with New Zealand artists Colin McCahon, Gordon Walters, Ray Thorburn, Frank Davis and several others. It was part of that creative collective who said, “Let’s take our art to the world.”
Buck talked about the universality of Mother Earth and Sky Father concepts, and wanted to plant the pulsating life of our culture into Mother Earth. He did this by taking the kōwhaiwhai rafter patterns of our ancestral houses and totally changing them into an integrated series of new symbols that fitted his own language – a language
that firmly established belonging to this land and planet. This type of discussion was happening throughout New Zealand with other Māori artists. We were later to form the Māori Artists and Writers Association, and met in large groups each year to discuss new ideas and forms of art.
Buck Nin was one of the major contemporary painters in that group, with his bright entrepreneurial thinking. Art was his obsession, and he completed a large selection of drawings and major paintings that now hang in Parliament, government departments, private collections, schools and public buildings across New Zealand. He was also a teacher, and his enthusiasm inspired many of his students and close friends enraptured by his positive and creative head space. I recall him some time in the late 1970s, standing up at one of those meetings and declaring in an excited manner, “We will go where no Māori artists have ever been before.”
With Rongo Wetere he created this idea for a Māori university, and as a result, by lobbying central government and sponsors, the two of them created Te Wānanga o Aotearoa. Sadly, we lost him at the young age of 55 years, but he lives on in our creative hearts. A deeply religious man, I often have this image of him standing at the gateway to heaven with a big smile and watching our artists today.
Ian Wedde ONZM, poet, curator, and editor of the monograph Ralph Hotere: Black Light, shares insights on the recently resurfaced Requiem (B) (For Tony).
1 Ralph Hotere, Ian Wedde, Gwynneth Porter and John Walsh, Ralph Hotere Black Light: Major Works Including Collaborations with Bill Culbert (Te Papa Press and Dunedin Public Art Gallery, 2000), 116. 2 Hotere, Wedde, Porter and Walsh, Ralph Hotere Black Light, 4.
A resumé: Ralph Hotere’s Requiem (B) (For Tony) (1973–74) has emerged after half a century as the missing quarter of a series believed until recently to consist of three works (A, C, D?). I’ve seen the other three up for sale: one in the online catalogue, Page Galleries Secondary Market, Requiem (1974), without an identifying capital letter; two more, also without capital letters, Requiem (1975) and Requiem [for Tony Watson] (1973), at Gow Langsford Gallery in the substantial exhibition Ralph Hotere: Requiem, 14 June – 8 July 2023. The 1975 Requiem stretches the date span of the Tony Watson homages, but this doesn’t impact on Requiem (B). It now seems that this additional, late-rediscovered work has been brought to market from its location outside the mayor’s office at South Waikato District Council. It may have been included in the solo exhibition Ralph Hotere 1970–73 at the Waikato Art Gallery under the collective title Requiem for Tony, but I’m unable to trace a complete works catalogue for this exhibition.
The current vendors inform us that the work was purchased by the Tokoroa Arts Trust (Waikato) in 1974; it therefore probably wasn’t included in the exhibition of the ‘ Requiem’ series at Barry Lett Galleries, Auckland, 9–10 December 1974, or at Bosshard Gallery, Akaroa, in the same year. Hotere’s note for the Barry Lett exhibition states, “The Latin text is from Verdi’s Requiem – the Māori, a translation from the Psalms. This work is a tribute to Anthony Watkins, musician and composer 1933–1973.”1 The work’s history includes the fact that it was entered by Hotere in the Tokoroa Arts Society annual art competition, which it won. The Tokoroa Arts Trust purchased the work under the terms of the competition and, apparently as an insurance cost-recovery exercise, loaned it to the South Waikato District Council, where it was hung outside the mayor’s office. The work in its current presentation condition has a label at its base that reads, “Requiem for Tony/ Ralph Hotere/ Art Award Winner* 1974/ [partially illegible] Property of [Tokoroa Arts Trust]”. So, reading across these clues, it seems more than
likely that the work did indeed escape the public record after its award and sale to the Tokoroa Arts Trust in 1974, given that it no longer had any commercial sale value to dealer galleries such as Barry Lett and Bosshard.
