3D CATALOGUE SEP 2008

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Historical Works of Art, Fine Jewellery & Watches, NZ History, Antiques & Decorative Arts, Important Works of Art Sale 299

Viewing

DAY 1 Historical Works of Art

Evening Preview

DAY 2 Fine Jewellery & Watches

Thursday 11 September Friday 12 September Saturday 13 September Sunday 14 September Monday 15 September Tuesday 16 September Wednesday 17 September Thursday 18 September Friday 19 September Saturday 20 September Sunday 21 September Monday 22 September

Tuesday, 16 September 2008, 6.30pm

Wednesday, 17 September 2008, 5.00pm

DAY 3 New Zealand History,

Antiques & Decorative Arts

Thursday, 18 September 2008, 6.00pm

DAY 4 Important Works of Art

Monday, 22 September 2008, 6.30pm

BUYER’S PREMIUM A buyer’s premium of 12.5% will be charged on the Historical Works of Art, Important Works of Art and Fine Jewellery & Watches sections of this catalogue. A buyer’s premium of 15% will be charged on the New Zealand History, Antiques & Decorative Arts section of this catalogue.

GST of 12.5% is payable on the buyer’s premium only.

Thursday

11 September 6.00pm – 8.00pm 9.00am – 8.00pm 9.00am – 5.30pm 11.00am – 3.00pm 11.00am – 3.00pm 9.00am – 5.30pm 9.00am – 5.30pm 9.00am – 5.30pm 9.00am – 5.30pm 9.00am – 5.30pm 11.00am – 3.00pm 11.00am – 3.00pm 9.00am – 12noon

Note: Please refer to section title pages for specific viewing times as there is limited viewing on sale days.

CONDITION OF ITEMS The condition of items is not detailed in this catalogue. Buyers must satisfy themselves as to the condition of lots they bid on and should refer to clause 6 in the Conditions of Sale for Buyers printed at the back of the catalogue. Webb’s is pleased to provide intending buyers with condition reports on any lots.

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JUNE 08: BETHUNES – 01 A Complete Set of WWII Official Military Histories | Achieved: $7,100 02 The New Zealand Farmer and Bee and Poultry Journal, 17 volumes from 1885 to1902 | Achieved: $2,000 IMPORTANT WORKS OF ART – 03 Stanley Palmer Anawhata | oil on linen on board | 685mm x 1340mm | Achieved: $18,000 04 Ralph Hotere Te Whiti Series | acrylic, silver ink pen and varnish on paper | 555mm x 410mm | Achieved $27,000 05 Michael Illingworth A Tree I Know Near Matauri Bay | oil on canvas | 510mm x 670mm | Achieved: $46,000 06 Don Binney Fat Bird | oil on board | 590mm x 695mm | Achieved: $70,000 07 Gavin Hurley Young Donald 2004 | oil on jute canvas | 1400mm x 1000mm | Achieved: $16,500 08 Gretchen Albrecht Nocturne (The Still Point of the Turning World) | acrylic and oil on oval-shaped canvas | 2420mm x 1550mm | Achieved: $29,500 09 Tony Fomison Portrait of a Circus Clown | oil on hessian on dart board | 460mm diameter | Achieved: $39,000 10 Colin McCahon Brooch | silver plated copper | 30mm x 35mm x 2mm | Achieved: $1,500 11 Colin McCahon Pendant | brass and copper | 45mm x 35mm x 3mm | Achieved: $1,500 JULY 08: IMPORTANT MOTORCYCLES – 12 1973 ROYAL ENFIELD | FJ 500cc 4 valve | Achieved: $20,000 13 1914 TRIUMPH TOURIST | Achieved: $30,000 14 CIRCA 1915 ARIEL 670cc VEE TWIN | Achieved: $30,000 15 1939 OHV ARIEL SQUARE FOUR – THE 4G 955cc | Achieved: $38,000 PHOTOGRAPHY – 16 Laurence Aberhart View 10” x 8” gold-toned contact prints mounted in a limited-edition artist’s book | 250mm x 200mm each | Achieved: $30,000 17 Marti Friedlander Tony Fomison in Front of His Painting Omai in 1979 | gelatin silver print | 410mm x

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390mm | Achieved: $7,500 18 Harvey Benge Tokyo Girl 3 | digital print on archival plastic | 1800mm x 1200mm | Achieved: $4,000 19 Peter Peryer Sandshark | gelatin silver print | 274mm x 414mm | Achieved: $8,500 20 Edward Weston Oceano, 1936 | gelatin silver print | 195mm x 245mm | Achieved: $7,500 21 Frantisek Drtikol Broken Arc 1925 - 26 | gelatin silver print (printed 1950s) | 210mm x 280mm | Achieved: $3,000 22 Elizabeth Pulman King Tawhiao | gelatin silver print | 130mm x 92mm | Achieved: $5,200 23 George Pulman Paora Tuhaere | gelatin silver print | 134 x 96mm | Achieved: $2,100 24 Burton Bros. Taipari’s Carved House Parawai | gelatin silver print | 153mm x 200mm | Achieved: $2,800 AUG 08: A2 ART – 25 Richard Killeen Reap What You Sow | screenprint | 630mm x 430mm | Achieved: $2,450 26 Colin McCahon Moby Dick is Sighted Off Muriwai Beach | lithograph | 495mm x 595mm | Achieved: $6,000 27 Tony de Lautour Double Vision | oil on canvas | 305mm x 442mm | Achieved: $3,500 28 Robin White Southland Monkey - Puzzle | screenprint | 375mm x 500mm | Achieved: $2,200 29 Colin McCahon 15 Drawings - Dec’ 51 to May’ 52 | 275mm x 210mm | Achieved: $2,400 ANTIQUES & DECORATIVE ARTS – 30 An Indian Silver Repousse Covered Jar | Achieved: $1,300 31 A Pair of Carlo Bugatti Salon Chairs | Achieved: $27,000 32 A Pair of 20th–century Basket Chandeliers | Achieved: $2,900 33 A 19th–century Meissen Porcelain Framed Table Clock | Achieved: $850 34 A Victorian Sterling Silver Classical Table Lamp | Achieved: $3,900 35 An Impressive 19th–century Oak Library Table | Achieved :$5,800 Note: All prices quoted exclude buyer’s premium and GST on the buyer’s premium. in focus

infocus historical works of art Not since the mid 1980s has the market for traditional paintings been so strong. At the Richard and Rhoda Potton sale held at Webb’s in March of this year, we were thrilled to welcome a large crowd of determined bidders which resulted in strong competition, excellent prices and a 90% sale rate by volume. The works offered were by New Zealand’s leading painters of the 19th and early 20th centuries. Early photography, too, was greeted with a similar response last month, with impressive prices for works by George and Elizabeth Pulman among others.

When considering New Zealand’s 19th-century fine art heritage, one must keep in mind that there was practically no market for the work of our topographical artists. Australia had developed a sophisticated market for the sale of works, supporting the production of impressive and large scale compositions, while New Zealand artists of the day found little opportunity to exhibit their works and even less opportunity to secure a venue through which to sell them. Framing shops such as John Leech, which was established in 1855, acted as the earliest art galleries. The main art market was ‘at home’: back in England for the most part, and later in Australia. These two factors had an impact in that the works tended to be on a small scale and more likely to be watercolours than oil. Reasons for this were two-fold: watercolours were more affordable and they were easier to use whilst travelling. And travel they did. The same views that draw tourists to New Zealand today also fascinated the 19th-century traveller. Mitre Peak, the Southern Alps and the geothermal area of the central plateau are depicted by a variety of different artists throughout the last two centuries. Interestingly, the industries which brought people here in their thousands have been little represented. Whaling, sealing, gold mining and forestry were brutal and ugly occupations, stripping and scarring the land. This is a pity as scenes depicting the reality of our colonial history would today be highly valued historical records. The goal of the early painter was tantamount to propaganda. The resulting works are tidied-up views and pristine scenery devoid of ugliness and decay. Even Alfred Sharpe’s exacting views of Coromandel, cleared of native forests, supersede the truth with their golden light and exquisite brushwork.

Early New Zealand paintings tended to be topographical, as artists attempted to map a new country for an overseas audience, both literally and figuratively. It began with draughtsmen aboard explorers’ ships that were surveying coastlines, and progressed to scenic views to tempt the early immigrant.

Fascinated with New Zealand’s differences, yet influenced by the landscape and portraiture painting conventions of the time, many of our early painters produced works with a distinctly European feel.

Oaks replace totara, forests are full of beech trees not manuka and nikau, and indigenous people look more Eastern than Pacific, due to the artists’ fascination with the exotic.

What makes these early works so compelling and collectable today is they depict both places and people long gone: landscapes irrevocably changed by reclamation, industry and civilisation; and peoples and societies also surpassed by time. Examples in the sale include Alfred Sharpe’s wonderfully rich watercolours, View of the Mangatawhiri Swamp from Pokeno - Koheroa Pah in the Distance (lot 22) and Among the Kauri, Castle Rock (lot 19). Both depict landscapes forever changed by the relentless colonisation of man.

Pokeno and Mangatawhiri are renowned now for bacon production and a road toll black spot. Hardly the nostalgic bucolic, pastoral image intended. But look again at Sharpe’s depictions. Men with axes enter the tall stand of kauris as the logging industry’s fledging protagonists. The pah site, too, is no longer the thriving, populated fortified village that it was.

Samuel Stuart’s views of Point Britomart (lot 13) and Commercial Bay (lot 14), show us Auckland before one of the most substantial feats of engineering undertaken in the 19th-century. Point Britomart was effectively destroyed and the fill used for reclamation. It extended the commercial district formerly restricted by the Queen Street valley and enabled flat road and rail access to downtown Auckland from the eastern bays. It also allowed for deep-water moorings, increasing Auckland’s usefulness as a safe port. While of great practical importance, the reclamation project forever altered the eastern waterfront with its open bays and cliffs covered in the beautiful green of the massive pohutukawas, and now, rather than beaches, stone walls greet the sea.

Natural disasters too have changed things. Charles Blomfield’s famous depictions of The Pink and White Terraces (lot 23) thankfully captured one of the wonders of the world. The delicately tinted silica terraces were both beautiful and health giving. The terraces were forever destroyed in the 1886 Tarawera eruption, and Blomfield painted them during a six-week painting expedition in 1884. After their destruction, he copied the original paintings many times in order to fulfil renewed demand. This pair has come from the great-nephews of Charles Blomfield and have never before been offered to the market.

The fine examples of portraiture in this sale by Charles Frederick Goldie and Gottfried Lindauer allow us a glimpse into early colonial life in New Zealand. Throughout art history, portraits were intended to tell us about the prominence of their sitters. Often commissioned, they form an important artistic and historical record of a particular period. While integrated for the most part, Goldie and Lindauer chose to depict Maori as subjects of exotic fascination, and therefore a rich source of material for pictorial storytelling. Much has been written about the way in which the artists staged their subjects, and highly emotive images such as A Midsummer’s Day (lot 20), of a slumbering Hori Pokai, are undeniable in their skill and beauty.

Lindauer painted many European subjects, including this example of his wife Rebecca (lot 25) his subject was close to him both emotionally and practically, and her stern countenance and severe dress are testimony to the difficulties faced by a woman in early New Zealand.

Whilst artists were flocking to New Zealand, some were just as desperate to escape the confines of a provincial market and expand their horizons in Europe. Margaret Stoddart made her base in the St Ives artist’s colony and The Fluers Hut (lot 29) is a superb example of the developments she learned there. A wet on wet technique, which gives vitality to the surface, adds to the sombre mood of the work’s subject. She was joined in St Ives by, among others, Frances Hodgkins. Renowned for combining the intimacy of portraiture, landscape and still life, Hodgkins chose to base herself in Europe permanently, where she found inspiration in the landscape and in the Modernist revolution.

With the many wonderful works in this catalogue there is sure to be strong competition. Come to the sale and be the next custodial owner of a piece of our early history by one of our leading 19th or 20th-century artists. EMMA FOX

alfred sharpe Among the Kauri, Castle Rock,1884 (detail) watercolour on paper, 532mm x 883mm $120,000 – $160,000

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infocus New zealand history: maori & pacific artefacts, ceramics & colonial furniture The New Zealand History sale within this catalogue features a f ine selection of Maori and Pacific artefacts and studio ceramics, including pieces by both New Zealand and international potters.

Within the New Zealand history section of this catalogue, Webb’s represents a good selection of Maori artefacts covering a range of design periods including several exceptional Toki adzes, a rare Moa period stone gouge (lot 524), and an elegant Patu Onewa (lot 525) with its delicate original muka wrist cord belying its true identity as a deadly weapon.

The traditional lives of the Maori were irrevocably changed in less than a decade, at the end of the 18th-century, when they came into contact with Europeans and this is reflected in the adoption of previously unknown materials into their everyday articles. This sale includes a number of pieces that reflect this period of transitional design including: a Toki-Akau-Poto Tomahawk, an iron tool (lot 531), an early contact period wooden Taiaha with rare fibre embellishment incorporating layers of settlers’, printed cloth over raupo and flax with kuri (dog) fur (lot 535); and a Muka cloak incorporating European textiles (lot 532). The period also witnessed intentional change in the carving styles and designs to accommodate the Victorian appetite for the unusual and exotic in decorative items as displayed on the pleasing two-manaia-supported Kumete or treasure box, carved in the latter 19th-century (lot 533).

In turn, the early colonial master craftsmen admired the Maori for their elegant imagery and incorporated such designs in fine native woods marquetry including items of furniture, cabinets and boxes.

The best of these unquestionably, came from the workshop of the Bohemian immigrant, Anton Seuffert and his sons, particularly, William. The New Zealand specimen woods marquetry pictorial tabletop by William Seuffert depicts two Europeanised Maori cherubs in an Auckland landscape overlooking the Waitemata Harbour, with the volcanic landmarks of North Head and Rangitoto Island in the distance (lot 615); it is illustrated on the opposite page.

The top is executed in a restrained style as was typical of the early 20th century.

World War I saw Maori and Pakeha fighting side by side in foreign lands. On offer is a rare manuscript (lot 588) with over 300 signatures of the soldiers returning home to New Zealand shores on board the ‘H.M.N.Z.T. S.S. AYRSHIRE’. The manuscript has a hand-coloured, stylised Maori lintel patterned border.

Maori imagery was acknowledged also in a commercial sense by the very successful Crown Lynn Potteries in the 1950s. However, the appeal of the pottery items to the public at that time proved limited and production was discontinued after a short period. Fifty years on, Wharetana Maori Art Pottery commands some of the strongest prices by Crown Lynn collectors. This sale has a rare pair of salad servers (lot 721), Moko design pair of bookends (lot 722) and a small Koruru tray (lot 723).

Pottery was always integral to the development of colonial New Zealand, with small potteries active across the country producing domestic and architectural wares such as the decorative heartpierced tall chimney pot by the Auckland potter, George Boyd, Newton Pottery (lot 637). Within this section, devoted to New Zealand potters, are several signature pots made by one of our most celebrated potters, Len Castle, in the 1960s and ‘70s and, later, several gloriously glazed bowls with the intense lava reds of the volcanoes and the equally intense blues of the seas. A particularly stunning example of Len’s work is a massive branch opalescent blue pot, Chun over a tenmoku glaze (lot 644).

On 10 April 1968, the nation witnessed the disaster of the interisland ferry, the WAHINE, through the coming of age of television to New Zealand. 51 people lost their lives that day, two more later from injuries sustained. Miraculously, hundreds of passengers and crew survived the savage fury of the storm and seas when they were forced to abandon ship. Another survivor of that memorable day is an original commemorative celebration flag from the WAHINE. Partially tattered, the once-white cloth stained by smoke and fuel, the sewn red lettering still vivid, this pennant-shaped flag is now beautifully presented, serving as a reminder of that fateful day (lot 607). ngaire lawson

Lot 525 An exceptional Patu Onewa of dark greywacke $6,500 - $10,000

A Rare and Impressive William Seuffert Marquetry Pictorial Card Tabletop New Zealand Native Timbers $25,000 - $35,000

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infocus important works of art For the discerning collector seeking quality, many of the works in this catalogue might present a well-timed opportunity. Over recent years, we have seen a steady shift towards collectors being more focused on the strongest and most typical works by our leading artists. This area of collecting is well presented here with a signif icant selection of important works that hold superior provenance.

The sale includes a range of works by Michael Smither spanning his lifetime’s work, demonstrating his skill as a painter and his personal take on realism. The earliest work entitled Still Life with Boiled Egg, Toast and Coffee (lot 1029), 1963, has never before been offered to the market. The prosaic title and idiosyncratic realism are typical of the best of his work. Golden Syrup Tin (lot 1027), 1967, a work from the celebrated ‘Domestic’ series of the 1960s, is an intimate portrayal of the sights and sounds of family routine, where the familiarity of such scenes brings comfort. The extremely high or low viewpoints introduce a feeling of unease which prevents the works from becoming sentimental. In both works, the still lives could slide forward off the table. In Fern Flat Still Life (lot 1025), 1992, we see how Smither’s technical skill has developed since the 1960s producing a highly refined and modulated surface; the jumble of sharp, hot and potentially dangerous objects is highly charged.

Two works by Australian artists, Tim Storrier’s Arm/Will (lot 1032) from the ‘Burning Rope’ series and David Bromley’s Boy, Girl and Dog in Clinker (lot 1030) from the ‘Childhood’ series, are included in the sale. Although not so well known in this country, Tim Storrier is renowned in Australia for being the youngest-ever recipient of the Sulman Prize, which was awarded when he was just 19 years old back in 1968. The ‘Burning Rope’ series began as a sitespecific installation in Central Australia; it was a line of fire invisibly suspended between two points that mirrored the horizon line in the distance. Sue Gardiner from the Chartwell Collection talks more about his work in depth on 134.

Rarity and freshness to the market are two attributes the discerning buyer seeks. The opportunity to own something rare, unusual and relevant to our history is indeed compelling. A Landscape 1959 (lot 1026) is a fine oil on board by Colin McCahon, created during a period when McCahon was about to move into the ‘Elias’ series. This piece certainly shares the moody skyscapes of that series and is a precursor to the ‘Necessary Protection’ series that would come some ten years later, in the early 1970s.

The superb work by Bill Hammond, Hokey Pokey 3 (lot 1023), was purchased by the present owner from the Peter McLeavey Gallery the year it was painted in 1997. The primordial environment of early New Zealand coupled with Bosch-esque characters, gothic sensibility and surrealism with rich gold paint bleeding across the surface is typical of this series, arguably one of the artist’s greatest.

Edward Bullmore has been the subject of a recent retrospective at the Tauranga Art Gallery, with a catalogue written by curator Penny Jackson. Cuban Crisis #4 Fusion (lot 1033) is a comment on the atrocities of a nuclear engagement, focusing particularly on the physical effects of radiation on human casualties. This work comes from a series of just six works of which very few have been available on the open market. Considered one of the earliest Surrealists in New Zealand, Edward Bullmore has previously been a much overlooked figure, despite his successes internationally.

The exquisite Michael Illingworth figure, Untitled (New Born) (lot 1017), was either gifted to, or swapped for another artwork with, the current vendor’s parents who were active figures in the New Zealand art world at the time. It was exhibited in A Tourist in Paradise Lost at the City Gallery Wellington in 2001, and is a wonderful example of his characterisation of female fertility, and a further variation on Illingworth’s ‘Eve’ themes.

The sale includes two significant works by Dick Frizzell: the largest is Big Train Crash, painted in 2002 (lot 1024), a cartoon-esque rendition of sound and movement and the other, an earlier work, is Seeing the Grand Canyon, 1979 (lot 1016). While the first is dark and brooding, increasing the tension of the action, the second is a brightly rendered and self-framed pop image, the muscle car winding past the recognisable tourist destination.

Sculpture is an area of growing interest for collectors and there is a large sculptural component to the sale. It includes works by Paul Dibble, Elizabeth Thomson, Charlotte Fisher, Richard Cooper, Chris Bailey and Greer Twiss. The early maquette depicting seated figures

by Greer Twiss (lot 1006) relates to the Karangahape Road Fountain on the corner of Symonds Street in Auckland, employing the same attenuated forms. Paul Dibble is ably represented by the elegant Defining the Homelands (lot 1018) and two maquettes, Pounder and Bird (lot 1007) and Ram’s Horn (lot 1008), both beautifully patinated in rich browns.

Our forthcoming sale presents some wonderful opportunities for the experienced collector. For others, it is a unique opportunity to view masterworks by some of New Zealand’s key painters. Please join us during our spring sale. EMMA FOX

michael smither Fern Flat Still Life with Bananas (detail) oil on board, signed with the artist’s initials MDS and dated ‘92, 880mm x 1030mm $70,000 – $90,000

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peter peryer exhibition & book launch 30 Sept – 5 Oct 2008

OPENING FUNCTION & BOOK LAUNCH 30 Sept 2008, 6 - 8pm An exhibition of new and vintage photographs in conjunction with the launch of Peter Peryer’s book Peter Peryer, Photographer.

A selection of photographs hand chosen by the artist, this exciting new publication includes a foreword by Peryer himself and a supplementary essay by Peter Simpson (Auckland University Press 2008).

PETER PERYER Conus (detail) gelatin silver print 380mm x 280mm Contact Emma Fox +64 9 529 5601 efox@webbs.co.nz

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Further entries now invited

CONTEMPORARY ART 21 Oct 2008

eve armstrong Arrangement (collage) (detail) mixed media 295mmx 460mm x 85mm

Exhibited: Roam, Artspace 26 November 2005 – 28 January 2006 $1,800 – $2,200

Further entries are invited for a sale of Contemporary Art to be held in October. This sale will represent an exciting and diverse offering by emerging and established practitioners.

Webb’s Contemporary Art sales are great opportunities to experience current art practice in New Zealand.

Contact Emma Fox +64 9 529 5601 efox@webbs.co.nz Jonathan Organ +64 21 503 251 jorgan@webbs.co.nz

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Further entries now invited

Modern & contemporary design 22 Oct 2008 Webb’s is currently inviting entries for an upcoming Modern and Contemporary design sale which will focus on design in the home. Celebrating authentic New Zealand and international design, Webb’s October sale continues to offer exceptional pieces across key genres of object and interior furnishings including glass, ceramics, lighting and jewellery.

A Superb Pair of Vintage, New Zealand Side Chairs with Kauri Frames and Florence Broadhurst ‘Kabuki’ upholstery $1,800 - $2,200 Contact Josh Williams +64 9 524 6804 jwilliams@webbs.co.nz

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Michael ParMenter’s

coMMotion coMPany Presents

Te Whaea Theatre

Maidment Theatre

1 - 5 October Bookings 0800 TICKETEK

13 - 19 October Bookings Ph: 308 2383

Te Whaea: National Dance & Drama Centre

University of Auckland

www.tentdanceproject.com Proudly supported by

Webb’s has important works for sale by Private Treaty including:

HAMMOND McCAHON HOTERE APPLE FOMISON GOLDIE HANLY KILLEEN MRKUSICH WALTERS

Contact: Sophie Coupland +64 9 529 5603 +64 21 510 876 scoupland@webbs.co.nz Emma Fox +64 21 646 828 +64 9 529 5601 efox@webbs.co.nz Jonathan Organ +64 21 503 251 +64 9 524 6804 jorgan@webbs.co.nz

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NEXT ISSUE SYDNEY BALL KEN WHISSON RONNIE VAN HOUT MARTIN PARR STEPHEN BUSH SRIWHANA SPONG EDMUND CAPON PATRICIA PICCININI YINKA SHONIBARE TONY OURSLER PETER STICHBURY BEN QUILTY DIENA GEORGETTI

ART WORLD ON SALE 24 SEPTEMBER

Further entries now invited

important motorcycles & related memorabilia Scheduled for early 2009 Webb’s Important Motorcycle exhibition and sale was a roaring success with over 1,000 people visiting the preview and 400 crowding the saleroom on what was a cold and stormy night.

However, a good nip of Chivas Regal, for all who cared to partake, quickly warmed the room. The exceptional standard of the machines on offer translated into passionate competition from the floor while phone bids were managed from South America, Britain, the Uinted States and Australia. By and large the local market outran the stronger international currencies on the night.

This reflects a mature local market and a strong local demand for blue-chip passion investments.

Already consigned for our next Important Motorcycle exhibition and sale is a highly sought-after 1931 AJS transverse Vee Twin, the rarest production AJS of them all. Also of significance is a 1928 SC1 Norton - the first of the camshaft machines that foreshadowed the Norton’s dominance and the mighty Manx. Webb’s will also be offering one of Burt Munro’s furious hand-built machines which will be sure to capture the imagination of collectors.

1931 AJS S3 – The transverse Vee Twin.

The innovative S3 Grand Tourer was a short-lived but now celebrated AJS design. $25,000 - $35,000

Contact Neil Campbell +64 9 529 5607 ncampbell@webbs.co.nz

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Diamonds at Webb’s a highlight of the september fine jewellery sale Wednesday, 17 Sept 2008 A. A Magnificent Diamond 5.06ct with a replacement insurance valuation of $171,000 $95,000 - $105,000 Contact Christopher Devereaux +64 9 529 5606 cdevereaux@webbs.co.nz

A.

jewellery sales defy recession Highlights of June & August 2008 Sales The buoyant Jewellery sale on 6 August repeated the pattern of strong interest seen in the June sale, with consumer confidence that is not reflected in other markets. Highlights included the fabulous 20ct unset emerald (illustrated C) that made $67,500 (plus premium) setting a new record for a loose emerald at auction in New Zealand. The pair of 3ct diamond earstuds (illustrated D) were snapped up for $75,000 (plus premium) as were several stunning pieces set with fancy yellow and white diamonds.

Perhaps this confidence is part of the worldwide trend in these uncertain times of seeking alternative and more secure avenues of investment in art and jewellery, rather than in traditional financial markets.

B.

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C.

B. A magnificent emerald-cut Diamond of 5.59ct, set in a ring with accent diamonds Realised: $91,250 in June 2008 C. A magnificent Emerald of 20.98ct Realised: $67,500 in August 2008 D. A pair of solitaire 3ct Diamond earstuds Realised: $75,000 in August 2008

D.

Contact Miriam Shaw +64 9 529 5602 bethunes@webbs.co.nz

L I Duperrey. Hand-coloured aquatint. Voyage de la Coquille. Etablissement de missionaires anglais a Kidikidi, (Nouvelle-Zélande), 1826.

Estimate $2,500

Webb’s is New Zealand’s Premier Valuer of Fine Art, Antiques and Estates.

Further entries now invited

Bethunes@webb’s rare book auction 19 Nov 2008

valuation services

A dedicated team ensures a prompt, accurate, competitively priced and entirely confidential nationwide service. With vast experience, daily market contact and an extensive database with access to international sale records, Webb’s in-house experts offer reliable valuations of art and antique investments, heirlooms and home contents.

Webb’s has recently completed the valuation of Rotorua Energy Charitable Trust’s collection of historical artworks housed in the Rotorua Museum of Art and History: Te Whare Taonga o Te Arawa. The work by Charles Frederick Goldie illustrated opposite is from this collection.

Charles Frederick Goldie Te Arani or Pipi Harerehuka, Ngati Whakaue oil on canvas on board, signed and dated 1939 460mm x 410mm Collection of Rotorua Energy Charitable Trust Image courtesy of the Rotorua Energy Charitable Trust

Contact Erika Chamberlain +64 21 486 948 echamberlain@webbs.co.nz

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50#/-).' %8()")4)/.3 /CTOBER .OVEMBER 0REVIEW PM 4UESDAY /CTOBER

Tane Mahuta, 2008. Oil on linen, 840 x 1010mm

Triptych. 800 x 1800mm

!RTIST WILL BE IN ATTENDANCE

Hide and Seek, 2008. Oil and acrylic on board,

.IGEL "ROWN ,!-0

Trees in Brown’s Bay, 2008. Mixed media on canvas, 700 x 800mm

,IAM "ARR 'RAND ,AND !PRIL 3HIN !T $USK 3EPTEMBER

/CTOBER

0REVIEW PM 4UESDAY 3EPTEMBER

0REVIEW PM 4UESDAY 3EPTEMBER

!RTIST WILL BE IN ATTENDANCE

!RTIST WILL BE IN ATTENDANCE

WARWICK HENDERSON GALLERY 32 Bath St, Parnell, Auckland, New Zealand

www.warwickhenderson.co.nz

Phone/Fax: +64 9 309 7513

info@warwickhenderson.co.nz

Pre-cellared, rare & investment wines at auction

Contact Simon Mickleson +64 9 524 6804 wine@webbs.co.nz

Webb’s wine sales feature both wines that have proved to be an investment and will continue to build in value and those that have failed to shift from their original release price despite being carefully cellared, matured and ready to drink. Both are interesting propositions for those of us who enjoy fine wines.

Investing in wine, like any investment, requires research and careful selection. When considering a wine to acquire for investment, one must consider whether the producer is regarded as being the preeminent maker of their chosen variety within the country of origin.

Equally important is how well the region is regarded for producing the wine variety, the weather conditions under which the vintage was grown and, naturally, what the producer’s track record is like for making investment wines.

We marvel at the story of Chateau Petrus, one of the most celebrated, small-scale French makers. Their 1982 95% Merlot, 5% Cabernet Franc blend was released at around NZ$400 - $500 per bottle. It currently sells at auction for around NZ$6,500 per bottle. This wine does not reach full maturity till 2025 and its value is expected to track on an upward trend over the next 17 years as worldwide stock diminishes and it becomes increasingly rare.

New Zealand also produces great investment wines such as those made by renowned Central Otago winery, Felton Road, and Dry River of Martinborough. Wines released from these wineries sell readily on release and then perform well at auction but, unfortunately, are rarely available to the secondary market.

Yet a word of caution, whilst buying the right wines on release can result in substantial gains in value, this is certainly not always the case.

A trend in New Zealand to drink wines young and a lack of focus on the benefits of cellaring, together with a crowded and diverse local industry, mean that superb-quality, mature wines can be obtained at auction for figures comparable to the original release prices. Recent sales at Webb’s have included a wonderful selection of New Zealand wines by some of our best makers such as Stonyridge’s Larose and Te Mata Estate’s Coleraine. Stonyridge 1996 was released at $90 per bottle and was sold this year at auction, perfectly matured at $75 per bottle. Te Mata Estate Coleraine 1988 was released at $59 per bottle and was sold this year at auction for $55 per bottle. Whilst this isn’t good news for the vendor of these wines, if the wine is purchased as an investment, it represents an extraordinary opportunity

for those of us who like the idea of mature wines, able to be enjoyed at their peak and obtainable at no more than the original retail price.

All wines must come from well-cellared collections to be included in Webb’s auctions. The importance of cellaring is paramount in delivering mature wines in good condition to the market.

Webb’s wine department offers a comprehensive acquisition service so we can assist with advice on investment wines, purchases direct from the winery, locating a special wine from a specific date for a gift and establishing complete cellars, at whatever value level is required.

The illustration above depicts some of the wines available in the next wine auction to be held on 15 September 2008. From left to right: Ch Margaux, 2004, was released in late 2006 at about NZ$625 per magnum. It is now selling in the $950 - $1,200 range. It has a Robert Parker Rating of 93/100 and is best drinking from 2007 to 2027.

Ch Haut Brion, 2004, was released in late 2006 at NZ$590 per magnum. It is now selling in the $800 - $1,100 range. It has a Robert Parker rating of 92/100 and is best drinking from 2009 to 2034.

Ch Mouton Rothschild, 2004, was released in late 2006 at NZ$625 per magnum. It is expected to sell in the $1,150 - $1,300 price range. It was rated 91-93/100 by Robert Parker and is best drinking from 2015 - 2045.

Ch Cheval Blanc, 2004, was released in late 2006 at NZ$600 per magnum. It is now selling in the $1,000 - $1,250 price range. It has a Robert Parker rating of 90/100 and is best drinking from 2010 - 2025.

The above magnums all represent good investment potential; they are First Growth wines, or have the excellent status and good ratings at 90/100 or above. All these wines are presented in the rare magnum format which ages more slowly and is an impressive package.

The sale to be held on 15 September 2008 features many Bordeaux wines that will appreciate over time. Also on offer is a wide selection of New Zealand wines that represent excellent buying. sophie coupland Note: All prices quoted exclude a 15% buyer’s premium and GST on the buyer’s premium. in focus

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22

Day 1

Historical Works of Art

Illustrated left: Lot 14 Samuel STUART

Point Britomart from Official Bay, Auckland circa 1864 (detail) oil on board, signed 250mm x 430mm $20,000 - $30,000

DAY 1

Viewing

Historical Works of Art

Evening Preview

Tuesday, 16 September 2008 6.30pm

Thursday

11 September 6.00pm – 8.00pm

Thursday Friday Saturday Sunday Monday Tuesday

11 September 12 September 13 September 14 September 15 September 16 September

9.00am – 8.00pm 9.00am – 5.30pm 11.00am – 3.00pm 11.00am – 3.00pm 9.00am – 5.30pm 9.00am – 12noon

BUYER’S PREMIUM A buyer’s premium of 12.5% will be charged on the Historical Works of Art section of this catalogue. GST of 12.5% is payable on the buyer’s premium only.

historical works of art

23

1

4

2

1

Rata Lovell-Smith

High Country Landscape oil on canvasboard, signed 345mm x 440mm

$3,000 - $5,000

2

Sir William Ashton

Australian Harbour Scene oil on hardboard, signed and dated 1948 365mm x 440mm

$4,500 - $5,500

3

Ida Eise

Templetons Farm oil on board, signed and dated 1957

3

350mm x 425mm Exhibited: Ida Eise Bequest Exhibition, Auckland Society of Art 1979

$1,500 - $2,000

4

John Weeks

Composition with Racehorse and Greyhound oil on canvas 700mm x 650mm Provenance: Purchased from the John Weeks sale at the Peter O’Connor Collection at Webb’s, August 2005

$4,000 - $6,000

24

5

6

5

7

Francis McCracken

Spanish Olive Trees ink on paper 190mm x 260mm Provenance: purchased by the present owner from John Leech Gallery, Auckland

$2,000 - $3,000

6

George O’Brien

South Island River Scene graphite on paper, signed and dated 1883 200mm x 255mm

$3,000 - $5,000 8

7

George O’Brien

River Scene watercolour on paper 115mm x 190mm Provenance: Private Collection, Waikato

$3,000 - $5,000

8

John Barr Clark Hoyte

Lake Scene with Row Boat watercolour on paper 220mm x 470mm

$5,000 - $7,000

historical works of art

25

9

Sydney Lough Thompson

Wellington Harbour oil on board, signed 370mm x 400mm

$20,000 - $30,000

10

Maud Sherwood

Anna with her Stick and Hoop watercolour on paper, signed; original Robert McDougall Art Gallery label affixed verso 590mm x 440mm

$7,000 - $9,000

26

11

John Tole

Still Life with Red Decanter oil on board, signed; title inscribed and signed and original Ferner Galleries label affixed verso 390mm x 340mm

$4,000 - $6,000

12

John Weeks

Afternoon on the Seine oil on canvas, signed; title inscribed verso 380mm x 440mm

$8,000 - $12,000

historical works of art

27

13

28

Samuel Stuart

Point Britomart and Commercial Bay, Auckland circa 1864

14

Samuel Stuart

Point Britomart from Official Bay, Auckland circa 1864

oil on board, signed

oil on board, signed

250mm x 430mm

250mm x 430mm

$20,000 - $30,000

$20,000 - $30,000

15

Russell Clark

Conversation in Noumean oil on canvasboard, signed; original Centre of Contemporary Art, Christchurch label affixed verso 460mm x 620mm

$40,000 - $50,000

Russell Clark trained at the Canterbury College of Art and was employed as a commercial artist and teacher before being appointed as New Zealand’s Official War Artist in 1944. In February of that year he joined the 3rd New Zealand Division in the Pacific theatre as a temporary second lieutenant, where he worked for the next nine months. It was during this time he found himself in Noumea, the site of this painting. Russell Clark had a sculptors approach to forms through concentration on tonal modelling. The monumental solidity in his figure compositions can be clearly seen here. In this finely observed social interaction; something Clark excelled at, the protagonists seem oblivious to the artist.

Emma Fox

historical works of art

29

16

Gottfried Lindauer (Attributed to)

Portrait of a Highborn Chief Holding a Taiaha, Adorned with Huia Feathers and a Sharks Tooth Earring oil on paper on board, inscribed Chief Ngaio of the Ngati Kahuna... Tribe New Zealand.

G Lindauer Pinx on canvas excerpt affixed verso 575mm x 620mm

$45,000 - $65,000

This heavily adorned chief, displaying seven huia feathers on his crown, a shark’s tooth earring, known as mako or ngutukao by Maori, and a detailed moko, must have been very well respected to command such regalia. He holds a taiaha embellished with kaka feathers and kuri fur fibres of the native New Zealand dog. A very fine weaving is suggested by the unadorned body of the cloak which reflects the superb quality of the flax utilised.

The direction of this unidentified subject’s gaze portrays him as a figure to be observed and honoured rather than a person with whom to interact. It is a somewhat romantic three-quarter profile reminiscent of Royal portraits where the sitter does not make eye contact with the viewer. This acts to create an iconic representation, suggesting our sitter’s concern lies elsewhere, perhaps with his duty rather than with personal vanity.

Imogen Kerr

30

17

Horace Moore-Jones

From Quinn’s Post Looking Back to Imbros (GHQ) watercolour on paper, signed; inscribed Campaign on Gallipoli. One of a series of watercolours and drawings made by Horace Moore-Jones - the official artist for the campaign - with other exhibitors at the New Zealand Government Exhibition at Buckingham Palace Opened by King George V on original label affixed verso

Quinn’s Post was established by the New Zealanders and a small party of Australians on the first day of the landing as the Anzacs sought to capture the post. The Australians took over the position on 26 April 1915. It became one of the most advanced and dangerous Anzac posts, the site of incessant Turkish bombardment and of some of the bloodiest encounters between the Anzacs and Turks at Gallipoli. Only 16 metres separated Anzac and Turkish troops at Quinn’s. The post was named after Major Hugh Quinn who was killed on 29 May when leading a battle against a Turkish threat to recapture it.

Source: http://www.nla.gov.au/gallipolidespatches/1-03-quinns_post.html

132mm x 220mm

$30,000 - $35,000

historical works of art

31

Charles Frederick Goldie 18

Charles Frederick Goldie

An Aristocrat No.3 Kamakate Matehaere (aged 90 years) oil on canvas, signed and dated 1920 260mm x 210mm

$150,000 - $200,000

Goldie painted Kamaka Te Matehaere on several occasions. After the 1900s the diminishing number of Maori with facial moko led the artist to produce many portraits of the same subjects, with variations of title and pose. A work exhibited at the Auckland Society of Arts in 1918 was called “The Whitening of the Snows of Venerable Eld” Kamaka An Chieftain of the Maniapoto Tribe (Aged 90 Years) – its title taken from Canto II of James Thomson’s poem The Castle of Indolence, 1748. Two other portraits of him in the Auckland Art Gallery’s 1997 exhibition Goldie, were titled An Aristocrat, Te Kamaka aged 90 years, 1921 and The Diplomat, 1918.

This work carries the ingredients of Goldie’s portraiture at its finest: an elderly, greyhaired Maori sitter, glazed eyes, reflective; with cloak, feathers, tiki, moko – all the characteristic accoutrements. The detail too is typical of Goldie’s finest work: the glint of light, and colour, on the forehead above the left eyebrow – the texture of creased skin, and the dark veins coursing up towards the hairline. For many, this ‘realism’ is the essence of Goldie’s work. Yet ‘realism’ is never straightforward.

Goldie studied at the Académie Julian in Paris. One of his teachers was WilliamAdolphe Bouguereau (1825-1905), who, like many French academic painters, was a consummate technician, capable of creating an almost photographic image. That, however, was not his main goal. At the annual Salon, pride of place went to historical and mythological subjects, grand narratives. Illusion, detail, modelling of skin and drapery – all this was designed to make the unreal look real, believable and compelling.

Paintings were to elevate the mind beyond transient, everyday matters, to more fundamental and ennobling ideals, morals, human attributes. Even when Bouguereau painted everyday scenes, his prettified peasant girls generate a mythology of morals and sentiment far beyond the realities of life for the working classes.

When Goldie returned to Auckland after more than four years of academic training, he embarked on an ambitious history painting, The Arrival of the Maori in New Zealand (1898), in collaboration with Louis John Steele. Although it was well received, Goldie did not pursue history painting, instead developing his own speciality – portraits of Maori.

Like Bouguereau’s peasants, they do not amount to accurate or representative records of individuals. Goldie paid his sitters, dressing them up in ‘traditional’ garments he kept in his studio, and sold his paintings to wealthy Pakeha, who may have seen them, as Goldie intended, as symbolic mementos of a supposedly ‘dying race’.