The thought of the work’s ‘disappeared’ life in an obscure civic corridor for just over half a century is an incentive to look closely at its individual characteristics, as well as at the ways in which it now rejoins a creative conversation within Hotere’s highly personalised explorations of painterly themes and variations. And the work’s emergence as a ‘recovered’ treasure is also, of course, a poignant factor in its contemporary value. I was reminded of the artist John Reynolds’ interview transcript in Ralph Hotere Black Light, where he remembers phoning Ralph in Carey’s Bay in 1991 and then responding to Ralph’s invitation to come down and meet. Reynolds’ description of the trip down to Dunedin, then out to Port Chalmers, and finally to Ralph’s place around at isolated Carey’s Bay, reads like a wonderfully apt account of the essential chemistry of Hotere’s work, for which the ‘disappeared’ Requiem is an analogue:
It’s that whole thing about approaching Ralph: there is always another little distance you have to travel, then around the corner, then just tangentially, then just up the hill. It’s not as if Ralph just lives in an isolated part of New Zealand, it’s actually an isolated part of an isolated part of New Zealand, which I now understand is essential, it makes sense in terms of his chemistry. … but then of course Ralph was tremendously welcoming. The moment you are in his house you have the use of everything.2
So: a description of the complex but ‘tremendously welcoming’ emergence of Requiem (B) For a start, the work incorporates a wooden window frame as both component and container. As a ‘window’, it implies a narrative, it contains (to begin with) a question: are we looking outwards through the frame to an ‘outside’, or inwards to an ‘inside’; or, for that
matter, are we looking at a reflection, that’s to say looking ‘at’ but not ‘through’, even perhaps looking at what’s behind us, or at ourselves in some sense?
In addition, the label mentioned above appears to partially conceal a tag of some sort at the base of the frame, which may have originally been needed to pull the window down (unlikely). Other, unrelated, window works such as the ‘Black Windows’ of 1981/82 – including Black Window (Towards Aramoana) (1981) and Black Window, Port Chalmers (1982) – appear to hint at their outward points of view, though hardly on distant prospects.
Leaving aside the issue of inward or outward, but folding that teasing ambiguity into what’s legible in the complex and very beautiful surface of the painting, we encounter a number of effects. The frame’s content begins with a broad border of smooth black on the base and two sides, with a band of lightly scumbled grey across the top. This band introduces a simple, teasing sense of what/where ambiguity, as well as of surface or depth – what do the barely perceptible ‘wipes’ in the greyish band hint at by way of interference or engagement with the severe cropping of the black border? Are the complex visual effects below this band permitted entry by it – by its softening of the three-sided black border? Below this soft-focus grey band and seeming to pour from it is a descending,
paler grey rectangle with barely perceptible effects in its surface. On this surface and increasing its sense of recess are vigorous black swirls bleeding out top-left and unravelling or weakening into the right and bottom margins of the black-band-enclosed space. These energetic, almost untidy effects have a strong narrative presence: they are ‘audible’ as they trail down and out to the right across the by-now-three-dimensional space of the painting.
This three-dimensionality – this sense of depth and orchestration – is next increased by effects simultaneously startling and serene: exquisitely orderly veils of precise, thin, down-pouring lines of colour, blue-grey on the right-hand side of the space, orange-red on the left, cross the surfaces of the untidy black swirls, but transparently, allowing the inflected hues of the background to show through.
The combined vitality and orchestrated serenity of these effects are, again, so close to music or speech that a viewer’s ‘entry’ to the work is almost in terms of listening and responding, of speaking or singing ‘along with’ the painting’s score. It’s a moving sense, like being within the engaged space of music that invites us to join, in the darkness of a disorderly grief that becomes the ground of, is incorporated into, an exquisite eulogy – ‘out there’ or ‘in here’ or both at once. In sum, an extraordinary contribution to the suite of tributes to a dearly loved composer and friend, Tony Watson.
43 Ralph Hotere Requiem (B) (For Tony) 1973–74
cellulose lacquer and acrylic on hardboard signed Hotere, dated Port Charmers 73.74 and inscribed “REQUIEM” (for Tony) in ink verso; signed Ralph Hotere, dated ‘73–‘74 and inscribed REQUIEM (B) in ink on paper on verso 1150 × 900mm
est $130,000 — $180,000
provenance
Private collection, Tokoroa Arts Society. Acquired from the artist, 1974.
44
Colin McCahon
Van Gogh: Poems by John Caselberg 1957
lithographic crayon on paper inscribed Van Gogh: poems by JOHN CASELBERG; lithographs by Colin McCahon. Auckland. September 1957 in lithographic crayon centre 395 × 257mm
est $20,000 — $30,000
provenance
Private collection, Auckland. Acquired from FHE Gallery, 1995; Acquired from Peter Webb Galleries.
literature
Peter Simpson, Answering Hark: McCahon/Caselberg, Painter/Poet (Nelson: Craig Potton Publishing, 2001), 51.