For Goldie, the ‘art’ of his portraiture was as much the implicit narrative he built around his sitters, as it was the technical accomplishment. When it turned out that in fact Maori were not a ‘dying race’, the mythology of his portraits exposed, his reputation as an artist rested only on craft (technique) rather than ‘art’. However, one aspect of Goldie’s ‘realism’ has not been questioned: the unique record the paintings provide of te moko.

Moreover, it now seems problematic to endorse the ‘dying race’ interpretation. Perhaps Goldie’s reflective elders are more hopeful, waiting for something other than death.

Karamaka Te Matahaere is waiting for Goldie to finish painting his portrait, certainly.

But perhaps he is waiting for, even reflecting upon, some form of renaissance. He is, after all, spanning time, or timeless.

Edward Hanfling

32

historical works of art

33

Alfred Sharpe 19

Alfred Sharpe

Among the Kauri, Castle Rock, 1884 watercolour on paper 532mm x 883mm Illustrated: Roger Blackley, The Art of Alfred Sharpe (Auckland City Art Gallery & David Bateman Ltd, 1992) p.74 Exhibited: Alfred Sharpe, Auckland City Art Gallery, 1993, catalogue no.26

$120,000 - $150,000

A dawn view from an artist better known for his golden sunsets, Among the Kauri, Castle Rock, 1884 was criticised for its ‘cold’ colouring. Sharpe characteristically leapt to his own defence, explaining that ‘[the] scene is taken at sunrise … [and] consequently there is no direct light anywhere except on the castle peak, distant two miles, which catches the rosy hue of the rising sun’. According to Sharpe, the apparent monotony of green tints related to lack of direct light and ‘to all being drenched with the dew’ .

The painting was entered anonymously in the competition of the New Zealand Art Students’ Association, a recently formed group that, in the words of president Kennett Watkins, aimed for an art ‘of our soil, an indigenous product’ . This programme fitted perfectly with Sharpe’s desire to faithfully depict the particularities of local scenery, in order to inform posterity of the marvels of the New Zealand bush before the intrusion of the settlers’ axes, fires and imported vegetation.

It is Sharpe’s clear awareness of the ecological impacts of colonisation – the realisation that New Zealand nature was in the process of an irreversible transformation – that distinguishes his work from those contemporaries who produced similarly ambitious exhibition watercolours. Works by J C Hoyte, C D Barraud and John Gully generally celebrated the signs of colonial ‘progress’, whereas Sharpe focused instead on the threat represented by industries such as forestry – then a source of pride for most New Zealanders.

It was because his paintings often flouted picturesque convention that they were perceived to be ugly by commentators who failed to appreciate Sharpe’s intention to create elegiac ‘mementoes of the glories of our grand forests’. Hence the crucial importance of the tiny marginal figures, axes slung over their shoulders as they approach their day’s work, who provoke the viewer to ponder the consequences of their work within this spectacular stretch of native bush.

Among the Kauri, Castle Rock, 1884 displays a more subtle approach to the environmental issues than do many earlier works, where he revelled in the damage itself, and Sharpe was awarded the Art Students’ silver medal – his first major recognition. In his presidential address, Kennett Watkins declared the subject ‘imaginative and beautiful to a degree, and … exceptionally treated by an artist who has learnt the forms of every forest tree, and can depict them from long association. I should say this is a very valuable picture, and one to be retained in the colony’.

Roger Blackley

The art exhibition’, Auckland Evening Star, 22 October 1884, p.4.

‘Meeting of the New Zealand Art Students’ Association’, The New Zealand Herald, 24 December 1883, p.6.

Artist, ‘What is our art society doing?’ The New Zealand Herald, 27 April 1887, p.6.

New Zealand Art Students’ Association, opening night’, New Zealand Herald, 16 October 1884, p.5.

34

historical works of art

35

Charles Frederick Goldie 20

Charles Frederick Goldie

A Midsummers Day, Maoriland Pokai; A Warrior Chieftain of the Ngatimaru Tribe oil on canvas on hardboard, signed and dated 1937; title inscribed and signed on original artist’s label affixed verso and title inscribed on original stretcher; inscribed Cat # 28 on original swing tag and label affixed verso. On original NZPO telegram dated Roslyn 15.Jl.47 4.45pm affixed verso is inscribed SC Speight, Sheen St, Roslyn.

Pokai purchased. Feel sure you will approve, Regards Charles; original John Leech Framing label affixed verso.

395mm x 450mm Provenance: Charles Smith purchased the painting on behalf of the current vendor’s father. Charles was married to Charles Goldie’s niece Betty.

Purchased: John Leech Gallery, Auckland, 1947 £365.

Exhibited: Royal Paris Salon, 1938.

Royal Academy Exhibition, 1943, John Leech Gallery, Auckland, 1947.

Illustrated: Alister Taylor & Jan Glen, C F Goldie 1870-1947 His Life and Painting 1977, p.277 Reference: The Evening Post, 30 November 1937, The New Zealand Herald, 9 May 1939, C F Goldie Scrapbooks, Auckland Institute & Museum, C F Goldie Scrapbook, National Art Gallery

$350,000 - $400,000

Painted in 1937, some ten years before Goldie’s death, A Midsummers Day, Maoriland Pokai; A Warrior Chieftain of the Ngatimaru Tribe, is one of a series of head-and-shoulders studies of elderly Maori sitters that he produced in the mid-1930s. His subject is Hori Pokai whom he described in a note on the verso as ‘A Warrior Chieftain of the Ngatimaru Tribe’. Pokai came from the Thames district and was depicted in several related works including Sleep, Tis a Gentle Thing of 1933. At this stage, Goldie was working mainly from earlier studies of his subjects or from photographs. Although in his mid-sixties, he showed no deterioration in his excellent naturalistic technique with its extraordinary detail and consummate rendering of texture and facial expression. By then he was no longer seen as a major figure in contemporary art circles but he was gaining increasing support and recognition from the establishment. One of his greatest advocates was the Governor-General Lord Bledisloe who championed his works and commissioned paintings from him. With Bledisloe’s encouragement, Goldie again submitted paintings to the Royal Academy in 1934 and to the Paris Salon. The present work was exhibited in Paris at the Salon in 1938 where Goldie had recently been given an Honorable Mention for a comparable canvas. In 1935, he was awarded an OBE for his achievements. Bledisloe paid tribute to him when opening the Wellington Academy of Fine Arts exhibition of 1933 saying: “He has conspicuously done his share of painting living history, the figures of an heroic and poetic past.”

Typically, Goldie does not show Pokai in his prime or as a man of action. Rather his work is reflective, a psychological study of the chief in old age nodding off in the heat of a summer’s day lost in dreams of his youth and his prowess as a warrior. We can see from his features the suggestion of former strength and determination. His magnificent tattoo helps give an impression of mana as does the treasured taonga, a greenstone hei-tiki hung around his neck. As with most works of this series, Goldie has left out distracting background details and given us a close-up of the head of Pokai. We are so close that we can almost reach out and touch the grooves in his moko and verify his presence by tactile response. No one ever surpassed Goldie in painting the texture of flesh, the grooves carved by the tattooer’s chisel, the feathers of a cloak or the feel of greenstone against the skin. This is a masterly performance, no longer novel perhaps but well rehearsed and honed to perfection. It is little wonder that such works are increasingly sought-after and valued by a new generation of collectors. They are part of our cultural heritage and speak to both Maori and Pakeha alike.

Michael Dunn

36

historical works of art

37

Frances Hodgkins 21

Frances Hodgkins

Mother and Child watercolour on paper, 475mm x 580mm Provenance: Purchased from Whitford Fine Art, London in 1995. From the estate of Mary Whitney.

$70,000 - $80,000

Early in her career, Frances Hodgkins had a penchant for depicting women and children, especially girls, in domestic settings. Like a number of women painters, among them Berthe Morisot and Mary Cassat, she found in such subjects a world where she felt at home and able to paint with sympathy and understanding. In this example, the exchange between mother and daughter around the breakfast table provides precisely the sort of subject matter she returned to again and again. She had been attracted to the intimate interiors of French painters like Vuillard and Bonnard while living in France in the first decade of the 20th century. Their concern for pattern and surface is found here where she has begun to update her style and move towards Post-Impressionism. She spent a great deal of time in France before the First World War and it was there that she first made real progress towards a more modernist approach and moved beyond Impressionism, even though light is still important in this work. She introduces quite bold black outlining and spontaneous, unrevised painting to both figures and the still life on the table to give a fluid look to this study which seems to have been conceived and executed in one burst of energy. Perhaps she left it unsigned because it was a study rather than a more finished composition.

Despite its experimental nature, the painting relies to some extent on an Impressionist interest in depicting the cool light entering a darkish room and illuminating some motifs like the jug with flowers and casting others like the figures partly into shadow. Hodgkins has worked boldly onto a rough textured paper that breaks up the washes and strokes of paint to give sparkle and visual animation to the image. There are passages where the charcoal drawing replaces paint, as in the chair backs, and where runs of watercolour are allowed to mix wet-on-wet with a degree of freedom and improvisation, as in the tablecloth.

The subject appears to be a mother and daughter caught in the midst of a tense exchange. The mother has her elbow firmly planted on the table and is supporting her chin suggesting patience as she listens to her daughter.

Hodgkins used a similar pose for one of the sisters in her painting called Window Seat of 1907 where two young women are engaged in conversation.

But there is no clear story, rather, as in Vuillard or Sickert it is an implied narrative that we must interpret for ourselves or choose to ignore. To give extra compositional importance to the mother, Hodgkins has modelled her features with more attention than she has done in other parts of the painting and applied some body colour to strengthen the tints of her face and arm.

The still life on the table suggests a frugal meal and the table setting is simple and utilitarian. We seem to be intruding on a private situation where the figures are unaware of our presence and unprepared for visitors.

There is a lively mixture of techniques used in the painting. For instance, in the tablecloth, the check pattern has been worked directly and runs of colour down the surface imply that Hodgkins painted with the paper on a tilt, probably on a light easel. The lively strokes of paint that describe the lacing of the mother’s corset are amazingly calligraphic yet effective in suggesting their subject. The flowers in the jug are also very freely and effectively painted and give a touch of colour to the composition. Although undated, it may have been executed in about 1914.

Michael Dunn

38

historical works of art

39

Alfred Sharpe 22

Alfred Sharpe

View of the Mangatawhiri Swamp from Pokeno - Koheroa Pah in the Distance watercolour on paper, title inscribed and signed on original label affixed verso 410mm x 600mm

$50,000 - $70,000

Among 19th-century landscapists, Alfred Sharpe (1836 - 1908) now holds a distinguished place, even though his works are individual in character and defy easy classification. He has sometimes been called a topographical painter despite the fact that his paintings are not primarily concerned with topography and usually also have an emphasis on colour, spatial effects and lighting, as we find in this example. While it is true that Sharpe sketched from nature and that his subjects are often identifiable, that is not his central interest as a painter. In this case, for example, on the verso he has written a note as follows: “View of Mangatawhiri Swamp from Pokeno – Koheroa Pah in the Distance”. This allows us to locate the subject south of Auckland near the town of Pokeno but it could be argued that he has downplayed the recognisable landmarks of man or nature that preoccupy the topographical artist. Instead it is a typical sweep of country seen from an elevated viewpoint that attracts his attention foremost, with a light-filled space crossed by the meandering river as the focus of the middle distance. The pah is almost lost in the distance. His foreground, too, is filled with characteristic native trees and plants like the toi toi but has no distinctive building nor landmark. Unlike the scenic painters such as John Gully who often chose iconic subjects like Mt Cook, Sharpe frequently avoids them in favour of less ostentatious material. Indeed, by the time Sharpe had reached his maturity as a painter in the 1870s and 1880s, the age of topographical painting was over and such work was done by photography.

Like the other late Victorian watercolourists, Sharpe pushed the scale and ambition of the medium to its limits. He was competing with oil painters for attention and custom, and to do so he had to achieve rich colour effects and dramatic contrasts of light and dark that would stand up in large art society exhibitions beside competing works submitted by other professionals. We know that he gave great attention to developing his finished watercolours from outdoor sketches. In his Hints for Landscape Students in Watercolour he talks of ‘doing the contemplative’ that is, considering how to get the optimum effect from all the elements in the painting. For example, here he depicts the river as a ribbon of light in the distance shown to advantage by the darker, richly-coloured hills in the foreground. He has used body-colour to indicate highlights such as the gleam of sunlight on the river and the light tints of the feathery toi toi waving in the breeze. Any detail is confined to the foreground and does not detract from the breadth of his vision.

Sharpe painted exclusively in watercolour, a medium that was highly developed in Britain in the 19th-century, especially by Turner. In works such as this, Sharpe produced some of the finest and most appealing images of 19th century New Zealand landscape. However, he deplored the destruction of the great native forests by loggers, and the felled tree in the foreground, stripped of its branches ready for milling, is a symbol of this exploitation of a natural resource with no thought for the future. Then, as now, conservation of natural resources is a primary consideration and Sharpe’s painting helps remind us of this crucial concern. Such meanings add depth to his paintings and make them much more than topographical views.

Michael Dunn

40

historical works of art

41

42

23

Charles Blomfield

The Pink Terraces together with The White Terraces

24

Charles Blomfield

Auckland from the North Shore

two paintings, oil on canvas, signed and dated 1923 (Pink Terraces), signed and dated 1911 (White Terraces)

oil on linen, signed; title inscribed and signed verso

320mm x 420mm each

$50,000 - $70,000

Provenance: From the Wild Family Collection, greatnephews of Charles Blomfield.

$30,000 - $50,000

345mm x 605mm

Charles Blomfield spent six weeks at Rotomahana during the Christmas period of 1884. Accompanied by daughter, Mary, the selftaught artist underwent a period of dedicated observation of the Pink and White Terraces, producing twelve original works which he drew on thereafter in the creation of a substantial body of works. These works are some of the most valuable visual references of the terraces in existence, enabling subsequent generations to witness this location’s natural wonder. Blomfield’s views of the terraces also drew much attention in London during his involvement in the 1886 English and Colonial Exhibition which happened to be on view when the Tarawera eruption forever destroyed the majestic landforms. Blomfield is also well recognised for works depicting Auckland subjects, particularly depictions of the harbour as illustrated in the important early view of Auckland city, Auckland from the North Shore (lot 24).

Imogen Kerr

historical works of art

43

25

Gottfried Lindauer

Portrait of the Artist’s Wife Rebecca Lindauer oil on board 650mm x 530mm

$20,000 - $30,000

Completed by Lindauer during his later years, this intimate portrait depicts the artist’s second wife Rebecca, whom he married in 1885. Her ornate Victorian dress references the period and fashion, although she seems almost unaware of what she wears. Lindauer has imbued her with a direct, ponderous gaze that draws the viewer into her eyes as she watches her husband study the landscape of her face. He produces a tender, noble representation of his beloved, the softness and radiance of her skin imbued with the contours of her life’s worth of emotion and experience which appears to be the sole focus of this work.

Portraits in themselves are documents of time and place that reference history in their convention alone. There is a sense of the inevitable fate of humanity, the course of life and the expiration of any given individual, nominally the sitter, which is attached to every portrait. This is heightened by the fact that the portrait will usually outlast its reference point and, in many ways, this is its purpose – to survive as a reminder of those we wish to honour. The genre in itself is a pursuit to solidify the essence of someone’s being – it is a conversation between artist and sitter, beyond simply acting as a purely visual representation. It attempts to capture something of the character of the sitter and inevitably references the artist’s relationship with their subject.

Imogen Kerr

44

26

Frances Hodgkins

Strawberries, Douarenez Market, 1921. gouache on paper, signed 226mm x 262mm Illustrated: E.H. McCormick Works of Frances Hodgkins in New Zealand, Auckland City Art Gallery, 1954, p.I 24b

$20,000 - $30,000

27

Frances Hodgkins

Quayside, Concarneau watercolour on paper, original Tinakori Gallery label affixed verso 190mm x 240mm Provenance: Originally from the collection of W.N Pharazyn.

Note: W.N Pharazyn was married to Frances Hodgkins niece, Lydia Field, Isabel Field’s Daughter.

$15,000 - $20,000

historical works of art

45

29

Margaret Stoddart

The Fluers Hut, St Ives, Cornwall watercolour on paper, signed 225mm x 335mm

$15,000 - $20,000

46

28

John Barr Clarke Hoyte

View of Auckland from Park Road watercolour on paper, signed 365mm x 620mm

$30,000 - $40,000

30

30

William M Hodgkins

South Island Mountain Scene watercolour on paper, original Peter Webb Galleries label applied verso 410mm x 740mm

$10,000 - $15,000

31

John Barr Clarke Hoyte

Harbour Scene with Steamboat watercolour on paper, signed with the artist’s initials JCH; biographical information on the artist affixed verso 155mm x 325mm

$7,000 - $10,000

32

31

John Barr Clarke Hoyte

Whangarei Heads watercolour on paper, signed 270mm x 370mm

$10,000 - $15,000

John Barr Clarke Hoyte was a master of the picturesque. He travelled the length of New Zealand, absorbing and translating the landscape into paintings to send back to the old country, attempting to lure potential settlers. Hoyte’s compositions let the eye gently roll over the features of the landscape. His palette, a myriad of blues, greens, soft yellows and earth tones, idealistically portrays the landscape in an appealing light. The works often employ artistic licence in the translation from plein-air sketch to studio recreation. Hoyte would often include a group of Maori, a solitary figure, a lone bird soaring above the mountains or a sailing vessel to give the land a more lived-in appeal.

32

Because of artists like JBC Hoyte, Alfred Sharpe, John Gully and Nicholas Chevalier, we have intimate, romantic studies of New Zealand in the late 19th and early 20th centuries which, most importantly, document the history of the place.

Jessica Pearless

historical works of art

47

33

David Edward Hutton

Regatta, Dunedin Harbour oil on canvas, signed 495mm x 745mm

$20,000 - $30,000

34

Cecil Kelly

Banks Peninsula oil on canvas, signed 700mm x 900mm

$12,000 - $22,000

48

35

Christopher Aubrey

Clifdene Station, on the Waiau River, Southland watercolour on paper, signed 365mm x 620mm Provenance: This work originally belonged to a descendant of the Aitken family, who owned Clifdene Station when Aubrey painted this work.

$10,000 - $15,000

36

John Gully

View of Blind Bay watercolour on paper, signed and dated 1863 395mm x 600mm

$20,000 - $30,000

historical works of art

49

37

James F. Scott

Landscape Scene with Cattle oil on canvas, 980mm x 1400mm

$10,000 - $20,000

38

Charles Blomfield

North Island Landscape oil on board, signed and dated 1889 295mm x 400mm

$6,500 - $7,500

50

39

Major Frederick Rice Stack

View of Auckland Harbour, New Zealand Taken During the Regatta of January, 1862 (The Race of the Maori War Canoes) together with View of Auckland, New Zealand, from the Crater of Mount Eden together with View of Auckland, New Zealand from the Lake on the North Shore together with View of the Frith (sic) of Thames, Waitemata, Tamaki and Gulf of Hauraki from the Howick Ranges together with View of the Wairoa Creek (Pheasant Shooting on the Estate of Alexander Kennedy, Esquire) on the Road Leading to the Wairoa Valley together with View from the Ranges Overlooking the Entrance to the Manuka Harbour, Auckland Six coloured etchings, all title and author inscribed and inscribed Drawn from Nature by FR Stack Esq Late Major of Brigade Auckland. London Published by Day & Son. Day & Son, Lith’s to the Queen.

360mm x 555mm

$25,000 - $35,000

historical works of art

51

40

40

Gottfried Lindauer

Portrait of a Maori Woman in Colonial Dress oil on canvas, inscribed Mareana Ngamai, Ngatai Rawiri Tribe, Te Ani Awa Tribe, Taranaki.

Robson Family descendents.

650mm x 502mm Provenance: Purchased by the present owner from George Walker Ltd Auctioneers in the late 1960s.

$45,000 - $65,000

41

Commander Richard Oliver

Two Maori Girls watercolour on paper, signed and dated 1881 370mm x 260mm

$9,000 - $12,000

42

Joseph Jenner Merrett

Pipi watercolour on paper 190mm x 150mm

$5,000 - $7,000

41

52

42

43

44

45

43

Frances Hodgkins

Mother and Child

44

Charles Blomfield

Wanganui River

watercolour on paper, signed and dated September 1945; original Redfern Gallery Ltd London affixed verso

oil on canvas, signed and dated 1906

525mm x 350mmÂ

$5,000 - $7,000

340mm x 510mm

45

Charles Blomfield

Mt Cook from the Hooker Glacier oil on canvas, title inscribed verso 445mm x 595mm

$4,000 - $6,000

$25,000 - $35,000

historical works of art

53

46

49

47

46

Margaret Stoddart

South Island River Scene watercolour on paper, signed 365mm x 535mm

$7,000 - $9,000

47

JOHN Elder Moultray

View Near Kinloch, Queenstown oil on board, signed 185mm x 290mm

$3,000 - $4,000

48

48

Charles Moore Igglesden

Nelson, NZ oil on board, signed with the artist’s initials C.M.I; title inscribed, signed and dated August 1904 verso 100mm x 295mm

$2,000 - $3,000

49

James Crowe Richmond

Trees Beside a Creek watercolour on paper, signed 270mm x 180mm

$4,500 - $5,500

54

50

51

52

50

Charles Decimus Barraud

Horse and Cart in the Bush pastel and wash on paper, signed and dated 1875 370mm x 260mm

$4,000 - $5,000

51

John Barr Clarke Hoyte

South Island Landscape watercolour on paper, signed

53

230mm x 390mm

$3,000 - $4,000

52

Margaret Stoddart

Poppy Field watercolour on paper, signed on the original backing board affixed verso 250mm x 350mm

$2,000 - $3,000

53

Henry William Kirkwood

Cattle at the Riverside oil on board, signed with artist’s initials H W K 175mm x 320mm

$1,500 - $2,500

historical works of art

55

55

54

56

57

54

56

Willem Van Herp I (Attributed to, Flemish)

Adoration of the Shepherds

55

dorothy kate richmond

Spring Flowers

oil on copper

watercolour on paper, signed and dated 1929

465mm x 625mm

510mm x 380mm

$10,000 - $15,000

$4,000 - $6,000

George Haite

Grenada, Spain gouache on paper, signed; title inscribed, signed and inscribed ÂŁ1818-0 verso; title and artist inscribed on label affixed verso 338mm x 551mm

$1,000 - $2,000

57

Girolamo Pieri Nerli

Bacchanalian Orgy oil on board, signed 205mm x 425mm Reference: Michael Dunn, Nerli: An Italian Painter in the South Pacific Auckland University Press, 2005 p.60.

$7,000 - $9,000

56

58

59

60

63

61

62

64

58

61

Professor E Benivento (Italian)

65

59

Pieter Gerardus Vertin (DUTCH)

60

Ferdinanad Krumholz (austrian)

Grand Canal Venice

19th Century Street Scene

Portrait of Captain Hooper

oil on canvas, signed, title inscribed verso

oil on board, signed

oil on board, signed and dated 1856

540mm x 440mm

340mm x 250mm

215mm x 165mm

$1,000 - $1,500

$1,000 - $1,500

$1,000 - $2,000

Sir William Charles Ross, RA (british)

Family Portrait

62

Ferdinanad Krumholz (Austrian)

Portrait of Captain Hooper

watercolour on ivory, inscribed Family Portrait on Ivory. The boy in the centre, reputedly, later became Govenor of Zanzibar on original David Cooke Antiques label affixed verso

oil on board, signed and dated 1857; inscribed Captain 100 per verso

245mm x 165mm

$1,000 - $2,000

63

215mm x 165mm

Blythe Fletcher

European Courtyard watercolour on paper, signed 230mm x 285mm

$1,000 - $2,000

$1,500 - $2,500

64

Betram Nicholls, PRBA (BRITISH)

A River Scene, Ludlow oil on canvas on board, signed and dated 1936; title inscribed and dated 15/4/36 on original Fine Art Society Ltd, London label affixed verso, original John Dixon Antiques label affixed verso 340mm x 445mm

$800 - $1,000

65

Alfred Henry Vickers (Attributed to, BRITISH)

Harbour Scene together with Lake Scene oil on canvas board, original John Wilson, Carver and Guilder and Picture Frame Maker, Edinburgh label affixed verso (both works) 190mm x 290mm each

$1,000 - $2,000

historical works of art

57

66

67

68

69

66

Frank Barnes

Cutty Sark oil on board, title inscribed, signed and inscribed Famous Clipper “Cutty Sark� off the Eddystone English Channel; original H Fisher & Son Fine Art label affixed verso 410mm x 540mm

$3,000 - $4,000

58

67

John Gully

Harbour Scene with Boat watercolour on paper, signed and dated 1886 260mm x 340mm

$5,000 - $7,000

68

E Oldfield

Ship

69

J Hollabon

HMS Rangitikei

oil on board, signed; inscribed AUX S/S Durham (NZ.S.Co). Built in 1874 for Money, Wigram and Co. London.

Three Masted, single screw barque 2280 tons. on original plaque

oil on canvas on board, title inscribed, signed and dated 1897

400mm x 520mm

$2,000 - $3,000

$500 - $700

425mm x 650mm

70

71

72

73

74

70

Robert Pheney

Study of Tree Trunks, Auckland Domain

71

watercolour on paper, title inscribed, signed and dated 1911 and inscribed R Pheney, Grange Road, Mt Eden ÂŁ1.10 verso

Maud Sherwood

Canterbury Bells

72

William Menzies - Gibb

Lake Wakatipu

watercolour on paper, signed

watercolour on paper, signed

655mm x 475mm

450mm x 360mm

$3,000 - $5,000

$1,000 - $2,000

320mm x 240mm

$1,000 - $2,000

73

Margaret Stoddart

Spring Near Cashmere watercolour on paper, signed; title inscribed verso

74

James Crowe Richmond

Mountain Pass, Southern Alps

235mm x340mm

watercolour on paper, title inscribed; certificate of authenticity by R W Richmond (great-nephew of the artist) dated 27.8.70 affixed verso

$5,000 - $7,000

315mm x 485mm

$1,000 - $2,000

historical works of art

59

75

76

79

77

78

75

Joseph Gaut

River and Alps

76

Studies of a Young Lady

oil on board, signed with the artist’s initials J.G.

graphite and charcoal on paper, signed

115mm x 290mm

300mm x 390mm

Provenance: From the collection of the artist’s family,

Note: This work features a work verso: Portrait of a Gentleman, charcoal on paper, signed, 295mm x 265mm

$1,000 - $2,000

77

Petrus Van der Velden

John Douglas Perrett

Lake Scene oil on canvas, signed

$1,000 - $2,000

78

James Crowe Richmond

Quiet Waters

290mm x 390mm

watercolour on paper, inscribed from the collection of the artist’s family on original Ferner Galleries label affixed verso

$1,000 - $2,000

480mm x 310mm

$1,500 - $2,500 79

Charles Decimus Barraud

Seascape with Mountains watercolour on paper, signed and dated ‘80 315mm x 370mm

$1,500 - $2,500

60

80

81

83

82

80

John McIntosh Madden

Mountain Landscape with Sheep

81

oil on board, signed

Joseph Gaut

84

Mountain and Lake with Cabbage Trees oil on board, signed

220mm x 300mm

115mm x 290mm

$500 - $700

Provenance: From the collection of the artist’s family

$1,000 - $2,000

82

Charles Blomfield

Mountain Scene

83

watercolour on paper

230mm x 310mm

Provenance: Certificate of Authenticity signed by Philip Kendon, grandson of Charles Blomfield, affixed verso

James Peele

Otira Gorge oil on canvas on board, signed and dated 1897 590mm x 890mm

$1,500 - $2,500

85

Provenance: Certificate of Authenticity signed by Philip Kendon, grandson of Charles Blomfield, affixed verso

$500 - $1,000

View of the Remarkables from Queenstown oil on board

110mm x 160mm

84

Charles Blomfield

$1,800 - $2,800

85

William George Baker

Waiahane (sic) oil on canvas board, title inscribed and signed 420mm x 645mm

$1,000 - $1,500

historical works of art

61

358

354

362 360

62

345

Day 2

Jewellery Exceptional Solitaire Diamonds, Fine Jewellery, Watches and Accoutrements Preceded by Affordable & Estate Jewellery A Single Session “ Harlequin” Sale

DAY 2

Viewing

Jewellery

Evening Preview

wednesday, 17 september 2008 5.00pm (one session only)

5pm

Lots 101 - 300 Affordable, Estate & Modern Jewellery

Lots 301 - 422 Watches, Accoutrements, Diamond Solitaires, Fine Jewellery

Thursday

11 September 6.00pm – 8.00pm

Thursday 11 September Friday 12 September Saturday 13 September Sunday 14 September Monday 15 September Tuesday 16 September Wednesday 17 September

9.00am – 8.00pm 9.00am – 5.15pm 11.00am – 3.00pm 11.00am – 3.00pm 9.00am – 5.15pm 9.00am – 5.15pm 9.00am – 4pm sharp

Viewing strictly until 4.00pm ONLY on day of sale Delivery: As the sale is in one continous session we regret that there can be no delivery of items during the sale.

BUYER’S PREMIUM A buyer’s premium of 12.5% will be charged on the Fine Jewellery & Watches section of this catalogue. GST of 12.5%

f i n e j e w e l l e ry & Wat c h e s

63

382

338 328

409

364 316 317 331 349

326

414

313 409

64

400

DAY 2: WEDNESDAY 17th september 5PM (In one session only) Please note: where gemological reports are available these should be read together with the catalogue description. Should there be, through error, omission or introduction of better evidence, any significant difference between the catalogued description and that provided in the gemologist’s report, it shall be assumed that the buyer has inspected the report and is buying in acceptance of it. Unless otherwise stated, all stones have been assessed for weight, colour or clarity mounted and the descriptions given in the catalogue or report are therefore based on estimates which are limited in accuracy. Where an actual weight is given the stone will have been weighed loose, however while the grading of a stone loose will minimise error margins it shall be accepted by the buyer that all reports and descriptions remain opinions and not matters of fact.

Important Conditions Sale for Watches: Please note: as many of the timepieces are old, or their history is unknown, Webb’s offers no guarantee as to mechanical condition or condition of seals etc. A timepiece described as ‘fine’ or ‘as new’ is an opinion as to appearance only. All watches are sold as viewed. It shall be assumed that all buyers have inspected the lots and that they are happy with them in all respects. Watches cannot be returned on the grounds that repairs or service have been carried out, or parts (including straps or bracelets) have been supplied, by anyone other than the named maker.

Notwithstanding the foregoing condition, named wristwatches are sold on the basis that the movement (or movement and case where both would normally have been manufactured by the named maker) were manufactured by the named maker. It is recommended that buyers have watches serviced promptly to ensure that damage does not arise from faulty seals or any other aspect of mechanical condition.

___________________________________________________________________

303 ROLEX, A Gentleman’s Vintage Wristwatch.

Precision c1954 circular outline case of 9ct yellow gold.

Silver face with polished batons, sweep seconds and date window at 3 o’clock. Movement No67490 case hallmarks London 1954/55. Brown leather strap. Replacement crown. $1,500 - $1,800 304 CARTIER, A Limited Edition Santos

Bi-Metal Automatic Wristwatch.

Stainless steel and 18ct yellow gold case and integrated bracelet. No. 739612CC. Silver guilloché face with sweep second, date window and Roman numerals in gold relief. $2,750 - $3,750 see colour illustration page 74.

305 BRUNO PASQUALE, A Gentleman’s “Collezione

Uomo” Automatic Wristwatch.

Substantial cushion outline case of stainless steel, sapphire lens. Black face with Arabic numerals and subsidiary seconds. Water resistant 5 ATM. Brown leather strap. Insurance Valuation available on request. $1,400 - $2,000 see colour illustration page 67.

306 AUDEMARS PIGUET, A Lady’s Stainless

Steel ‘Royal Oak’ Wristwatch.

Stainless steel case with integrated bracelet. Octagonal outline bezel enclosing circular textured charcoal face.

Polished batons, date window at 3 o’clock. Quartz movement. With original box and spare link.

5PM AFFORDABLE, ESTATE & Modern JEWELLERY Lots 101 - 300 A list will be available free of charge at viewings or online at www.webbs.co.nz ___________________________________________________________________

Immediately followed by:

WATCHES, ACCOUTREMENTS, DIAMOND SOLITAIRES, FINE JEWELLERY

$2,500 - $3,000 see colour illustration page 71.

307 A Pair Of 15ct Yellow Gold Cufflinks.

The vacant octagonal plates joined by chain to toggle bars. $120 - $180 308 A Pair Of 9ct Rose Gold Cufflinks.

Oval plates enhanced with engine turned engraving joined by chain links.

301 OMEGA, A Gentleman’s “Speedmaster

$100 - $140

Professional” Chronograph Wristwatch.

Stainless case and matching strap. Automatic movement.

Black face with chronometric dials and sweep second.

Outer tachymetric ring black enamel, stop and return buttons in the band. Verso engraved: “Flight - qualified

by NASA for all manned space missions. The first watch worn on the moon.” C.1969. Evident signs of wear.

309 A Pair Of 9ct Yellow Gold Cufflinks

Enhanced With Diamonds.

Cartouche outline plates decorated with bright cut and engine turning, each set with a round modern brilliant cut diamond of approx 0.07ct. Swivel toggles. $175 - $225

$600 - $800 302 JUVENIA, A Lady’s 18ct Yellow Gold Cased Wristwatch.

310 A Good Egyptian Revival Telescoping Pencil.

Mummiform in silver decorated with champlevé polychrome enamels. (very minor damage).

Manual mechanical 17 jewel Swiss movement. Round case with large lugs. Silver face with Arabic quarters and subsidiary seconds. Black endstone to crown. Black leather strap.

$150 - $200

$450 - $550 311

A Pair Of 9ct Rose Gold Cufflinks.

Oval plates enhanced with foliate engraving joined by chain links. $100 - $140

f i n e j e w e l l e ry & Wat c h e s

65

312 A Pair Of Cufflinks Of 9ct Yellow Gold And Red Coral.

The shield outline plates with engraved monogram attached by chain to the toggle bars with red coral bead finials. $225 - $275

320 A Pendant Set With Treated Blue And White Diamonds.

Designed as a companion to the previous lot. 18ct white gold with 18ct white gold neck chain. Gemologist’s report and valuation available on request. $3,750 - $4,250

313 A Masonic Ball Pendant.

9ct gold / silver, the six hinged pyramidal sections opening to a Latin cross, each engraved with Masonic symbols. 17mm diameter (closed). $600 - $800 see colour illustration page 64.

see colour illustration page 71. See previous and following lots.

321 A Pair Of Pendant Drop Earrings Set With

Treated Blue And White Diamonds.

Designed as companions to the previous two lots. 18ct white gold. Gemologist’s report and valuation available on request. $4,000 - $4,500

314 A Pair Of Masonic Motif Cufflinks.

9ct yellow gold oval plate and chain design, each having one of the plates pierced and engraved with a Masonic motif. $150 - $200 see colour illustration page 74.

315 A Vesta Match Container Of 9ct Yellow Gold.

Rectangular outline with engraved armorial recto.

Hallmarks Birmingham 1901. 16.1g. $375 - $475

see colour illustration page 71. See also previous two lots.

322 A Ring Set With A Blue-White (D) Coloured

Solitaire Diamond Of 1.10ct.

The diamond described in G.I.A report 16440160 as being D, I1, Excellent make is set in a ring of 18ct white gold.

Gemologist’s report and valuation available on request. $6,500 - $7,500 see colour illustration page 71.

323 A Pendant Set With Diamonds And Jade.

18ct (tested approx) yellow gold decorated with polychrome enamels. Very minor bruising.

The deep emerald-green carved jade panel set in 18ct white gold within a shaped border of round modern brilliant and baguette cut diamonds. The bale also set with diamonds.

Gemologist’s report and valuation available on request.

$200 - $300

$3,000 - $3,500

see colour illustration page 64.

see colour illustration page 70.

316 A Caduceus Motif Brooch.

317 MONT BLANC, A Fountain Pen And

Retractable Ball Point In Rolled Gold.

324 A Green Tourmaline and Diamond

Pendant of Art Deco Design.

“MEISTERSTUCK, Solitaire Classique” the fountain pen with piston converter (can be alternatively used with cartridges) ref 2922,HX2529268, the ballpoint ref 2930,KP1004965.

Never used. With original box and papers. Purchased 24/07/2004 from “The Pen Place” in Melbourne. This series is no longer available adding to its desirability for collectors.

The oval mixed cut rich green tourmaline of 13.52ct is set in 18ct yellow gold together with round brilliant modern and baguette cut diamonds to suit the design.

Gemologist’s report and valuation available on request.

$2,500 - $3,500

see colour illustration page 70.

see colour illustration page 64.

318 A Pair Of Earstuds Set With Fancy

Yellow And White Diamonds.

Marquise outline in 18ct white gold, each centred by a marquise cut light fancy yellow diamond bordered by tapered baguette and brilliant cut diamonds. Stated total diamond weight 1.37ct.

Gemologist’s report and valuation available on request.

$5,000 - $5,500

325 A Cocktail Ring Set With A Cluster Of Yellow

Sapphires Together With Diamonds.

Freeform design in 18ct white gold set with three oval and two pear shaped yellow sapphires enhanced with two loop lines of diamonds. Gemologist’s report and valuation available on request. $1,250 - $1,500 see colour illustration page 74.

$1,850 - $2,250 see colour illustration page 71.

319 A Dress Ring Set With Treated Blue And White Diamonds.

Domed marquise outline designed as 9 interlocking circlets in 18ct white gold, each outlined with round modern brilliant cut white diamonds about a central blue diamond. The blue diamonds all round modern brilliant cut, treated to enhance colour. Total diamond weight estimated approx 2.47ct.

Gemologist’s report and valuation available on request. $2,850 - $3,250 see colour illustration page 71. See also following two lots.

66

326 A Marquise Outline Sapphire And Diamond Cluster Ring.

18ct white and yellow gold set with a central line of three round cut Ceylonese blue sapphires bordered by round single-cut diamonds. $350 - $550 see colour illustration page 64.

396 387

383

370 361

359

337

399

341 340

363

305

379

394

f i n e j e w e l l e ry & Wat c h e s

67

327 A Rivière Necklace Of Diamonds.

Designed as a line of articulated links of 14ct white gold graduated from the centre, each set with a round modern brilliant cut diamond similarly graduated in size. The diamonds, 89 in all, having an estimated total diamond weight approx 2.75ct.

Gemologist’s report and valuation available on request. $4,000 - $5,000 see colour illustration page 71.

335 A Pair Of Four-Panel Drop Pendant Earrings.

Designed as articulated falls of four graduated pendeloque outline panels, each centred by a pair of tapered baguette cut diamonds within a border of round modern brilliant cut diamonds, suspended by a dainty diamond set Creole hoop and a single diamond joining link. 18ct white gold. Stated total diamond weight 3.23ct. Gemologist’s report and valuation available on request. $3,800 - $4,800 see colour illustration page 71.

328 An Arts And Crafts Period Pendant Of

Silver Decorated With Enamels.

336 An Unusual Sapphire And Diamond Cluster Estate Ring.

$150 - $250

Circular outline in 18ct white gold centred by an old mine cut round diamond of approx 0.38ct, half bordered by 3 round cut Ceylonese blue sapphires, the remaining border with 4 square cut senaille cut diamonds. Gemologist’s report and valuation available on request.

see colour illustration page 64.

$850 - $1250

950 silver with beadwork to a central apple tree motif and suspending a single drop. Red, green, yellow and blue enamels. Signed VBC. Minor bruise.

329 A Very Good 19thC Paste And Enamel Brooch.

Circular outline in silver / gold doublet enhanced with a circlet of midnight blue enamel guilloché bordered by small “diamond” pastes and enclosing a central paste cluster. $200 - $300 330 A Cocktail Ring Set With Sapphires and Diamonds.

Folded and rectangular offset panel design in 18ct white gold pavé set with round cut blue sapphires and round brilliant modern cut diamonds to suit the design.

Gemologist’s report and valuation available on request. $1,750 - $2,250 331 A Ring Set With A Solitaire Marquise

Cut Diamond Of Around 1.3ct.

The diamond set in a stylish marquise outline ring of 18ct white gold, the shoulders enhanced with two small round cut diamonds.

Gemologist’s report and valuation available on request. $6,750 - $7,750

see colour illustration page 71.

337 A Ruby And Diamond Eternity Ring.

The band of 18ct white gold set with a line of 11 square cut rubies bordered by round modern brilliant cut diamonds.

Gemologist’s report and valuation available on request. $800 - $1000 see colour illustration page 67.

338 A Ring Of Art Deco Design Set With Diamonds.

Domed geometric crested outline enhanced with fan ajouré motifs extending from the shoulders, encrusted with some 82 round modern brilliant cut diamonds having an estimated total diamond weight approx 1.35ct. The 18ct white finished gold filigree ribbon bow suspending an articulated linen – fold drop, all set with some 215 round modern brilliant cut diamonds having an estimated TDW 3.83ct.