Colin McCahon
Van Gogh: Poems by John Caselberg 1957
lithographic crayon on paper inscribed Van Gogh: Poems by John Caselberg; Written by Colin McCahon Auckland September 1957 in lithographic crayon centre 395 × 257mm
est $15,000 — $25,000
provenance
Private collection, Auckland. Acquired from FHE Gallery, 1995; Acquired from Peter Webb Galleries. literature
Peter Simpson, Answering Hark: McCahon/Caselberg, Painter/Poet (Nelson: Craig Potton Publishing, 2001), 51.
46 Pat Hanly Each Thing Its Own Halo 1974
acrylic and enamel on board signed Hanly, dated 74 and inscribed Each thing its own halo in brushpoint lower right 880 × 910mm
est $60,000 — $85,000 provenance
from
47 Tony Fomison Winters Walk; "Her and the Puppet" 1987
oil on canvas on hardboard
signed Fomison, dated 1987 and inscribed “winters walk: her and the puppet” in graphite verso; signed Fomison dated Started 23.2.87
Grey Lynn and inscribed “winters walk: her and the puppet” in graphite on paper verso
460 × 380mm
est $40,000 — $60,000
provenance
Private collection, Queenstown.
Private collection, Auckland.
49 Bill Hammond untitled glazed ceramic
300 × 300mm (widest points) est $15,000 — $18,000
provenance
Private collection, Auckland.
50 Julia Morison
Decanted No. 8 1995
silver leaf and gold leaf on canvas signed Julia Morison, dated 95 and inscribed Decanted No 8 in ink verso 1520 × 1520mm
est $15,000 — $20,000
Private collection, Auckland. Acquired from Jensen Gallery, 1995.
51 Jude Rae SL 203 2007 oil on canvas signed JMRae, dated 2007 and inscribed SL 203 in ink verso 1120 × 1370mm est $30,000 — $35,000
provenance Private collection, Auckland. Webb's
52
Grahame Sydney
Primer Coat: Railway House (Puketeraki, Otago) 1974
egg tempera on gesso on hardboard signed Grahame C. Sydney and dated 1974 in brushpoint lower right; inscribed "PRIMER COAT: RAILWAY HOUSE" (PUKETERAKI, OTAGO) EGG TEMPERA ON GESSO (sized hardbd.) DRAWINGS
BEGUN 21 DEC. 74 PAINTING COMPLETED (KARITANE) SAT. 28 DEC 74 in ink verso 400 × 900mm
est $85,000 — $125,000
“The soft geometric sculptures, started in 2003, were studies loosely based on the female form. Since they have wandered, taking a route leading to pure abstraction, the forms refined into elegantly proportioned shapes. But even abstracted forms have intentions. As a synergy of European modernism (they have in them a flavour of a finely chiselled Moore or a filled-out Arp) with Maori indigenous art, (seen in the use of semi relief forms and the strong emphasis on negative shapes) they are visual discussions of biculturalism...
Artefacts used as inspiration rekindles the discoveries of new cultures made by the avant-garde artists of the twentieth century: Picasso with his collection of African masks, Gauguin and his Tahitian ladies, Whistler and the Japanese. This synthesis of European and ethnic is hence part of a tradition in art evolved far away. Dibble gives nod to this history in his metamorphosed shapes, he infuses back into the 21st century these same practices, half a world away.” 1
54 Brent Wong Building with Landscape and Clouds 1975
acrylic on board
signed B Wong and dated 75 in brushpoint lower left; signed Brent Wong, dated 1975 and inscribed Building with Landscape and clouds in ink verso 663 × 606mm
est $80,000 — $120,000
provenance
Private collection, Lower Hutt. Acquired by bequest, 2024; Acquired directly from artist.
Known for his skill in depicting New Zealand landscapes, modified for farming and parched by summer sun, Brent Wong heightens their enduring quality by creating a contrast with the temporary nature of human occupation, symbolised by the placement of empty colonial villas in the scene. Here, the view of the Victorian house is side on. It looms up close to the viewer, the bay window jutting out and the steep gable with tiny finial atop familiar in every detail yet strangely dislocated. Plonked down in this coastal scene, it encroaches on the peaceful forms of the everlasting hills and the bright blue inlet like a nosy neighbour. Compared to the notion of deep time in geology – the vast timescale of Earth’s history, which spans billions of years – this century-old building is just a temporary intrusion. The structure itself is solitary and appears to be quickly deteriorating, with rusty corrugated iron, and dingy white paint on the weatherboards. It operates a bit like a memento mori in Dutch stilllife painting, showing how futile and inconsequential our efforts are at making ourselves at home here, while the Earth follows its own logic, working to a greater and more portentous time scale. The temporality of human existence is emphasised, compared to the timeless land. Born just after VJ day in 1945, Brent Wong was the third of four children born to a Mainland Chinese father and New Zealand mother in Ōtaki, north of Wellington. They moved to Vivian Street, a downtown Wellington location that gave him the opportunity to draw studies of
Victorian and Edwardian weatherboard houses just like this one. Wong began a fine arts course at the nearby Wellington Technical College in March 1963, but soon left, dissatisfied. A long illness meant he qualified for the Sickness Benefit, which enabled him to paint full-time. He had his first exhibition of drawings at the New Zealand Academy of Fine Arts in 1967. The following year he painted interiors, and then images of landscapes with architectonic constructions floating in the sky, exhibiting these and still-life paintings at the Academy. A Queen Elizabeth II Arts Council grant in 1970 enabled him to work towards a solo exhibition of 14 paintings at Barry Lett Galleries in Auckland in 1971, where his work was reviewed favourably as “unforgettable”. He won the Tokoroa Art Award’s first prize of $500, and Patrick Hutchings published an article on his work in the journal Islands, titled “Brent Wong: Surrealism in a Bland Landscape”.