Gemologist’s report and valuation available on request. $2,000 - $2,400 see colour illustration page 64.

see colour illustration page 64.

339 A Signet Style Diamond Cluster Ring.

332 A Pair Of Solitaire Diamond Earstuds

The round modern brilliant cut diamonds assessed as G, I1/2 are set in 14ct white gold. Gemologist’s report and valuation available on request.

18ct white and yellow gold square outline centred by a round brilliant modern cut diamond of around 1.2ct of estimated colour J, clarity VS2 box set within a border of baguette cut diamonds. Total diamond weight approx 2.20ct.

Gemologist’s report and valuation available on request.

$2,500 - $2,800

$6,500 - $7,500

Of Approx 1.39ct Total.

333 A Pair Of Diamond Cluster Earstuds.

Square outline in 18ct white gold, each set with 4 Princess cut diamonds in a square pattern. $700 - $800

340 An Aquamarine and Diamond Dress Ring.

The cushion outline mixed cut aquamarine of 8.20ct is set in a ring of 18ct white gold within a border of round brilliant modern cut diamonds, with further diamonds to the split – shank shoulders.

Gemologist’s report and valuation available on request. $3,500 - $4,000

334 A Ring Set With A Solitaire Diamond of Approx 1.14ct.

The round modern brilliant cut diamond assessed as H/J, SI1 Good Make is partially rub-over set in a ring of 18ct white and yellow gold. Gemologist’s report and valuation available on request. $5,500 - $6,500

68

see colour illustration page 67.

341 A Splendid Aquamarine and Diamond

Pendant of Art Deco Design.

The cushion outline mixed cut aquamarine of 21.61ct is set in 18ct white gold together with round brilliant modern and baguette cut diamonds to suit the design.

Gemologist’s report and valuation available on request. $5,500 - $6,000 see colour illustration page 67.

342 A Pair Of Baguette And Brilliant Cut

348 A Platinum Eternity Ring Pavé Set With Diamonds.

The diamonds, some 28 in all, having an estimated total diamond weight approx 0.25ct. Sentiment engraved on band. $750 - $1,000 349 A Dainty Ring Set With An Emerald-Cut Champagne

Coloured Diamond Of Approx 0.85ct.

The diamond assessed as C3, SI2 is set in 18ct white gold within a border of small round modern brilliant cut white diamonds.

Gemologist’s report and valuation available on request.

Diamond Cluster Earrings.

$1,850 - $2,250

Each designed as a scalloped dome in 18ct white gold centred by a heart motif above a cascade of surrounding semi-circular panels, set with baguette and brilliant cut diamonds to suit the design. Total Diamond weight approx 3.62ct for the pair.

Gemologist’s report and valuation available on request.

see colour illustration page 64.

$4,000 - $6,000 see colour illustration page 71.

343 A Ring Set With A Solitaire Diamond Of Approx 2.2ct.

The round modern brilliant cut diamond rub-over set in a ring of 18ct yellow gold. The diamond assessed as 2.205ct, I, I2, good make, faces up well. $7,000 - $8,000 see colour illustration page 70.

344 A Pair Of Hoop Earrings Set With Diamonds.

Tubular hinged design, the inner and outer leading faces pavé set with round modern brilliant cut diamonds, some 222 for the pair with a stated total diamond weight 5.71ct.

Gemologist’s report and valuation available on request. $5,500 - $6,500 see colour illustration page 74.

345 A Ring Set With A Fine White Pendeloque

350 A Good Ceylonese Blue Sapphire And Diamond Ring.

The oval cut sapphire of even colour, bright appearance and estimated weight 5.15ct is set in a ring of 18ct white gold, the bezel pavé set with some 62 round brilliant modern cut diamonds of good quality and estimated total diamond weight 1.05ct.

Gemologist’s report and valuation available on request. $8,500 - $9,500 see colour illustration page 71.

351 A Two Stone Diamond Ring Of Approx 1.93ct Total.

The round modern brilliant cut diamonds assessed as: 1.03ct, I/J, SI2-I1 and 0.90ct I/J, SI2 are slightly offset in a signet style ring of 14ct yellow and white gold.

Gemologist’s report and valuation available on request. $7,000 - $7,500 352 A Ring And Earrings En Suite Set With Diamonds.

Double spiral design in 18ct white gold, each arm set with a line of round modern brilliant cut diamonds to a central larger diamond. Total diamond weight approx 1.49ct.

Gemologist’s report and valuation available on request. $4,000 - $5,000 (3)

Cut Diamond Of 2.30ct.

The diamond assessed as F, VS2 is set in a ring of 18ct white gold. Gemologist’s report and valuation available on request. $35,000 - $38,000 see colour illustration page 62.

346 A Collar Style Necklace Set With Diamonds.

Fringe design in 14ct white gold, a total of 109 links with the front 60 pavé set with round modern brilliant cut diamonds, some 600 in all of good quality, with an estimated total diamond weight 6.60ct. Gemologist’s report and valuation available on request. $8,000 - $9,000 see colour illustration page 70. Also following lot.

347 A Bracelet Set With Diamonds.

Designed as a companion to the previous lot, also in 14ct white gold, pavé set with some 342 round modern brilliant cut diamonds of good quality and estimated total diamond weight 4.70ct. Gemologist’s report and valuation available on request. $5,000 - $6,000 see colour illustration page 70.

353 A Ring Set With A Solitaire Cape Coloured

Diamond Of Approx 1.67ct.

Gypsy style heavy band of 18ct yellow gold, to the partly rub-over set diamond. Gemologist’s report and valuation available on request. $4,000 - $5,000 see colour illustration page 74.

354 A Ring Set With A Fancy Light Yellow Solitaire

Radiant Cut Diamond Of Approx 3.01ct.

The diamond set in 14ct white gold, the shoulders enhanced with lines of small round modern brilliant cut diamonds.

Gemologist’s report and valuation available on request. $22,000 - $24,000 see colour illustration page 62.

355 A Pair Of Creole Hoop Earrings Set With Diamonds.

18ct yellow gold, the inner and outer leading edges set with rows of round modern brilliant cut diamonds, 56 for the pair, with a total diamond weight 1.47ct.

Gemologist’s report and valuation available on request. $1,200 - $1,500

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389

323

347

367

343 356

372

368

346

369 357 371

70

324

321 306

320

319

327

342

384

397 350 381

336

322

375

318

335

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356 A Jewelled Frog Motif Pendant/Brooch.

18ct yellow gold, the body pavé set with some 442 round modern brilliant cut diamonds having a stated total diamond weight 5.70ct; the eyes set with round cabochon blue sapphires.

Gemologist’s report and valuation available on request. $7,500 - $8,500 see colour illustration page 70.

357 A Three Panel Heart Motif Pendant.

Designed as an articulated drop of three heart shaped panels of 18ct white gold, each set with baguette and brilliant cut diamonds to suit the design. Suspended by a trace box-link 18ct white gold neck chain. Stated Total Diamond weight 2.46ct.

Gemologist’s report and valuation available on request. $3,250 - $3,750 see colour illustration page 70.

358 A Magnificent Solitaire 5.06ct Diamond Ring.

The round modern brilliant cut diamond of good make, assessed as I/J, SI2 is set in an elegant ring of platinum enhanced with lines of round modern brilliant cut diamonds having an estimated total diamond weight of 0.90ct.

Gemologist’s report and valuation available on request. $95,000 - $105,000 see colour illustration page 62. Also see InFocus page 18.

359 A Bracelet Set With Diamonds.

Designed as an articulated line of 14 pear shaped links in 18ct white gold, each set with a line of round modern brilliant cut diamonds as an open border enclosing a pavé diamond set panel. Stated total diamond weight 5.00ct.

Gemologist’s report and valuation available on request. $6,000 - $8,000 see colour illustration page 67.

360 An Impressive Ring Set With A Solitaire Old

Cushion Cut Diamond Of Approx 5.90ct.

The diamond assessed as L/M, SI1 (chip to crown fault), Good Make is set in a ring of platinum, the shoulders enhanced with a total of eight small single-cut diamonds.

Gemologist’s report and valuation available on request. $38,000 - $42,000 see colour illustration page 62.

361 An Exceptionally Elegant Bracelet Set

With Over 10ct Of Diamonds.

Designed as an articulated line of 39 semi-conical fan shaped links of 18ct white gold in the Art Deco manner, each close set with tapered baguette cut diamonds to a line of round modern brilliant cut diamonds. The diamonds, some 344 in all having a stated total diamond weight 10.49ct.

Gemologist’s report and valuation available on request. $12,000 - $14,000 see colour illustration page 67.

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362 A Pendant Of Belle Époque Design Set With

A Pendeloque Cut Diamond Of 1.16ct.

The pendeloque cut diamond assessed as 1.16ct, G, SI2 is set in a teardrop outline pendant of 18ct white gold within pierced borders set with lines of round modern brilliant cut diamonds to an oval diamond-set bale. Total diamond weight 2.21ct.

Gemologist’s report and valuation available on request. $9,500 - $11,500 see colour illustration page 62.

363 A Necklace Set With Diamonds.

Fully set with a line of round modern brilliant cut diamonds of even size to a mid section cluster drop panel set with pendeloque and round modern brilliant cut diamonds to a central pendeloque cut diamond of approx 1.25ct. The diamonds, some 201 in all, having a stated total diamond weight 5.87ct. JKLM, VS2/SI2. 18ct white gold. Gemologist’s report and valuation available on request. $12,500 - $15,000 see colour illustration page 67.

364 A Victorian Ring Set With Turquoise And Diamonds.

Circular outline in yellow gold (tests approx 15ct) set with circlets of senaille cut diamonds and round turquoise beads to a central cushion outline mine cut diamond.

The shoulders enhanced with lines of turquoise beads. $500 - $700 see colour illustration page 64.

365 An Attractive Eternity, Wedding or Dress Ring

Set With A Marquise Cut Diamond.

18ct yellow gold, centred by a marquise cut diamond of around 0.53ct graded F, VS2+, the curved band channel set with tapered baguettes on either side. Gemologist’s report and valuation available on request. $2,500 - $3,500 366 An Impressive Marquise Outline Fancy Yellow

And White Diamond Cluster Ring.

The substantial ring of 18ct white and yellow gold set with lines of round modern brilliant and baguette cut diamonds as borders to a central cluster of 4 marquise cut fancy yellow diamonds. Stated total diamond weight 2.14ct.

Gemologist’s report and valuation available on request. $3,000 - $3,750 see colour illustration page 74.

367 A Good Heart Motif Ring Pavé Set With Diamonds.

All platinum pavé set with some 31 round modern brilliant cut diamonds of very good quality (G + VS/SI) having an estimated total diamond weight approx 0.71ct.

Gemologist’s report and valuation available on request. $1,750 - $2,250 see colour illustration page 70.

368 An Attractive Emerald And Diamond Cluster Ring.

The oval cut emerald of good colour and clarity, with a bright appearance and an estimated weight of 1.11ct is set in 18ct white and yellow gold within a border of eight round modern brilliant cut diamonds and two Princess cut diamonds.

Gemologist’s report and valuation available on request. $4,500 - $5,500

375 A Diamond Cluster Bar Brooch.

18ct white gold centred by an entwined double flowerhead cluster of 22 round brilliant and single-cut diamonds having an approx total diamond weight 1.10ct.

Gemologist’s report and valuation available on request. $1,250 - $1,500 see colour illustration page 71.

see colour illustration page 70.

369 A Pair Of Creole Earrings Set With Baguette

And Brilliant Cut Diamonds.

18ct white gold hinged design, the leading panels set with a central row of baguette cut diamonds bordered by round modern brilliant cut diamonds. The diamonds of fine quality (F/G/H, VS2+/SI1-2) having a stated Total Diamond Weight 2.66ct. Gemologist’s report and valuation available on request. $3,750 - $4,750 see colour illustration page 70.

376 A Striking Necklace Set With Emeralds And Diamonds.

Designed as an articulated line of rectangular links in 18ct white finished gold, the upper section plain polished to the lower 2/3 which are each set with two round modern brilliant cut diamonds.

The mid section entwined with a line of oval and emeralds set with further diamonds to quatrefoil diamond set bows on either side. The diamonds, some 180 in all, having an approx. total diamond weight 2.4ct, the 15 emeralds weighing approx 8.5ct in total. Gemologist’s report and valuation available on request. $4,400 - $5,200 see colour illustration page 74.

370 An Estate Ring Set With Diamonds.

All platinum centred by a round early European brilliant cut diamond estimated as 1.28ct I/K, I1, set on either side by a square panel of 5 round cut diamonds of mixed cuts. Total diamond weight approx 1.78ct. Gemologist’s report and valuation available on request. $4,000 - $5,000 see colour illustration page 67.

371 A Pair Of Large Hoop Earrings Set With Diamonds.

The 39mm circular hinged hoops of 18ct yellow gold set with lines of round modern brilliant cut diamonds to inner and outer leading edges. Total Diamond Weight approx 2.29ct.

Gemologist’s report and valuation available on request. $2,800 - $3,400 see colour illustration page 70.

372 A Ring Set With A Solitaire Diamond Of Approx 2.24ct.

The round brilliant modern cut diamond of reported weight 2.24ct and quality I, SI2 Very Good Make is set in 18ct yellow gold and platinum with 4 small accent under bezel diamonds.

Gemologist’s report and valuation available on request. $15,000 - $17,000 see colour illustration page 70.

373 A Stylish Pendant Pavé Set With Princess Cut Diamonds.

Rectangular outline invisibly set with 100 Princess cut diamonds to a double loop bale set with lines of round modern brilliant cut diamonds. Total diamond weight approx 2.97ct. 18ct white gold. Gemologist’s report and valuation available on request.

377 A Full Eternity Ring Set With Diamonds.

18ct yellow gold set with 12 Princess cut diamonds at even intervals around the entire circumference. $650 - $850 378 A Ring Set With A Solitaire Diamond of Approx 1.2ct.

The round Early Modern Brilliant Cut assessed as 1.26ct K/M VS2 diamond set in a traditional filigree mount of platinum enhanced with small single-cut diamonds.

Gemologist’s report and valuation available on request. $4,000 - $5,000 379 A Rubellite Tourmaline and Diamond Dress Ring.

The cushion outline mixed cut Rubellite of 6.33ct is set in a ring of 18ct white gold within a border of round brilliant modern cut diamonds, with further diamonds to the split shank shoulders.

Gemologist’s report and valuation available on request. $4,000 - $5,000 see colour illustration page 67.

380 A Heart Shaped Ring Set With Brilliant

And Baguette Cut Diamonds.

The slightly domed heart motif panel centred by a cluster of pavé set round modern brilliant cut diamonds enclosed by a radiating line of diamond baguettes to a border of further diamond brilliants. 18ct white gold.

Gemologist’s report and valuation available on request. $2,000 - $2,500 see colour illustration page 74.

$2,750 - $3,250 see colour illustration page 74.

374 A Tennis Style Line Bracelet Set With

Princess Cut Diamonds.

Designed as an articulated line of 78 box links in 18ct white gold, each set with a Princess cut diamond, estimated to average G, SI2 with a stated total diamond weight 3.80ct.

Gemologist’s report and valuation available on request.

381 A Dress Ring Set With A Sapphire And Diamonds.

Domed marquise cross-over design in 18ct white gold, centred by a marquise cut blue sapphire within cross-over borders of round modern brilliant and close-set baguette cut diamonds.

Gemologist’s report and valuation available on request. $2,000 - $2,500 see colour illustration page 71.

$4,500 - $5,500

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401

344

390

380

415 366

353

376

373

325 385

395 304

398

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382 An Attractive Ring Set With A Radiant Cut Diamond

Of Approx 1.02ct Together With Other Diamonds.

The broad band of 18ct white gold set with a central row of Princess cut diamonds, bordered on either side by round modern brilliant cut diamonds to the radiant cut diamond at mid section. An ideal design for a combination engagement / wedding ring. Total Diamond Weight approx 1.68ct.

Gemologist’s report and valuation available on request. $5,750 - $6,750

389 A Pair Of Fancy Yellow And White Diamond Drop Earrings.

Each designed as an articulated fall of three open marquise panels of 18ct white and yellow gold joined by single diamond links. Each panel set with a marquise cut light fancy yellow diamond within a border of round modern brilliant cut white diamonds. Total Diamond Weight approx 2.93ct.

Gemologist’s report and valuation available on request. $3,250 - $4,250 see colour illustration page 70.

see colour illustration page 64.

390 A Violin Motif Brooch Set With Diamonds.

383 A Striking Pair Of Diamond Cluster Earrings.

Each designed as a tiered cluster of 9 oval open panels in 18ct white gold, all set with a central baguette cut diamond enclosed by a border of round modern brilliant cut diamonds. Stated total diamond weight 3.25ct.

Gemologist’s report and valuation available on request. $4,500 - $5,500

18ct yellow gold designed as a violin and bow. The violin pavé set with round modern brilliant cut diamonds, the bow with randomly placed collet set diamonds suspending a twin chain festoon with two further (collet set) diamonds. Total diamond weight approx 2.38ct. Gemologist’s report and valuation available on request. $3,750 - $5,750 see colour illustration page 74.

see colour illustration page 67.

384 A Ring Set With A Fine White VDB Cut

Solitaire Diamond Of Approx 1.12ct.

391 A Dainty Tennis Style Line Bracelet Set With Diamonds.

The VDB (Van der Bauwede) cut, effectively a full brilliant emerald-cut, diamond assessed as E, VVS2, very good make is set in a ring of platinum. Gemologist’s report and valuation available on request.

Designed as an articulated line of box links in 18ct yellow gold, alternately solid or set with a round modern brilliant cut diamond. The diamonds, 24 in all, of good quality with an estimated total diamond weight 0.74ct.

Gemologist’s report and valuation available on request.

$3,500 - $9,500

$1,500 - $1,800

see colour illustration page 71.

392 A 3 Stone Diamond Drop Pendant On Chain.

385 A Pair Of White Agate And Gold Pendant Drop Earrings.

Each designed as a beaded gold panel (tests approx 18ct) with wire hook, set with a round agate cabochon suspending a gold capped white agate drop. $250 - $350 see colour illustration page 74.

386 A Pair Of Solitaire Diamond Earstuds

Of Approx 1.44ct Total.

The round modern brilliant cut diamonds assessed as L/O I1 are set in 14ct white gold. Gemologist’s report and valuation available on request. $1,750 - $2,250 387 A Pear Shaped Diamond And Ruby Cluster Ring.

18ct white finished gold centred by a pendeloque cut diamond of approx 0.70ct set within a border of calibre cut rubies as a tier above a border of round modern brilliant cut diamonds.

Gemologist’s report and valuation available on request. $2,500 - $2,800

The pendant designed as a knife-edge bar in 18ct white gold set with 3 round modern brilliant cut diamonds at even intervals suspended by an 18ct white gold cable link neck chain. The diamonds of similar size of a total diamond weight around 0.71ct. Gemologist’s report and valuation available on request. $2,000 - $2,400 393 A Dainty Tennis Style Line Bracelet Set With Diamonds.

Designed as an articulated line of cross-over links in 18ct white gold, each set with a round modern brilliant cut diamond (one deficient). Total diamond weight approx 0.80ct. $750 - $850 394 A Stylish Bangle Set With Over 4ct Of Diamonds.

Hinged design in 18ct white gold, the upper section of crossover design set with a central line of baguette cut diamonds bordered by round modern brilliant cut diamonds. The diamonds, some 185 in all, having a stated total diamond weight 4.25ct.

Gemologist’s report and valuation available on request. $5,000 - $6,000 see colour illustration page 67.

see colour illustration page 67.

388 A Pair Of Earrings Set With Diamonds.

Scroll design mirror images in 14ct white gold, each set with a line of baguette cut diamonds bordered by round modern brilliant cut diamonds to a raised finial cluster of 7 round brilliant modern cut diamonds. Gemologist’s report and valuation available on request. $1,350 - $1,650

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395 A Spectacular Heart Motif Pendant On Chain

Set With Yellow Sapphires And Diamonds.

18ct white and yellow gold centred by a heart shaped domed panel pavé set with round cut yellow sapphires to a pavé white diamond border, chevron yellow sapphire and pavé white diamond surmount with yellow sapphire set lugs to pavé diamond set bale, suspended by a three strand cable link chain with yellow sapphire set ‘slide’ and rondells at even intervals.

Gemologist’s report and valuation available on request. $5,750 - $6,750 see colour illustration page 74.

396 A Ribbon Bow Brooch Of Art Deco

Design Set With Diamonds.