By 1973 the constructions in the sky were starting to disappear from his paintings, and The Dowse Art Museum organised a large solo touring exhibition. Wong’s works entered the collections of the civic galleries in Auckland, Hamilton, Rotorua, Hawke’s Bay, Whanganui, Palmerston North, Lower Hutt, Christchurch, Dunedin and Invercargill, as well as the major corporate collections of the day, Fletcher, Caltex and the BNZ. Te Papa owns three major paintings from this early period, and Wong’s work has remained popular and highly sought after for five decades.
55 C harles Frederick Goldie
Portrait of Te Aho o Te Rangi Wharepu 1939 oil on canvas
signed C. F. Goldie and dated 1939 in brushpoint lower left 290 × 310mm
est $500,000 — $600,000
provenance
Private collection, Waimana. Acquired by gift, 1991. Private collection, Auckland. Acquired from Fine Paintings & Jewellery, Webb's, July 1985, Lot 116.
Original printed catalogue listing from Fine Paintings & Jewellery, Webb's, July 1985, featuring Te Aho o Te Rangi (Lot 116).
1 Blackley, Roger: Goldie Auckland, 1997, page 1
2 Anonymous source quoted from an article in the 1947 Yearbook of New Zealand
3 Blackley, Roger: Introduction on Christchurch Art Gallery website to Goldie: The Exhibition, 199799, curated by Roger Blackley and toured by Auckland Art Gallery.
4 Blackley, Roger: Introduction on Christchurch Art Gallery website, ibid
5 A Study, 1905, Te Aho o te Rangi Wharepu, Ngati Matuta, Auckland Art Gallery, reproduced in Blackley, Roger: Goldie. Auckland, 1997, page 104
6 Te Aho, a Noted Waikato Warrior, 1902, Blackley, Roger: Goldie Auckland, 1997, Te Aho o te Rangi Wharepu, Ngati Matuta, Auckland Art Gallery, reproduced in Blackley, Roger: Goldie. Auckland, 1997, page 105
7 Clarke, Jacquie: C.F. Goldie: The Old Master Revisited, New Zealand Geographic, issue 038, April 1998.
Charles Frederick Goldie is likely New Zealand’s best-known artist. Descendants of Goldie’s models revere the depictions of their tūpuna, while others have denounced the paintings as documents of colonial racism. Yet the story of the artist and his career is embedded in a thick accretion of myth, where dubious anecdotes rub shoulders with strongly opposing opinions.1
Goldie’s intensely observed and meticulous rendered form of realism was seen as outdated and backward-looking by contemporary art critics. Some pointing out that such obsessive attention to factual detail had been made redundant by the technical advances of handcoloured photography. One critic considered his work “more suitable for a museum of ethnology and anthropology than the walls of an art gallery.” 2
Goldie dismissed such comments as ignorant and irrelevant, firm in his belief that his highly detailed paintings of esteemed Māori elders with traditional tā moko (facial tattoos) would become important historic records in times to come. He felt compelled to record what he saw as the last noble vestiges of preEuropean Māori culture before they disappeared, and in so doing he created artworks that are now widely acknowledged to be of significant historical and cultural importance in Aotearoa. Although dismissed as pedantically oldfashioned by art critics of the day, Goldie’s Māori portraits continued be enormously popular with the general public. In 1908, readers of the Weekly Graphic magazine placed Goldie at the top of their list of New Zealand’s best artists.3
Goldie’s portraits have always been held in high esteem by Māori, and because of their importance as ancestral images, are regarded
as taonga, or treasures. Te Heuheu Tūkino, the paramount chief of Ngāti Tūwharetoa and the artist’s friend, described Goldie’s works as “he tohu mo nga Māori i roto i te whakatupuranga” — icons for Māori of future generations.4
Goldie’s portrait of Te Aho o te Rangi Wharepu, dated 1939, is a beautiful example of the artist’s classic, late style. At this stage in his career, Goldie often revisited earlier subjects on a more intimate scale and frequently through a romanticising lens. The subject of this late portrait was a highly decorated and well-respected rangatira from the Waikato region, and had sat for Goldie a number of times previously. There are two quite different portraits of this same sitter in the collection of the Auckland Art Gallery Toi o Tāmaki. Both are frontal views; the first is a classic frontal presentation of the chest and head of the sitter positioned fully upright in the centre of the composition 5, while the second work is also a bust portrait, the sitter is posed reclining with his head back, resting on a pillow . The portraits in Auckland Art Gallery are nearly twice the size of the later portrait, featured here, and more formal, predating the later work by two decades.6
While Goldie was studying at L’Academie Julian in Paris during the late 1890s he took the opportunity to travel extensively through Europe, visiting many of the famous galleries and copying at first hand many of the works of the Old Masters. The young Goldie was especially influenced by Rembrandt, as evidenced by the distribution of deep shadows and soft light on rich complexions that became a hallmark of Goldie’s Māori portraits7, clearly evident in this fine work we have the pleasure to bring to auction.
signed FRIZZELL and dated 11/8/2021 in brushpoint lower right; inscribed BEACH ROSES in brushpoint lower left 590 × 735mm
est $20,000 — $30,000
provenance
Private collection, Auckland. Acquired from PAGE, Christchurch, 2021.
exhibitions Dick Frizzell, Return to Order, PAGE, Christchurch, 2021.
est $20,000 — $30,000
Private collection, Wellington. Webb's
Peter Roche (1957–2020) was a bold and boundary-pushing New Zealand artist whose diverse practice spanned performance art, kinetic sculpture and neon light installations. Throughout his career, Roche challenged audiences with provocative moments that explored the complex relationship between people and technology, as well as artist and audience, by creating moments of tension, unease, or confrontation.
Roche first gained recognition through his performance art, much of which he created in collaboration with his partner Linda Buis. For six years, the duo developed works that investigated the connections between themselves, space, the audience and their bodies. These performances frequently pushed physical and emotional limits, exploring how the body expresses power, vulnerability, discomfort and control through repetition and physical strain.
By the late 1980s, Roche had transitioned to sculpture and neon installations. Despite the shift into solid medium, his work still retained its sense of movement and confrontational edge. Light became a central element of his new visual language, as he made works that
incorporated symbols and iconography – both personal and cultural – to evoke powerful emotional and psychological responses. His sculptures carried the movement from his performance work, and were combined with sound and light to create immersive experiences that at times unsettled the viewer with their potential. The work in this auction, entitled Icon, exemplifies this approach. Featuring a glowing circle of red neon ferns that pulses and flickers, the work directly connects to New Zealand’s national identity and grounds Roche’s futuristic vision in local symbolism.
Roche left a permanent mark on Auckland’s cityscape with Coral, his enormous blue neon sculpture on the side of the Vero building on Shortland Street. Like much of his work, it fuses the organic with the synthetic, reflecting his ongoing exploration of humanity’s evolving place in an increasingly mechanised world.
Roche’s electrifying journey – from provocative, body-based performances to commanding sculptural visions – challenged our view of the technological age and invites, even demands, that we reflect on our place in it.
59 Angelo Accardi Misplaced 2017
oil, acrylic and ink on paper signed A Accardi, dated 2011 and inscribed Misplaced in pastel verso 500 × 695mm
est $28,000 — $38,000
60 Mr Brainwash
Juxtapose 2017
silkscreen, stencil and spraypaint on paper 1220 × 1620mm
est $55,000 — $75,000
provenance
Acquired from Paul Gulotti Galleries, Perth, 2018. note
Certificate of authenticity including thumb print and half bank note. The artist retains the other portion.
Before becoming the artist known as Mr Brainwash, Thierry Guetta was running a vintage clothing store in Los Angeles while obsessively documenting the emerging urban art scene. He spent years filming street artists in action, capturing thousands of hours of footage.
What began as a personal passion project took a dramatic turn in 2010 when that footage became the foundation for Exit Through the Gift Shop, a documentary directed by the elusive street artist Banksy. In an unexpected twist, Guetta turned the camera on himself — and almost overnight, Mr Brainwash was born.
Given his background, the transformation isn’t entirely surprising. Guetta comes from a creatively charged family: his brother is world-renowned DJ David Guetta, and his cousin is Invader, the influential French street artist known for pixelated mosaics inspired by retro video games.