The 18ct white finished gold filigree ribbon bow suspending an articulated linen – fold drop, all set with some 215 round modern brilliant cut diamonds having an estimated total diamond weight 3.83ct. Gemologist’s report and valuation available on request. $4,500 - $5,500 see colour illustration page 67.

397 A WWI Period Bangle Set With Sapphires And Diamonds.

Late Edwardian hinged design in 15ct white gold, the upper section set with a graduated line of oval cut Ceylonese blue sapphires separated by pairs of small old mine cut diamonds. Engraved sentiment dated 1917. $1,000 - $1,400 see colour illustration page 71.

398 A Pair Of Solitaire Diamond Earstuds Of 1.10ct Total.

The round modern brilliant cut diamonds assessed as H/I, SI2 are set in 18ct white gold six-claw studs.

Gemologist’s report and valuation available on request. $3,750 - $4,250 see colour illustration page 74.

399 A Ring Set With A Pendeloque Cut Yellow

Diamond Together With White Diamonds.

The fancy yellow diamond of approx 1ct is set in 18ct white gold within a border of round brilliant modern cut white diamonds, with further diamonds to the split-shank shoulders.

Gemologist’s report and valuation available on request. $5,800 - $6,800 see colour illustration page 67.

400 A Pair Of Earrings Set With Diamonds.

Designed as three concentric square panels, each off-set from the other, the outer two of openwork set with lines of round modern brilliant cut diamonds enclosing the central panel of invisibly set Princess cut Diamonds. Total diamond weight approx 1.50ct for the pair. Gemologist’s report and valuation available on request. $1,750 - $2,250

402 A Fob Brooch Suspending A Queen Anne Gold Guinea.

A bar of 9ct yellow gold suspends a short two row chain of 9ct yellow gold Prince-of-Wales links to the coin dated 1713, pierced for a bale ring. $300 - $400 403 A Victorian Sovereign Brooch.

Circular outline swivel motif in yellow gold (tests approx 15ct) enclosing a pivoting sovereign, Sydney mint dated 1893. The brooch engraved with a sentiment dated 1903. $350 - $400 404 A Cross Pendant Set With Diamonds And Neck Chain.

The Latin cross of 14ct rose gold set with two lines of round modern brilliant cut diamonds to a central rosette of diamonds. The diamonds of harlequin shades have an estimated total diamond weight 2.25ct. Suspended by a curb link chain also of 14ct rose gold. Gemologist’s report and valuation available on request. $1,350 - $1,750 405 A Charm Bracelet.

Two row chain of long and short oval 15ct yellow gold links suspending 12 silver-gilt animal charms. $400 - $500 406 A Pair Of Platinum And Diamond Eternity Rings.

Each set with 9 round cut diamonds (one brilliant cuts the other Swiss cuts), the bands further enhanced with bright cutting. $400 - $600 407 A Good Double Albert Chain Of 15ct Yellow

Gold With A Greenstone Pendant.

Fancy square section rectangular links joined by Prince-of-Wales links suspending a drop of polished greenstone capped with gold. 400mm (plus drop), approx 42g (without pendant). $1,400 - $1,600 408 A Fashionable Ring Pavé Set With Diamonds.

The broad band of 18ct white and yellow gold pavé set with some 105 round modern brilliant cut diamonds of good quality having an estimated total diamond weight 1.25ct.

Gemologist’s report and valuation available on request. $1,400 - $1,800 409 A Good Muff Chain Of 9ct Yellow Gold

Enhanced With Turquoise Beads.

Plain oval links with six lover’s knot motif panels at even intervals, each set with two small turquoise beads. 1430mm. 19.8g. $500 - $700 see colour illustration page 64.

see colour illustration page 64.

410 A Three Stone Diamond Ring.

401 An Attractive Pair Of Openwork Geometric Spiral

Motif Pendant Earrings Set With Diamonds.

Stylised pentagonal outline, articulated to a pendeloque panel at the stud in 18ct white gold outlined with round modern brilliant cut diamonds. Gemologist’s report and valuation available on request. $1,500 - $1,800 see colour illustration page 74.

76

The bridge of 18ct white gold set with a central round modern brilliant cut diamond of stated quality 0.703ct, G, SI2 (Quazar) and two trilliant cut diamonds of TDW 0.644ct and quality GH, SI. Gemologist’s report and valuation available on request. $4,500 - $5,000

411

A Bracelet Set With Amethysts.

Designed as a line of 11 oval links in 9ct rose gold, graduated from the centre, each set with an oval cut amethyst, joined by plain round links. First quarter 20th C. $375 - $475

412 A Mughal Style Necklace And Ring Ensuite.

The necklace designed as a central pierced panel of yellow gold in floral and foliate motifs set with rose and senaille cut diamonds to a foxtail link chain enhanced with two oval panels and four beads all set with rose quartz. Approx 22ct (tested) some repairs to panel verso. The ring of matching design set with rose and senaille cut diamonds. 33.8g. $1,400 - $1,800 (2) 413 A Pendant and Earrings En-Suite Set With Amethysts and

Diamonds Convertible to a Single Articulated Pendant.

The pendant set with a pendeloque cabochon amethyst, the earrings each set with a cushion outline cabochon amethyst, all in 18ct yellow gold with pavé diamond borders, bale and clips. The removable bale and clips and concealed hooks allow conversion into a two or three panel drop.

Total stone weights: amethyst 12.88ct, diamonds 2.29ct.

Gemologist’s report and valuation available on request.

419 An Edward VII Soverign.

1900 Sydney mint. $200 - $240 420 A Geo V Soverign.

1916 Perth mint. $200 - $240 421 A Bangle Of 9ct Rose Gold.

Hinged chunky tubular design. 33.6g. $650 - $750 422 A Ring Set With A Solitaire Diamond Of Around 0.65ct.

The round modern brilliant cut diamond set in 18ct yellow gold. Gemologist’s report and valuation available on request. $1,200 - $1,500

$4,750 - $5,250 414 A French Albertina Fob Chain.

Double strand foxtail links in 9ct rose gold with barrel slide and tassel fringe drop enhanced with vari-colour gold decoration. 210mm + 70mm drop 21.6g. $450 - $650 see colour illustration page 64.

415 A Five Stone Diamond Bridge Ring.

The round modern brilliant cut diamonds of matched size and estimated quality H, SI1/2 with a stated Total Diamond Weight 1.60ct are set in 18ct white gold.

Gemologist’s report and valuation available on request. $4,000 - $4,500 see colour illustration page 74.

416 A Heavy Necklace Of 9ct Yellow Gold.

Plain belcher links with a bolt ring clasp. 500mm, 67.2g. $750 - $850 417 A White South Seas Cultured Pearl

and Diamond Cluster Ring.

The ovoid 14.2mm fine quality pearl set in a ring of 18ct yellow gold encircled by a border of round brilliant modern cut diamonds.

Gemologist’s report and valuation available on request. $2,500 - $3,000 418 A Victorian Sovereign.

1890 Sydney mint. $200 - $240

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78

Day 3

New Zealand History, Antiques & Decorative Arts

Illustrated left: Lot 626 A Rare Lithograph Shaw Savill Line Poster, ‘New Zealand Via Panama Canal’ (detail)

DAY 3

Viewing

New Zealand Historical, Antiques & Decorative Arts

Evening Preview

THURSDAY, 18 August 2008 5.30pm Lots 500 - 634 Lots 635 - 754

Lots 755 - 796 Lots 797 - 837 Lots 838 - 859 Lots 860 - 878 Lots 879 - 898 Lots 899 - 930

New Zealand History & Artifacts New Zealand & other Ceramics, Studio Glass Items of Pacific Origin Miscellaneous Sterling Silver & Glass Porcelain & China Oriental Furniture & Decorative Items

Thursday

11 September 6.00pm – 8.00pm

Thursday Friday Saturday Sunday Monday Tuesday Wednesday

11 12 13 14 15 16 17

September 9.00am – September 9.00am – September 11.00am – September 11.00am – September 9.00am – September 9.00am – September 9.00am –

8.00pm 5.30pm 3.00pm 3.00pm 5.30pm 5.30pm 5.30pm

Viewing by appointment on day of sale BUYER’S PREMIUM A buyer’s premium of 15% will be charged on all items in the New Zealand History, Antiques & Decorative Arts section of this catalogue.

GST of 12.5% is payable on the buyer’s premium only.

Phone and absentee bids to be placed no later than 12 noon on day of sale.

All lots illustrated online at www.webbs.co.nz

N e w z e a l a n d h i s t o r i c a l , a n t i q u e s & d e c o r at i v e a r t s

79

New zealand history & artIfacts

508 A Maori Dark Grey/Black Basalt Stone Toki Adze Duff type 1a, of quadrangular cross-section, partial polish to all surfaces, flake scars and hammer-dressing still visible. Found Southland in the 1950’s. L.155mm. W.40mm. D.25mm. Y11129.

500 A Maori Stone Toki Adze in a dark green greywacke with small inclusions, polished on all surfaces including the poll. Duff type 2b. Found at Otatara, Southland in the 1950’s. L.126mm. W.56mm. D.25mm. Y11139.

$100 - $200

$100 - $200 509 A Maori Mottled Basalt Stone Toki Adze Duff type 1c, of quadrangular cross-section, polish on front and rear surfaces, hammer-dressing on the sides and the reduced poll which may indicate a process of being reworked, the bevel slightly concave. Maori ‘gifted to the Daniel Family in the 1880’s’ Southland. L.152mm. W.30mm. D.25mm. Y11126.

501 A Maori Argellite Toki Adze the dark grey/black surfaces heavily flaked with small areas of polish, patch of original patina on the front of the poll. Duff type 2A. Note; chip from R/H corner of bevel. Found in Southland during the 1950’s. L.114mm. W.42mm. D.20mm. Y11136.

$80 - $140

$160 - $300 510 A Maori Black Argellite Stone Toki Adze of triangular cross-section, Duff type 4a, all surfaces hammer-dressed, partial polish on front and rear surfaces and on the bevel. Found Oreti Beach, Southland in the 1950’s. L.240mm. W.53mm. D.53mm. Y11140.

502 A Maori Sedimentary Stone Toki Adze possibly greywacke and polished on all surfaces. Duff type 2b.

Note; poll broken off and large chip from rear R/H surface. Found in Southland during the 1950’s. L.110mm. W.50mm. D.15mm. Y11138.

$80 - $120

$200 - $400 511

A Maori Stone Toki Adze

Duff type 2b, shaped from dark green mottled sedimentary stone, an unusual choice of raw material, the bevel with an unusual double angle, all surfaces polished. Note; some flake scars on sides. Found in Southland during the 1950’s. L.115mm. W.33mm. D.17mm. Y11131.

Duff type 2b, the robust and heavy tool of rectangular/ quadrangular section, the body hammer-dressed, may have been in the process of being reworked, the polished narrow bevel with a tapered cutting edge. Stone not identified but possibly greywacke. Found Oreti Beach, Southland in the 1950’s.

L.215mm. W.46mm. D.42mm. Weight.1069gms. Y11141.

$80 - $140

$200 - $400

503 A Maori Stone Toki Adze

504 A Maori Stone Toki Adze Duff type 2b shaped in dark grey basalt rock with polish on all surfaces, some flake scars and hammer-dressing on sides and poll, the flared bevel sharp. Found in Southland during the 1950’s. L.100mm. W.43mm. D.23mm. Y11132.

$80 - $150 505 A Maori Fine Grained Sedimentary Stone Toki Adze possibly greywacke, of rectangular cross-section, polished on all surfaces with some hammer-dressing visible on the rear, the bevel chipped and ground with a marked skew, the butt with a rough natural surface. Purchased from a second-hand dealer, Invercargill in 1948. L.202mm. W.76mm. D.21mm. Y11127.

512 A Maori Green ‘Chipwacke’ Stone Toki Adze of Duff type 2b, the stone with dark inclusions, the bevel skewed.

Note; large chip from front surface of blade and butt. Southland recovered in the 1950’s. L.122mm. W.50mm. D.25mm.

$60 - $75 513 A Maori Basalt Stone Toki Adze Duff type 2b, the poor quality dark basalt with a polished surface and and a steep angled bevel. Note; chip to rear surface and large chip R/H side. Southland recovered in the 1950’s. L.110mm. W.40mm. D.16mm.

$60 - $75 See Illustration page 81

$200 - $300 See Illustration page 81

506 A Maori Greywacke Stone Toki Adze Duff type 1d, the green greywacke/chipwacke with light and dark inclusions, polished on all surfaces, some hammer-dressing on rear surface and poll. Recovered Oreti Beach, Southland in the 1950’s. L.270mm. W.61mm. D.39mm. Y11001.

$400 - $1,200 See Illustration page 81

514 A Maori Sedimentary Stone Toki Adze Duff type 2b, the grey/green body polished with hammer-dressing on all surfaces, very distinctive narrow poll like a Duff type 4d. Found Oreti Beach, Southland in the 1950’s. L.215mm. W.54mm. D.37mm. Y11137.

$180 - $350 See Illustration page 81

515 A 19th Century Maori Tagged Cloak Hukahuka Korowai, Presented in a Contemporary Large Frame

of typical Duff type 2b shape with polished surfaces but with hammer-dressing still visible to the sides and poll. Note; large chip from R/H side. Found at Otatara, Southland in the 1950’s. L.102mm.

W.48mm. D.19mm. Y11135. Sold with a sedimentary stone ‘Natural Formation’ hook shape, deemed not to be an artifact. L.120mm.

the kaupapa of off-white candlewick, of double-paired twining technique, overall in very good condition, but with some dark staining on the inside. The body decorated throughout with dark brown rolled cord tags, hukahuka, arranged in rows. The lower kaupapa edge is fringed, the top border with vertical strands folded, then hukahuka tags attached over the top of the ends.

Fraying on top edge at both sides. The cloak float mounted within a glazed large frame. Cloak L.1290mm. D.1410mm. Y13294.

$50 - $100

$11,000 - $16,000

507 A Maori Black Basalt Stone Toki Adze

See Illustration page 88

80

506 523

503

571 512

546

513

517

552 524

514

518 519

522

516 A Stone Adze Blade untanged, quadrangular cross-section, rounded poll, the slightly curved cutting edge with some chips. Reduced butt section, the surfaces polished all over. L.190mm. W.78mm. Y13743.

$200 - $300 517 A Maori Small Adze of grey/black stone with smooth, polished surfaces throughout, the butt undifferentiated, poll edge slanted, bevel distinct.

Quadrangular in cross-section, the cutting edge is sharp and has a slight curve, some bruising on top of the poll. Collected from the South Taranaki area. L.68mm. D.42mm. H.17mm. Y13297.

$100 - $150 See Illustration above

518 A Maori Milky Grey Stone Small Adze the front and back surfaces are smooth and polished, the slightly convex sides reduced through bruising. Asymmetrical in crosssection, the curved blade quite sharp. Collected from the South Taranaki area. L.57mm. D.41mm. H.18mm. Y13298.

$100 - $150 See Illustration above

519 A Maori Black Stone Small Adze which has been ground and polished, slight reduction at the shoulder of the butt, the poll is quadrangular in crosssection, straight edge, distinguished bevel, cutting edge straight, front surface convex. Collected from the South Taranaki area. L.75mm. D.27mm. H.23mm. Y13296.

$100 - $150 See Illustration above

505

520 A Maori Black Stone Adze of plano-convex in cross-section, showing bruising, grinding and polish, with occasional chipping, the poll is reduced, no shoulder differentiation and the bevel is distinct, the cutting edge is curved and blunt. Collected from South Taranaki area. L.164mm. D.60mm. H.33mm. Y13300.

$300 - $400 521 A Maori Dark Grey Stone Adze with a milky effect over back and sides from bruising, the front shows grinding and polishing. Front and back surfaces slightly concave, sides flat, the poll with a rounded edge, the sides angle outwards down to a curved uneven but quite sharp cutting edge. Collected from the South Taranaki area. L.182mm. D.63mm. H.29mm. Y13567.

$300 - $400 522 A Maori Milky Grey Stone Adze of asymmetrical cross-section the surfaces with evidence of chipping, grinding and polishing, a groove down the length of one side, no differentiation between butt and blade, the curved cutting edge quite sharp. Horizontal scratches on back. Collected from the South Taranki area. L.174mm. D.58mm. H.21mm. Y13568.

$300 - $400 See Illustration above

523 A Maori Dark Grey Stone Adze all surfaces showing bruising, butt differentiation, poll rounded. Front and back slightly concave, adze asymmetrical in cross-section, short bevel, the cutting edge straight and quite sharp. Collected from the South Taranki area. L.175mm. D.60mm. H.38mm. Y13569.

$300 - $500 See Illustration above

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524 A Maori Moa Hunter Period Stone Gouge of brownish stone, this adze shows flaking and some chipping to produce its shape, the front surface is concave and has a smooth texture. Reduction for shoulders and blade reduces to a blunt point. Collected from the South Taranaki area. L.132mm. D.39mm. H.17mm. Y13299.

$1,000 - $1,800 See Illustration page 81

525 An Exceptional Patu Onewa the finely modeled and well balanced patu of spatular shape; dark greywacke, small chips to the blade edge, polished smooth surfaces, hourglass suspension hole with what appears to be the original muka plaited patui or wristcord (some fragility to the cord at the suspension hole), the elliptical ridged butt knob with five ridges. Provenance; previously sold through Webb’s Sale 242 lot 601 (December 2001), previously sold Dunbar Sloane Wellington, ‘The William Colenso Collection’ sale (1987) Lot 443. L.380mm. D.95mm. Y4794.

$6,500 - $10,000 See Illustration page 88

526 A Patu Paraoa, Whalebone spatula shape of a some weight, reduced grip, with a straight drilled suspension hole and a seven graduated grooves terminating at a circular knob at the grip end. Several nicks on one blade edge. Polished all over. L.315mm. W.84mm. Y13742.

$4,000 - $6,000 527 An 18th/19th Century Bronze Fish Hook the recurved or ‘rotating’ one piece made of a copper alloy, probably a bronze ship’s nail, the point with 2 external barbs and one internal, the snood with European twine attached. Purchased from a Christchurch antique shop in the 1950’s. L.75mm. W.60mm. Y10399.

$200 - $400 See Illustration page 89

528 A 19th Century/Post Contact Pa Kahawai the kahawai lure with a paua shell body supported on an iron/wire frame which has been bent to form a slightly barbed hook point, the iron/wire/nail lashed to the shell with muka (flax fibre). Obtained in Southland in the 1950’s, unusual in that the kahawai lures normally have a more ‘Northerly’ distribution. L.100mm. W.17mm. Y11133.

$300 - $450 See Illustration page 89

529 A 19th Century Pa Kahawai, Fish Hook the two piece fish hook of wood and paua shell shank, bone point, with muka cord of 4 plait attached. The shank limb is curved and semi-circular in cross-section, the shank head with two knobs on the outer surface for line attachment, base of point notched for lashing. Provenance; in one family since the 1880’s. Family first arrived in NZ (Timaru) 1848. Great grandfather of present owners moved to Dunedin 1883, established friendships with local Maori and began collecting artifacts. L.103mm. D.20mm. Y13290.

$200 - $400 See Illustration page 89

trade steel blade with black wood handle, fully carved. The top of the handle features manaia profile on both faces; then pakati and haehae to the bottom, where manaia again feature.

Provenance; in one family since the 1880’s. Family first arrived in NZ (Timaru) 1848. Great grandfather of present owners moved to Dunedin 1883, established friendships with local Maori and began collecting artifacts. L.360mm. Y13223.

$2,500 - $4,000 See Illustration page 88

532 A 19th Century Maori Muka or Flax Cloak the muka kaupapa of double-pair twining with some shaping evident, decorated throughout with rolled hukahuka cords of muka (dyed), the bottom edge fringe of hukahuka tags, some fraying at both side edges. remnants of red and green wool threads on top left edge. Provenance; in one family since the 1880’s. Family first arrived in NZ (Timaru) 1848. Great grandfather of present owners moved to Dunedin 1883, established friendships with local Maori and began collecting artifacts. L.1110mm. W.1540mm. Y13216.

$2,500 - $5,000 See Illustration page 88

533 A Late 19th Century Two Manaia Supported Kumete of deep oval form, in black wood finish with some underlying wood showing through, the kumete is supported on stand by full manaia figures at each end, the bowl supported on the manaia backs. The bowl has a human body including the neck in the middle, separated by one varuru spiral on each side. The lid features rauru flanking koruru and a handle with two carved heads on either side, the eyes inset with paua. Note; loss of one paua inset. Provenance; from an old collection of important Maori artifacts held in Boston and (kumete) recently returned to New Zealand. H.250mm. W.388mm. D.143mm. Y13224.