Riding the momentum of Exit Through the Gift Shop, Mr Brainwash quickly attracted global attention. He went on to design album covers for music legends such as Michael Jackson and Madonna, collaborated with major brands like Coca-Cola, and even contributed to the 2012 London Olympics, blending art, marketing and pop culture into a vibrant, provocative mix.
Mr Brainwash’s signature style fuses pop art and street art, channelling the bold, layered aesthetics of Andy Warhol with the subversive energy of Banksy. His work often features pop-culture icons such as Marilyn Monroe, Albert Einstein and Charlie Chaplin, set against graffiti-style backdrops splashed with slogans, vivid colour and dripping paint.
Created in 2017, Juxtapose embodies this eclectic fusion. Built up through layers of text, imagery, paper and paint, the piece is a collision of nostalgia, optimism and irony, a visual celebration of chaos and culture that captures the essence of Mr Brainwash’s artistic identity.
In 2022 Guetta took things to the next level with the opening of the Mr Brainwash Art Museum in Beverly Hills. The three-storey, immersive space is filled with pop-culture mashups, oversized sculptures and interactive installations — a full-on art playground that brings his world to life.
Part showman, part provocateur, Mr Brainwash continues to spark debate. Admirers praise his upbeat energy and accessible style, while critics dismiss him as a symbol of the commercialisation of street art. Love him or not, he keeps pushing the conversation about what art is, who gets to make it, and how it fits into a culture driven by media, image and spectacle.
Pare o Tane 2007 oil on board
signed J Walsh, dated 2007 and inscribed Pare o Tane in ink verso 885 × 1190mm
est $16,000 — $24,000
Private collection, Auckland.
62 Dick Frizzell
Cottage St Austell 1988
acrylic on paper
signed FRIZZELL, dated 28/1/88 and inscribed
COTTAGE ST AUSTELL in brushpoint lower left
230 × 300mm
est $10,000 — $15,000
Private collection, Auckland.
63 Chris Heaphy
A Sunny Afternoon with Phar Lap on the Island of La Grande Jatte 2016
acrylic on canvas
signed Chris Heaphy, dated 2016 and inscribed
A Sunday Afternoon with Phar Lap on the Island of La Grande Jatte in ink verso 1900 × 2800mm
est $60,000 — $80,000
collection, Auckland.
Richard McWhannell
That Summer in the New Land (Duvauchelle) 2015–16 oil on canvas on board signed RMcWhannell, dated 2015–2016 and inscribed That Summer in the New Land (Duvauchelle) in ink verso 1200 × 1500mm est $30,000 — $35,000
Auckland.
65 Tanya Ashken
Dark Apollo 2003
patinated bronze, edition of 6
510 × 170 × 170mm (widest points)
est $14,000 — $18,000
provenance
Private collection, Marlborough.
exhibitions Alchemy, Poison Creek Sculpture Project, 2024, another of the edition.
66 Paul Dibble
The Devil Regarding the Bust of Darwin 2007
bronze, 2/6 signed Paul Dibble, dated 07 and inscribed NZ and 2/6 with incision on base
340 × 210 × 110mm (widest points) est $15,000 — $17,500
provenance
Private collection, Auckland.
67 Max Gimblett Yellow Certainty 2019
Libragloss ink and UV gloss on aluminium signed Max Gimblett, dated 2019 and inscribed YELLOW CERTAINTY in ink verso
1016 × 1016mm
est $14,000 — $18,000
provenance
Private collection, South Island.
68 Frances Hodgkins
Arrangement of Jugs
lithograph on paper
signed Frances Hodgkins in graphite lower right 450 × 600mm
est $13,500 — $17,500
provenance
Private collection, Wellington.
literature
Iain Buchanan, Elizabeth Eastmond and Michael Dunn, Frances Hodgkins: Paintings and Drawings (Auckland University Press 2001), 150; Janet Bayly (ed.), Frances Hodgkins: Kāpiti Treasures (Mahara Gallery, Waikanae 2010), 36.
note
Published by Contemporary Lithographs Ltd, London 1938.
Under William Dunning’s painterly hand, history is made material, ossified into a carved-stone side table, laden with pictures-within-pictures and layered in meaning. Dunning’s practice has long interrogated the complexity of our colonial history in Aotearoa and, in doing so, has never shied away from that sense of discomfort.
Dunning takes clever licence in his titling of the work, Colonial Timetable 1850–1900, a visual pun that has us leaning in closer to inspect this curious piece of furniture. Four male faces appear carved into the façade, their eyes cast outwards to disparate corners beyond our view and positioned not in unity, but fractured – quite literally – by a web of cracks that riddle the table’s surface from every angle. What should be something solid, stoic, of architectural integrity, instead stands splintered and unsteady, threatening to fall apart.
Sandwiched between these carved faces is a tableau of richly coloured vignettes lining the table’s frontage. Their curved arches present like portals, offering us glimpses into a colonial past that demands our attention, no matter how confronting. The painted figures, both Māori and Pākehā, stand frozen in time and though their stillness appears at first serene, closer inspection reveals their unsettledness: a downcast grimace, a furrowed brow, things not quite right.
The second half of the nineteenth century, which Dunning refers to, was a period of massive change and upheaval. Following the signing of Te Tiriti in 1840, the discrepancies between the English and te reo Māori translations would come to light, and with them the ripple effects dominoing forward into our present day. As much as Colonial Timetable memorialises the nuanced histories of our past, so too does it provide timely remembrance as we step forth into our future.
signed raymond ching and dated 1980 in brushpoint right edge 230 × 350mm
est $28,000 — $38,000
provenance
Private collection, Auckland.
literature
Peter Hansard, Wild Portraits: Paintings & Drawings by Raymond Harris-Ching, (Auckland: Seto Publishing, 1988), 126–127.
est $20,000 — $30,000
Private collection, Auckland.
est
est $18,000 — $30,000
75 Toss Woollaston Māori Girl 1963 oil on board
signed W in brushpoint lower right; inscribed ‘maori girl’ 63/150 in brushpoint verso
790 × 590mm
est $25,000 — $35,000
provenance
Private collection, Queenstown.
2004
lithograph on paper, 37/40 signed Don Binney, dated 2004 and inscribed Otawewe in graphite lower edge
570 × 750mm
est $5,000 — $8,000
provenance
Private collection, Auckland.
77 Nigel Brown Man on a Pedestal 1997 oil on canvas
signed N.Brown and dated 1997 in brushpoint lower right; signed N Brown, dated ‘97 and inscribed MAN ON A PEDESTAL in brushpoint verso
1360 × 740mm
est $12,000 — $18,000
provenance Private collection, Queenstown.
78 Shane Cotton At 3 Atrium Lift Wall 2 1995 acrylic on paper
signed Shane W Cotton and dated ‘95 in graphite lower right; signed S W C, dated ‘95 and title inscribed 2. At 3 Atrium Lift Wall 2 in brushpoint lower edge 760 × 550mm
est $15,200 — $20,000
provenance Private collection.
The terms and conditions of sale listed here contain the policies of Webb’s (Webb Fine Art). They are the terms on which Webb’s (Webb Fine Art) and the Seller contract with the Buyer. They may be amended by printed Saleroom Notices or oral announcements made before and during the sale. By bidding at auction you agree to be bound by these terms.
1. Background to the Terms used in these Conditions
The conditions that are listed below contain terms that are used regularly and may need explanation. They are as follows:
“the Buyer” means the person with the highest bid accepted by the Auctioneer.
“the Lot” means any item depicted within the sale for auction and in particular the item or items described against any lot number in the catalogue.
“the Hammer price” means the amount of the highest bid accepted by the auctioneer in relation to a lot.
“the Buyer’s Premium” means the charge payable by the Buyer to the auction house as a percentage of the hammer price.
“the Reserve” means the lowest amount at which Webb’s has agreed with the Seller that the lot can be sold.
“Forgery” means an item constituting an imitation originally conceived and executed as a whole, with a fraudulent intention to deceive as to authorship, origin, age, period, culture or source, where the correct description as to such matters is not reflected by the description in the catalogue. Accordingly, no lot shall be capable of being a forgery by reason of any damage or restoration work of any kind (Including re-painting).
“the insured value” means the amount that Webb’s in its absolute discretion from time to time shall consider the value for which a lot should be covered for insurance (whether or not insurance is arranged by Webb’s).
All values expressed in Webb’s catalogues (in any format) are in New Zealand Dollars (NZD$). All bids, “hammer price”, “reserves”, “Buyers Premium” and other expressions of value are understood by all parties to be in New Zealand Dollars (NZD$) unless otherwise specified.
2. Webb’s Auctions as Agent
Except as otherwise stated, Webb’s acts as agent for the Seller.
The contract for the sale of the property is therefore made between the Seller and the Buyer.
3. B efore the Sale
3.1. E xamination 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. C atalogue and Other Descriptions
All statements by Webb’s in the catalogue entry for the property or in the condition report, or made orally or in writing elsewhere, are statements of opinion and are not to be relied upon as statements of fact. Such statements do not constitute a representation, warranty or assumption of liability by Webb’s of any kind. References in the catalogue entry to the condition
report to damage or restoration are for guidance only and should be evaluated by personal inspection by the bidder or a knowledgeable representative. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. Estimates of the selling price should not be relied on as a statement that this is the price at which the item will sell or its value for any other purpose. Neither Webb’s nor The Seller is responsible for any errors or omissions in the catalogue or any supplemental material.