$8,500 - $12,000 See Illustration page 88 and back cover

534 A Hoe, Paddle of mid-brown wood with black grain, undecorated, the handle ovular in cross-section with a shaped knob at the top which has a cratered perforation; drilling begun on one side but not completed. Good patination. Collected from the South Taranaki area. L.1420mm. Blade W.150mm. Y13295.

$600 - $1,000 535 An extremely fine Contact Period Taiaha mid brown polished wood, black specks throughout the blade. The head decorated with pakati and haehae, evidence of red sealing wax in eyes, only one paua inset remains. Flax and raupo filled early settlers’ cloth grip attached to top of blade with rolled muka cordage, also remnants of kuri dog hair. Provenance; in one family since the 1880’s. Family first arrived in NZ (Timaru) 1848. Great grandfather of present owners moved to Dunedin 1883, established friendships with local Maori and began collecting artifacts. L.1640mm. Y13218.

$2,500 - $5,000 See Illustration page 99

536 A 19th Century Taiaha, unfinished

of mid-brown wood undecorated, good condition with all twenty six teeth intact. Provenance; in one family since the 1880’s. Family first arrived in NZ (Timaru) 1848. Great grandfather of present owners moved to Dunedin 1883, established friendships with local Maori and began collecting artifacts. L.175mm. D.86mm. Y13217.

mid to dark brown wood with polished blade surfaces, a cratered hole drilled through front to back lower half of the weapon, arero (tongue) undecorated, only one of the four eyes completed.

Provenance; in one family since the 1880’s. Family first arrived in NZ (Timaru) 1848. Great grandfather of present owners moved to Dunedin 1883, established friendships with local Maori and began collecting artifacts. L.1590mm. Y13219.

$500 - $800

$1,500 - $2,500

See Illustration page 89

See Illustration page 99

530 A Maori Heru, Wood Comb

82

531 A Toki-Akau-Poto or Tomahawk

537 A Contact Period Hoe, Canoe Paddle age related dull wood, undecorated, a 100mm. split from the bottom edge has been reinforced with wire, with another split through the middle. Provenance; in one family since the 1880’s. Family first arrived in NZ (Timaru) 1848. Great grandfather of present owners moved to Dunedin 1883, established friendships with local Maori and began collecting artifacts. L.1675mm. D.126mm. Y13221.

$500 - $650

544 An Agricultural Implement Handle dark brown wood of light weight, knob at upper end, oblique lashing facet with restraining ridge at lower end. L.1017mm. Y6112.

$200 - $300 545 Maori Wooden Fern Root Beater early 19th C. L.170mm. Y10881.

$400 - $500 538 A Contact Period Tewhatewha the mid-brown wood polished, the staff tapering to a blunt point with a carved ridge nearer the point, the blade with an old wood split on top edge and a straight hole drilled at the bottom curved edge. Provenance; in one family since the 1880’s. Family first arrived in NZ (Timaru) 1848. Great grandfather of present owners moved to Dunedin 1883, established friendships with local Maori and began collecting artifacts. L.1110mm. Y13220.

$1,000 - $1,500 See Illustration page 99

539 A 19th Century Hoe, Canoe Paddle the paddle handle of circular section, the blade convex. Undecorated, some polish through the handle, incised ‘W’ to the heel of the blade, some loss to one side of blade with remnant of feather.

Provenance; in one family since the 1880’s. Family first arrived in NZ (Timaru) 1848. Great grandfather of present owners moved to Dunedin 1883, established friendships with local Maori and began collecting artifacts. L.1425mm. D.105mm. Y13222.

$500 - $700 540 A 19th Century Tewhatewha medium brown wood of oval cross-section through the shaft, carved Janus face mid shaft with paua shell insets to the eyes. Distal end tapers to a point, the shaft flares out to blade end. Pronounced ridge at point where shaft meets blade. L.1310mm. W.155mm. Y13744.

546 A Greenstone Adze of mottled mid to dark green stone, with silver splotches on back surface and brown cloud effect on front, both surfaces convex. The adze untanged; there is a cutting edge and a bevel at both ends, some loss to poll, the cutting edged with some nicks. Provenance; through family descent, Christchurch area. L.90mm. W.36mm. H.17mm. Y13225.

$160 - $240 See Illustration page 81

547 A Maori Greywacke Stone Toki Adze the surfaces show evidence of bruising, quadrangular section butt, curved poll and cutting edges, the cutting edge with considerable loss, distinct bevel. L.155mm. W.64mm. Y13291.

Together with a greenstone adze cutting edge fragment. Y12172.

$150 - $200 548 A Maori Stone Adze grey/black stone of ovular cross-section, the cutting edge polished ( front and back), other areas show bruising, both surfaces convex , untanged adze with distinguished bevel, the curved poll with some flaking, the cutting edge with a slight curve, quite sharp. Provenance; through family descent, Christchurch area. L.105mm. W.52mm. H.20mm. Y13284.

$50 - $100

$1,200 - $1,800 See Illustration page 99

541 A Maori Antique Basalt Stone Toki Adze fitted with a 20th Century Wood Carved Handle of toki poutangata form, 1970. The stone blade of triangular cross-section similar to Duff type 3d (also similar to Cook Island forms) Y11128. The red finished handle with a primary figure crouched in haka position, legs bent, hands on chest, a manaia figure with paua shell eyes inlay on the end of the handle, white feathers decorate the hasp and lashing. L.515mm.

$500 - $750 542 A Maori Wood Carved Walking Stick Tokotoko competently carved from an appropriately shaped branch of dense wood, two tiki/human figures with extended tongues, the lower figure entwined by a lizard above three ‘janus’ heads with extended tongues, the ‘beak’ like handle with good use patination. Purchased from a Christchurch antique shop in the 1950’s. L.880mm. Y10397.

$500 - $750 543 A Maori Wood Carved Walking Stick Tokotoko the single tiki figure beneath the patinated plain handle with one paua eye, one absent but filled with red sealing wax, above six abstract ‘janus’ heads with paua inset eyes, (three paua pieces absent).

Purchased from a Christchurch antique shop in the 1950’s. L.865mm.

$450 - $600

549 Three Maori Stone Small Adzes 1: dark grey stone of quadrangular section with loss across the poll, the L. side straight, the R. side curving into the cutting edge which in turn is quite sharp. L.91mm. W.63mm. Y13285. 2: grey stone with some bruising, the cutting edge (with some loss) straight and quite sharp. L.106mm. W.64mm. Y13287. 3: greystone, all facets show bruising except butt area of front, curved poll and cutting edges, the cutting edge blunt. L.98mm. W.54mm. Y13288.

$100 - $140 550 A Maori Dark Grey Stone Adze the butt shows some bruising with considerable loss to the cutting edge, the blade is asymetrical in crosssection. L.146mm. W.53mm. H.38mm. Y13289.

$40 - $60 551 A Maori Greystone Adze the entire surfaces bruised, the poll ovular in cross-section, the rest of the adze quadrangular. The front surface convex, the back surface flat, the butt undifferentiated, the bevel distinct. The cutting edge slightly curved and quite sharp. L.192mm. W.53mm. H.53mm. Y13286.

$120 - $200 552 A Maori Basalt Stone Adze wide at the blade and tapering towards the butt, long bevel (58mm). Hammer-dressed with ground areas on front, back and sides, blade damaged along its entire length.

Poll ground. L.143mm. W.56mm. D.36mm. Y13733.

$100 - $140 See Illustration page 81

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722

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553 A Maori Stone Adze Fragment a reworked adze fragment of basalt, a portion of the blade section of a larger adze remodelled into a smaller adze with a short steep bevel, ground on all faces. Blade chipped. L.63mm. W.42mm. D.20mm. Y13734.

$40 - $60 554 A 19th Century Impressive Waka Huia, Northland Carved 1870’s - 1880’s the lid and bowl surfaces high relief carved and finished in dark brown. The substantial lid has a small handle which separates three full manaia heads on each side, each head with paua inset eyes, manaia profiles feature through the rest of the lid. Koruru features in the middle of the bowl, hand on each cheek, two fully detailed heads form the legs, again each head with paua inset eyes. Note; one manaia head repaired. Provenance; family, carved by Hemi Taniere, of Ngapuhi. W.660mm. D.145mm. H.285mm. Y13293.

$8,000 - $12,000 See Illustration page 88

555 A Maori Carved Sculptured Square Sectioned Large Plinth the central figure carved in a head stance, the long protruding tongue wrapped about its body one hand supporting the head the other resting on the stomach, paua shell inset eyes, the legs surmounted by a plain carved horizontal panel the figure integrally carved above a plain carved rectangular base. Note; the base with a chiselled recess to fit a panel (absent). Provenance; commissioned

by The Carter Holt Company in the 1970’s. W.495mm. D.492mm.

$500 - $800 556 A Maori Carved Tekoteko Figure the panel plain carved in low relief with paua inlay to eyes and forehead. One paua section piece absent. Y registration not required. H.770mm. W.1400mm. D.45mm.

$200 - $300

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557 Carved Maori Panel With Paua Inlay, Original Pigment naively carved human figure with a forked tongue, one paua eye inset replaced, the panel nailed to a timber section with peeling paint. H.760mm. W.145mm. Y registration not required.

$300 - $400 558 A Sterling Silver Savage Club Badge Depicting a Seated Maori Warrior feasting on a large bone, the letters ‘NSC’ raised across the body. H.35mm.

$100 - $150 559 A Late 19th Century Gold Mounted Kiwi Beak Large Pin Brooch bearing the marks 9ct and a raised shaped heart, most probably a New Zealand maker not identified. The brooch commissioned to wear as a cloak/cape fastener. Provenance; originally gifted to the vendor’s mother 1897 King Country, an acknowlegement of gratitude for nursing a Maori chief back to health.

$1,800 - $2,000 560 A Contemporary Greenstone Mere of flattened spatular form, fashioned from deep green with paler mottled flecks pounamo, the butt with four notches above the suspension hole. L.362mm. W.110mm. Y number not required.

$200 - $400 561 A Tourist Souvenir Decorated Kauri Woodturned Nut Bowl the exterior surface with inked and handcoloured whare in a landscape. Diam.216mm. H.75mm.

$75 - $100

Card Tabletop by William Seuffert (1858 – 1943)

615

This tabletop is a unique piece from the workshop of one of New Zealand’s most famous cabinetmakers. It appears to be one of William Seuffert’s later creations, but incorporates patterns used in earlier works by both William and his father Anton. Simplification of the pictorial scene and squaring of the circular edging indicate a conscious development towards the modernisation of the table genre. This is probably a reaction to the change in public taste from the more ostentatious Victorian era that earlier, more intricate, Seuffert pieces reflected. While the base is unfortunately missing, the marquetry on the top remains in very good condition with strong veneer colouring. As with all Seuffert works, the technical accuracy of the inlay is superb and the use of New Zealand native timbers is both varied and tasteful. Mottled kauri, burr totara, rewarewa, beech, kohekohe, maire, rimu, puriri and akeake are some of the identifiable species used.

This top has remained in the same family for over 100 years after it was gifted to Bessie Barbara Sutherland as a wedding present by her parents William and Mary. The Sutherlands were a well-to-do family who ran Sutherland’s Tannery in Onehunga. They lived in a villa in Arthur Street and this was the location where Bessie married Johann Christ on 15th January 1902 (see photograph right). The Sutherlands were reported to be ‘fierce’ Salvation Army people.

Card tables were a Seuffert speciality and, in 1886, were available from their workshop for £11. While the tables were too small for card games, the Seufferts probably named them for their use as depositories for business or postal cards. Tables of this size are also referred to as side, occasional, wine or specimen tables: the latter because of the profusion of specimen timbers used in the parquetry.

William Seuffert was born in London in 1858 and was brought to New Zealand by his Bohemian-born parents in 1859. Seuffert senior established a cabinetmaking business in Auckland specialising in marquetry and parquetry inlay utilising New Zealand native timbers. It was thought that, by 1880, Anton and three of his sons, William, Albert and Carl, were all involved in the art of constructing intricate inlaid cabinets, jewellery boxes, tables, specimen fern albums and decorative pictures utilising the wide range of native New Zealand timbers.

Throughout his life, William created artworks in timber to a standard that leaves him almost without peer in New Zealand. His most significant work was a large cabinet made for presentation to Major General Baden-Powell as a reward for his valour during the Boer War. Construction took more than two years. William never married and outlived his parents and six brothers and sisters to die in an Auckland rest home at the age of 84 years. With William’s death, the Seuffert name died out, yet the name lives on in the superb works of art created by this immigrant family of craftsmen. brian peet For further information refer The Seuffert Legacy, Brian Peet, 2008.

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562 A Contemporary Maori Whale Bone Carved Kotiate by Paul Stanley well carved and of good weight and balance, soft patination. L.332mm. W.134mm.

$350 - $500 563 A Contemporary Stone Patu

the stick pin of rose gold and marked FNS.

$100 - $140 574 A Sterling Silver and Paua Inlay Swordfish Brooch

in veined grey marble, polished. L.400mm.

the reverse also stamped New Zealand. L.55mm.

$200 - $275

$80 - $120

564 A Wood Carved Wahaika, Comtemporary decorated with a carved manaia figure, the butt end with a human face. L.412mm.

$80 - $120 565 A Wood Carved Kotiate, Comtemporary the butt end carved with a simplified human face. L.350mm.

$80 - $120 566 A 20th Century Ornate Wood Carved Wahaika (Hand Club) Rotorua, the blade all-over carved combining the rauponga and whakarare style and dark stained as is the backbone of the mania figure to the inturn, and the butt knob carved with a manaia’s head, paua shell eyes inlay. Circa 1960s. L.416mm.

575 Several Sterling Silver and Paua Shell Jewellery Items including cufflinks, earrings, a kiwi small brooch and tie clips.

$100 - $120 576 An Ataahua Paua Shell Toast Rack embellished with two nickle silver heads, labeled ‘Maori Chief NZ’ flanking the spiral toast holder, mounted on a polished paua shell. Mid 20th century, original label to the base.

$180 - $200 577 Brian Flintoff Ika Whenua Whale Bone Carved Pendant and Lignum Carved Whale Stand

one side of the blade carved with a manaia full profile, the reverse with a rauponga patterm. L.438mm. W.150mm.

1987. Brian decribes this work as “... pool of playful whales celebrates the sacred Mauri which was brought to the east Coast from Hawaiiki, and still attracts whales to this place”. The pendant is pierced-carved with two whales, their eyes of serrated paua with black coral inlay.

Diam.70mm. The whale carved toggle shaped from small pilot whale tooth with black coral eyes L.25mm. The carved lignum vitae stand again in the form of a whale, it’s tail curving above the head to form a pool for the pendant to rest, H.110mm. The accompanying miniature flax kete woven by Heeni Kerakara. W.125mm. H.85mm.

$80 - $120

$750 - $900

$100 - $200 567 A 20th Century Wood Carved Patu

568 A 20th Century Maori Carved Lidded Box, Papahou canoe shaped with a flat profile and a rectangular cover, all visible surfaces carved simplistically with pakati and haehae lines. W.350mm.140mm. H.65mm.

$300 - $400 569 A 20th Century Orator’s Wooden Club the blade surfaces carved with shark spine and dog teeth patterns, the butt end with an abstract manaia head profile. L.366mm.

$1,000 - $1,200 570 A Hei Tiki with Serrated Eyes black greenstone, shaped with the hands resting on the thighs. Y number not required. L.110mm. W.60mm.

$800 - $1,000 571 A Greenstone Hei Tiki head tilted slightly to the right proper side, shaped with both hands resting on the hips, three fingers to each hand, raised belly, red paint remnants in the eyes. L.88mm. W.50mm. Y13740.

$500 - $900 See Illustration

572 A Pale Greenstone Kuru Pendant slender nephrite kuru type pendant, oval cross-section, cratered suspension hole, polished surfaces. L.81mm. W.10mm. Y13741.

$300 - $400

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573 Two Paua Shell Small Tikis and a 9Ct Gold Fern Stick Pin

578 A Carver Unknown Maori Imp Character Small Plaque two-dimensional relief carved, the fairy figure, not unlike the Maori fairy characters created by the pen of Trevor Lloyd, holding aloft a carved bowl with a large pohutukawa flower, a whare in the distance and ten tumbling pohutukawa leaves. H.186mm. W.162mm. D.20mm.

$500 - $800 See Illustration page 89

579 A New Zealand Folk Art Pokerwork Nut Bowl the exterior with a stylised tiki, nuts and berries motifs, the interior with a kiwi before a whare and pongas, a volcanic peak in the distance. Diam.280mm. H.70mm.

$100 - $140 580 A Selection of Kauri Gum Pieces mostly in an unpolished state.

$100 - $200 581 A Photographic Print Methodist Maori Choir 1933 on original black paper mount with gilt graphics of a kiwi, figures in a waka on a lake, with distant smoking volcano, a figure before a whare and cabbage trees. Note; the mount with distress. W.370mm. H.210mm.

$100 - $120

582 A Photographic Print Maori Concert Party Paipera Tapu C.1933

590 George French Angas Hand Coloured Lithograph E WAI and KAHOKI NIECES of RAUPARAKA

unmounted. W.195mm. H.145mm.

Frame H.642mm. W.542mm.

$60 - $90

$1,000 - $1,500

583 A Photographic Print New Zealand Native Football Team Tour 1888 - 1889 twenty four photographic portraits of the players within a decorative shield, by Kerry & Jones. Frame H.816mm. W.640mm.

$500 - $1,000 584 A Photographic Print Waitemata Boating Club Heavy Weight Juniors 1902 - 1903 mounted but not framed. H.508mm. W.408mm.

$80 - $140 585 A Photographic Print Waitemata Boating Club, Season 1900-1 with some deterioration to the photo and the mount, distressed. H.556mm. W.347mm.

$40 - $80 586 An Auckland Star Photographic Print ‘Ready For The Rush’ A Portion of the Auckland Star’s “Express” Delivery Fleet at Fort St. L.936mm. W.54mm.

$80 - $120 587 Thomas Bracken A Jubilee Volume ‘Musings in Maori-Land’ 1890, the edition with some faults.

$40 - $80 588 A Decorated Manuscript: ‘The Long Long Trail’, Signatures of the Men Returning from WW1 On Board H.M.N.Z.T. S.S. AYRSHIRE with hand-drawn and hand-coloured illustrations of a globe showing the route of New Zealand troops returning home from England through Panama, flanked by sailing ships, signed E Withers, above A. Clark’s poem, ‘The Long Long Trail’ and the signatures of over three hundred troops, enclosed by Maori stylised designs motifs borders. Framed.

Note; some plain paper loss top L.corner. Frame H.875mm. W.644mm.

$1,500 - $3,000 See Illustration page 98

589 An Iron Horse Shoe Forged by the World Champion Boxer, Bob Fitzsimmons the shoe imprinted with fifteen stars, representing the number of states that formed the USA at that time (1897) and stamped with his name thereon ‘BOB FITZSIMMONS’. Bob immigrated to New Zealand as a nine year old with his family from England in 1872 and trained as a blacksmith in his father’s forge located in Timaru.

He was New Zealand’s Boxing Amateur Champion 1880 - 1889 and made himself famous in America as a supreme fighter, winning the Worlds Heavy Weight Boxing Tiltle in 1897. Fitzsimmons often made horseshoes as part of his training before a contest.

$5,000 - $8,000 See Illustration page 98

591 Artist Unknown - Matyrdom of Kereopa and Manihera - book plate German Publication c.1854-59. The two Maori Christian martyrs were chiefs of the Ngati Ruanui tribe (Taranaki) and killed by their traditional tribal enemies, the Ngati Tuwharetoa 1847. Their remains reinterred at St Paul’s Anglican Church, Tokaanu 1967. Frame W.494mm. H.380mm.

$100 - $160 592 CL Donner, ‘Melanesian Museum Mission Bay’ print on textured paper, originally drawn with an architect’s eye. Frame W.279mm. H.185mm.

$80 - $120 593 Trevor Lloyd Etching ‘Old Mission School Three Kings’ Frame W.318mm. H.266mm.

$300 - $450 594 Trevor Lloyd Auckland Weekly News Print ‘A Warm Welcome’ hand-coloured, depicting the Hon. James Allen (Minister for Finance) returning from a successful mission to London, ‘...to place the finances of the Dominion on a sound footing’ (June 6, 1913).

Together with a Trevor Lloyd New Zealand Graphic prohibition print, ‘Venturesome Willie, or a Hard Nut to Crack’, depicting Mr W. Richardson, ‘...intends on leaving Mt Eden...to continue his anti-liquor crusade with unabated vigour’ (December 20, 1902).