Images are measured height by width (sight size). Illustrations are provided only as a guide and should not be relied upon as a true representation of colour or condition. Images are not shown at a standard scale. Mention is rarely made of frames (which may be provided as supplementary images on the website) which do not form part of the lot as described in the printed catalogue.
An item bought “on Extension” must be paid for in full before it will be released to the purchaser or his/ her agreed expertising committee or specialist. Payments received for such items will be held “in trust” for up to 90 days or earlier, if the issue of authenticity has been resolved more quickly. Extensions must be requested before the auction. 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. B uyers 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. R efusal 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. R egistration 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. B idding 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. I nternational 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. A bsentee 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. O nline 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. A uctioneers Discretion
The Auctioneer has the right at his/ her absolute and sole discretion to refuse any bid, to advance the bidding in such a manner as he/she may decide, to withdraw or divide any lot, to combine any two or more lots and, in the case or error or dispute and whether during or after the sale, to determine the successful bidder, to continue the bidding, to cancel the sale or to reoffer and resell the item in dispute. If any dispute arises after the sale, then Webb’s sale record is conclusive.
4.10. S uccessful Bid and Passing of Risk
Subject to the auctioneer’s discretion, the highest bidder accepted by the auctioneer will be the buyer and the striking of his hammer marks the acceptance of the highest bid and the conclusion of a contract for sale between the Seller and the Buyer. Risk and responsibility for the lot (including frames or glass where relevant) passes immediately to the Buyer.
4.11. Indicative Bidding Steps, etc.
Webb’s reserves the right to refuse any bid, withdraw any lot from sale, to place a reserve on any lot and to advance the bidding according to the following indicative steps: Increment Dollar
Range
A mount
$20 $ 0–$500
$50 $ 500–$1,000
$100 $1,000–$2,000
$200 $ 2,000–$5,000
$500 $ 5,000–$10,000
$1,000 $10,000–$20,000
$2,000 $ 20,000–$50,000
$5,000 $ 50,000 – $100,000
$10,000 $100,000–$200,000
$20,000 $200,000–$500,000
$50,000 $500,000–$1,000,000 Absentee bids must follow these increments and any bids that don’t follow the steps will be rounded up to the nearest acceptable bid.
5. A fter the Sale
5.1. B uyers 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 also be made by credit card in person with a 2.2% merchant fee for Visa and Mastercard 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. Bank cheques are subject to five days clearance. The buyer is responsible for any bank fees and charges applicable for the transfer of funds into Webb’s account.
5.3. C ollection 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. P acking, 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. P ermits, 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.
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.
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.
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.
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.
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. L aw 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. P re-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. S ale 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. G oods 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.
Accardi, Angelo 126
Adsett, Sandy 92, 93
Apple, Billy 6 0, 63 Ashken, Tanya 132 B
Binney, Don 144
Brainwash, Mr 127
Braithwaite, Joanna 57 Brown, Nigel 145
C
Cotton, Shane 145
Dibble, Paul 114, 132 Dunning, William 136
Emin, Tracey 58
Fomison, Tony 107
Friedlander, Marti 50 Frizzell, Dick 122, 129
Gimblett, Max 134
Goldie, Charles Frederick 120 H
Hammond, Bill 55, 80, 81, 83, 108, 109
Hanly, Pat 106
Harris-Ching, Raymond 138
Heaphy, Chris 130
Hemer, André 59
Hodgkins, Frances 135
Hotere, Ralph 5 4, 100
Illingworth, Michael 51 K
Kahukiwa, Robyn 9 0
Killeen, Richard 68, 69
Lett, Barry
Maw, Liz 9 4
McCahon, Colin 104, 105 McGregor, Laith 70 McIntyre, Peter 142 McWhannell, Richard 131 Mitchell, Samantha 56 Morison, Julia 110
Nin, Buck 96 Noble, Anne 65
Pardington, Fiona
Patté, Max
Séraphine
Rae, Jude 111 Robinson, Peter 87, 88, 89 Roche, Peter 124
Stringer, Terry 52 Sydney, Grahame 112, 113
Tamaki, Suzanne 66 Thompson, Sydney Lough 140, 141
van der Velden, Petrus 139 W
Walsh, John
128 Walters, Gordon 5 4, 78, 79 White, Robin 72, 73 Wong, Brent 118 Woollaston, Toss 143