$600 - $800 595 Geo. Chance Camera Study ‘Otago Boys High School’ Frame 420mm. W.305mm.

$150 - $250 596 Geo. Chance Camera Study ‘Enroute Lewis Pass’ Frame H.520mm. W.420mm.

$300 - $400 597 A Photographic Print ‘Waikato Show 1934’ the framed print depicting NZ Lamb killed and treated at the Westfield Freezing Works. Frame W.425mm. H.335mm.

$100 - $150 598 Trevor Lloyd Maori Woman Portrait Etching not signed. Frame H.402mm. W.318mm.

$500 - $650 599 A King Tawhiao Portrait Worked on Leather by Arthur Smith 1930 the circular piece mounted on a wood-turned plaque. Diam.386mm.

$800 - $1,000 See Illustration page 89

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600 A Guide Sophia Portrait Worked on Leather, Arthur Smith Attributed

608 An Auckland Odd Fellows Lodge Honours Cabinet in Kauri

a companion piece to the above, the circular piece mounted on a wood-turned plaque. Note; the circular wood plaque in need of some attention. Not signed. Diam.386mm.

the two doors each with two carved symbols and gilded lettering; one showing a dove with an olive branch, and a bee hive, ‘Lily of Eden’, the other carved with a crescent moon and seven stars and a peace lily, ‘Rebekah Lodge No.13’, the doors double-opening to reveal glass panels listing ‘Past Grands’ 1910 - 1960 flanking a central ‘Independent Order of Odd Fellows’ certificate. H.1225mm. W.910mm opening to W.2210mm.

$600 - $800 See Illustration page 89

$1,000 - $1,800

601 A Hand Carved Kauri Portrait Bust of Tutanekai the young man of good birth but not of high rank who won the heart of a great Owhata (Rotorua) chief’s daughter, Hinemoa. The bust carved in the round, the incised moko, some of the facial features and hair with a blackish stain. The carver named Hemi. H.235mm.

609 A Colonial Chiffonier Bookcase in solid Rewarewa the upper section with glazed doors flanked by carved corbels matching the lower sections, burr panels and corbels, in good condition. Circa 1880. H.2125mm. D.565mm.

$800 - $1,100

$10,000 - $15,000

602 A Maori Chief Portrait Painted on Velvet, signed J Kelly Circa late 1960s/early 1970s. Frame H.610mm. W.525mm.

$200 - $400

610 A 19th Century Wellington (NZ) Prison Wood Door and Frame heavy iron-mongery including substantial hinges, slide bolt and a swing peep-hole cover, the frame with an integrated pierced iron and mesh grille. Frame W.835mm. H.2440mm. D.155mm.

603 A Maori Portrait on Velvet, Ena in “Meditation”, signed J Kelly Ena, a Hokianga woman who was a first cousin to Harata, widow of a prominent Ngatiwhatua chief of Orakei. Ena spent most of her life at Orakei and later at the Maori Hostel in Parnell until her death, approx.1928. circa late 1960s/early 1970s. Frame H.515mm. W.464mm.

$200 - $350

$1,200 - $2,000 611

A Kauri and Burr Totara Colonial Chest of Drawers

signed and inscribed 32. Verso ‘Purchased June 1963’. H.630mm. W.500mm.

of pleasing proportions and good colour. The carcase exterior showing the subtleness of flame kauri, the chest consisting of a two deep half drawers flanking two central shallow drawers above three full length drawers, each of these of the same depth, burr totara veneered drawer fronts and dark stained wood turned knob handles, brass escutcheons, the chest supported on a plinth base.

$900 - $1,200

$8,500 - $12,000

604 Dennis knight Turner ‘Royal Oak Hotel’ Collage

See Illustration page 107

605 Dennis knight Turner ‘Royal Hotel Onehunga’ Collage signed and inscribed 14. Verso ‘Purchased June 1963’. H.490mm. W.640mm.

$900 - $1,200 606 An “ARIKI” Blue Pennant Flag in a distressed condition mainly due to moths. L.1180mm.

$40 - $80 607 A Commemorative Celebration Flag from the ‘Inter-Island Ferry, The ‘ WAHINE’ this flag was recovered, washed up on the shores of Wellington Harbour following what has become known to as ‘The Wahine Disaster’. ‘WAHINE’ in bold red cotton textile lettering, stitched to a once white cotton ground, showing smoke and fuel stain remnants, the pennant with some poignant tattered fraying and loss to the point, a small section of cord with two brass clips, partially attached to the canvas vertical edging. Presented in a contemporary boxed frame, expertly stitched to a cotton ground.

Frame; W.2400mm. H.1175mm. Flag H.860mm. Max. L.2070mm.

$25,000 - $30,000 See Illustration page 89

612 A Colonial Period Duchesse in Kauri comprising of a beveled and arched-top full length mirror which is flanked by a turned support to one side, the other, a bank of three drawers below a purple glazed two door cupboard which is fitted with a shelf, the whole raised on four bun feet. H.1760mm. W.1250mm. D.450mm.

$1,400 - $2,200 See Illustration page 106

613 A Small Scotch Chest comprising two half drawers over three full-width drawers the top overhanging two drawers with burr totara veneer feather inlay to the sides and between the drawers. H.1060mm. W.1190mm. D.560mm.

$1,800 - $2,200 614 A Kauri Colonial Scotch Chest the hat drawer with a figured kauri oval recessed panel and a decoratively carved knob handle is flanked by two small drawers to either side, above three full-length drawers each of the same depth, all with figured kauri fronts and original brass hardwear, the chest supported on four turned legs.

Note; small losses. W.1110mm. D.490mm. H.1270mm.

$3,500 - $5,000 See Illustration page 106

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615 A Maori and Waitemata Harbour Pictorial Marquetry Table Top by William Seuffert depicting two Europeanised Maori cherubs reclining in a net hammock strung between a ponga tree fern and a cabbage tree, looking across the Waitemata Harbour to the volcanoes of North Head and Rangitoto Island. Note; small area of warping. Diam.524mm.

$25,000 - $35,000 See Illustration page 85

616 A Colonial Trunk In Kauri, Late 19th Century the lid with a hinged compartment. A candle box and two small drawers to the interior. Original Yates lock with key, recessed brass handles to the sides. W.810mm. D.470mm. H.500mm.

$1,200 - $1,500 617 A Colonial Kauri Four Drawer Chest comprising of two half drawers above two full width drawers, the chest standing on four turned feet. Late 19th century. W.1020mm. D.510mm. H.880mm.

$800 - $1,200 618 A Northern Gumfields Dalmatian Yoke reddish stained, with original suspension ropes. L.1010mm.

$150 - $200 619 A Leatherbound Black Canvas Trunk the lid and fall front enclosing a cotton ticking interior and tray with four wire mesh fixtures, the carry handle and strap mount stamped ‘Rangitira’ within a shield. Note; some wear and losses. H.370mm. W.520mm. D.430mm.

$400 - $600 620 A Pictorial Firescreen in Copper, ‘The Cressy Arriving in Lyttelton Harbour 1850’ an embossed scene of several sailing vessels at anchor surrounded by the hills, a few dwellings and cabbage trees above the shoreline. W.854mm. H.750mm.

$120 - $200

624 A Railway Studios Poster, ‘Wonderful Westland’ the vibrant poster linen backed, 1930s. H.1010mm. W.630mm.

$2,500 - $3,500 See Illustration page 96

625 A New Zealand Poster, ‘Rata Blossom Franz Joseph Glacier’ a crisp iconic image by Marcus King, from a series featuring native flowers and birds. 1947/48. H.1010mm. W.630mm.

$3,500 - $5,000 See Illustration page 96

626 A Rare Lithograph Shaw Savill Line Poster, ‘New Zealand Via Panama Canal’

by E. J. Waters, the graphics depicting a carved waka paddled by Maoris through a remote bush-clad river gorge, a chief figure standing in the bow and holding a taiaha as a staff. Linen backed, 1930s. H.1010mm. W.630mm.

$5,500 - $7,000 See Illustration page 96

627 A 19th Century Kete Whakiro the kit of black dyed and natural flax, poutama pattern. Some deterioration of the black strips in places. Muka handles of three-ply braid. Provenance; in one family since the 1880’s.

Family first arrived in NZ (Timaru) 1848. Great grandfather of present owners moved to Dunedin 1883, established friendships with local Maori and began collecting artifacts.

First time offered for sale. L.305mm. W.470mm. Y13292.

$200 - $400 628 An Outreach 1981 Flax Weavers of the Far North Exhibition Kete and Catalogue boiled flax, twin-handles, weaver Alice Palmer. Kete body W.400mm. D.385mm. Together with the associated ‘Te Roopu O Te Harakeke - Te Rerenga Wairua’ Catalogue, the cover photograph showing Alice Palmer (co-ordinator of the young weavers) preparing harakeke while cradling her sleeping her child Maumahara. Purchased at the Outreach Exhibition 1981.

$300 - $400 621 A Pictorial Firescreen in Brass, A Maori Group Before a Wharenui the all-over embossed panel featuring ten figures including a chief and a warrior, an elder, women and children, the wharenui before a ponga and a cabbage tree. Marked C.H.H. WN. W.710mm. H.720mm.

$300 - $450

629 An Outreach 1981 Flax Weavers of the Far North Exhibition Kete boiled flax, plaited twin-handles. Weaver Alice Palmer, (Akamoe Kimi). Purchased at the Outreach Exhibition 1981. Kete body W.340mm. D.340mm.

$80 - $120 622 A New Zealand Pictorial Souvenir Rug of Lake Taupo and showing the vocanoes in the distance.

Note; some wear. L.1390mm. W.690mm.

$525 - $600 623 A Railway Studios Poster, ‘For your Hoildays Travel by Train’ unbacked, 1947. H.880mm. W.570mm.

$1,800 - $3,000 See Illustration page 96

630 An Outreach 1981 Flax Weavers of the Far North Exhibition Kete green flax, plaited single handle, tapering body. Weaver Miria Neho.

Purchased at the Outreach Exhibition 1981. W.420. D.310mm.

$80 - $120 631 An Outreach 1981 Flax Weavers of the Far North Exhibition Small Kete boiled flax, plaited twin short handles, slightly tapering body. Weaver not identified. Purchased at the Outreach Exhibition 1981. Body W.390mm. H.255mm.

$50 - $100

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Len Castle

extending his natural talents, Castle had the opportunity to study with a number of master ceramicists in Japan between 1966 and 1967. Prior to this, Castle studied with Bernard Leach at St Ives in Cornwall (1956 – 1957).

Len Castle is one of New Zealand’s most renowned and innovative ceramicists. His signature precision is matched only by the variety of exquisite textures Castle has created over his career.

Receiving numerous awards in recognition of his significant career as a potter, Castle continues to make an enormous contribution to his chosen field of artistic practice. He is well represented in New Zealand public collections and has also enjoyed international success participating in a number of well-documented solo and group exhibitions.

Castle’s exacting eye for colour and innate reference and attraction to the New Zealand landscape is forever being translated into complex and glorious glazed works. On offer are a number of key works that span several decades of his practice.

He was casually introduced to potting in 1947 while attending teachers’ college in Auckland, but it was not until 1960 that Castle was able to commence potting full time. Constantly

Of particular interest in this sale are Castle’s works that capture the raw presence of the seas that surround New Zealand and the still-powerful essence of the volcano; both are inspirational natural forces for Castle’s creative practice. NGAIRE LAWSON

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632 An Outreach 1981 Flax Weavers of the Far North Exhibition Small Kete boiled flax, slightly curved upper and lower edges, tapering sides, a single plaited handle externally framing the kete.

Weaver Michell Innes. Kete body W.435mm. D.260mm.

$80 - $120 633 Ruth Castle Elaeagnus Large Basket the handled ‘log’ basket form in open weave. H.425mm. Diam.480mm.

$350 - $400 634 Ruth Castle Rata Vine Handled Shallow Basket Diam.320mm. H.156mm.

$80 - $120

New zealand & OTHER CERAMICS, STUDIO GLASS 635 Drury Pottery and Fireworks Attributed PressMoulded Classical Head Bracket bisque fired, a Greek or Roman beauty wearing a shield shaped pendant. Provenance; from Kereone Station. H.180mm. W.142mm.

$200 - $400 636 Drury Pottery and Fireworks Attributed PressMoulded Classical Head Bracket

641 Olive Jones Blue Glazed Pot blue/green and mid blue glazed. Incised signature. H.118mm.

$200 - $300 642 Olive Jones Mustard/Yellow Variously Glazed Small Vase the squat body with five subtle corrugations to the straight neck. Incised signature mark. H.100mm. Diam.120mm.

$140 - $200 643 Olive Jones Pale Green Glazed Squat Vase with areas of iron speckles. Incised signature. H.130mm.

$160 - $250 644 Len Castle Stunning Blossom Vase this superb press-moulded pot of massive size with an opalescent blue Chun, also known as a Jun glaze spray-applied over a tenmoku glaze.

As rice-straw ash which was traditionally used by Chinese and Japanese potters, a scarce commodity to these shores, Len experimented with pampas grass ash to produce his own Chun glaze with stunning results. Impressed cipher. 1980s. H.548mm. W.470mm. D.320mm.

$15,000 - $18,000 See Illustration page 93

645 Len Castle Stoneware Press Moulded Deep Large Dish

bisque fired, a Greek or Roman beauty wearing a shield shaped pendant. Provenance; from Kereone Station. H.170mm. W.140mm.

of oblong form with curved walls and a coiled rim, the well surface plaster of paris stamp moulds impressed decorated, tenmoku and ash glaze. Impressed initials cipher. W.418mm. D.338mm. H.74mm.

$200 - $400

$1,000 - $2,500 See Illustration page 98

637 A Rare George Boyd Newton Pottery Heart Pierced Tall Chimney Pot of octagonal section with a series of conforming ribs, bisque fired, the upper curved outer wall decorated with cut-out heart shapes.

Impressed oval mark containing G.BOYD NEWTON POTTERY. Note; two tall wall panels with old fire damage in the form of some pitting and flaking. Provenance; one of a pair rescued from a Wynyard Street university premises during demolition in the 1950s. The other chimney pot gifted to the Auckland Museum by the rescuer at the time and now on show at the ‘Secrets Revealed Exhibition’. H.1220mm.

$2,000 - $4,000 See Illustration page 98

638 R. O. Clark Ltd Pair of Brown Salt Glazed Chimney Pots each of a matching cylindrical shape, the upper with three corrugated encircling bands below a crown shaped rim. Stamped ‘ROC LTD’ H.600mm.

$300 - $450 639 Winstones Taumarunui Terracotta Planter the squat circular form with some loss to the rim.

Impressed base mark. H.310mm. Diam.450mm.

$100 - $120 640 Olive Jones Squat Circular Medium Bowl mottled browns glazed streaked with deep blues and greens.

Incised signature, incised ‘M2’ mark. Diam.190mm. H.58mm.

$300 - $500

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646 Len Castle Earthenware Massive Conical Shallow Bowl with a moulded interior rim, alkaline copper glaze. Impressed cipher. Note; rim firing stress. H.140mm. D.555mm.

$600 - $800 647 Len Castle Stoneware Massive Shallow Bowl press moulded with a clay-torn rim, the iron brown glaze flecked with silver lustre. Impressed cipher. Diam.530mm. H.125mm.

$800 - $1,000 648 Len Castle Slab Formed Square Section Tall Bottle Vase with an applied wheel thrown curved short neck, semimatt mottled ochre ash and iron glazed. Impressed cipher 1950 - 1994. Note; wall chip. H.360mm.

$100 - $200 See Illustration page 92

649 Len Castle Stoneware Handled Ovoid Flask saturated iron underglaze, the grey semi-matt talc overglaze with crackled effects, the applied strap handle with ribbing.

Impressed cipher 1950 - 1994. H.272mm. Diam.210mm.

$500 - $800 See Illustration page 92

650 Len Castle Stoneware Wheel Thrown ‘Colonial Shino’ Shallow Bowl wheel-coiled encircling rim, the interior surface ‘spiral’ impressed.

Cipher mark for 1950 - 1994. Diam.334mm. H.55mm.

$300 - $600 651 Len Castle Stoneware Press Moulded Branch Pot saturated iron underglaze, rutile overglaze, the neck with some stress firing fissures. Note; some glaze chips to one edge. Impressed cipher 1950 - 1994 to neck interior. H.355mm. W.300mm. D.145mm.

$1,200 - $2,000 See Illustration page 92

652 Len Castle Rectangular Slab Branch Pot with straight surfaces, the top surface with a cut slot opening, saturated iron underglaze, rutile overglaze. Impressed cipher 1950 - 1994. W.360mm. D.112mm. H.272mm.

$600 - $1,200 See Illustration page 92

653 Len Castle Lobed Large Vase the squat ovoid form with a curved broad neck and bulbous rim, the exterior walls of encircling corrugated bands, then indented vertically at three points, calcite, semi-matt glaze with some crazing, thin wash of cobalt carbonate pigment brushed beneath the glaze. Impressed cipher 1950 - 1994. H.400mm. Diam.300mm.

$700 - $1,400 See Illustration page 92

654 Len Castle Stoneware Brush Pot the cylindrical form with horizontal bands incised decoration, glossy ash over iron. Impressed cipher 1950 - 1994. H.172mm. Diam.105mm.

$150 - $300 655 Len Castle Stoneware Hanging Vase ‘scale’ impressed decorated surface, burnt umber pigment on exterior, small free shaped aperture. Incised initials. 1960s -1970s. H.360mm. W.235mm.

$600 - $1,000 656 Len Castle Attributed Stoneware Vase iron underglaze, ash overglaze, black iron speckle, a raised rope coil subtle impression on the widest surface. Provenance; from the same collection of the previous eight Len Castle pieces, all acquired directly from the potter. H.250mm. Diam.250mm.

$150 - $300

659 Len Castle Stoneware Three Lobed Pot the three ‘hip-joined’ small vases of graduated sizes, iron underglaze, speckled olive and white overglaze. Impressed mark.

$350 - $500 660 Len Castle Earthenware Fossilised Bird Form the ‘Cycle of Life’ form with umber pigment.

Incised initials, 1998. L.440mm.

$180 - $220 661 Len Castle Earthenware Volcanic Lava Red Glazed Bowl an elegant form of substantial proportions, cadmium-selenium lava glaze. Incised initials. Diam.412mm. H.140mm.

$1,200 - $2,000 See Illustration page 92

662 Len Castle Earthenware ‘Inverted VoLcano’ Bowl Form the exterior with a black wash, the jagged rim with splashes and spills of the glossy molten lava red with black, a combination of the cadium-selenium glazed interior, spilling over the matt black exterior slope. Impressed initials. L.850mm. W.85mm. H.80mm.

$3,500 - $5,000 See Illustration page 92

663 Len Castle Earthenware Volcanic Lava Red Glazed Bowl a beautiful form of substantial proportions, pooling in the well of black fine webbing effects. Impressed initials. Diam.400mm. H.130mm.

$1,200 - $2,000 664 Len Castle Earthenware Volcanic Lava Red Lipped Bowl the exterior and crusted lip with white-burning slip biscuit surface, the well of red lava glaze with black molten effects. Impressed initials. Diam.248mm. H.75mm.

$800 - $1,200 See Illustration page 92

665 Len Castle Earthenware Volcanic Crater Lava Red Bowl an impressive circular flared form with a sinter-like textured rim overhanging a pool of molten red lava and matt black exterior. Impressed initials. Diam.460mm. H.105mm.

$1,300 - $2,600 See Illustration page 92

657 Len Castle Stoneware Handled Large Ovoid Jar iron underglaze, iron speckled variable pale grey/ blackish grey ash overglaze, applied broad strap handle with two slight grooves.

Impressed cipher 1950 -1994. Circa 1960s. H.300mm. Diam.260mm.

$1,400 - $2,000 See Illustration page 92

658 Len Castle Stoneware Discoid Hanging Form/Wall Pocket press moulded, burnt umber pigment on exterior, circular small aperture. Impressed cipher. Diam.235mm.

$300 - $500

666 Len Castle Earthenware Volcanic Lava Red Lipped Bowl the exterior and crusted lip with white burning slip biscuit surface, the well of red lava glaze with black molten effects. Impressed initials. Diam.345mm. H.100mm.

$1,000 - $1,500 See Illustration page 92

667 Len Castle Earthenware Press-Moulded Spherical Bowl resembling a pool or springs, the cratered rim and textured exterior in a greyish wash, the interior alkaline copper glazed. Incised initials. Diam.282mm. H.120mm.

$600 - $800

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679 Howard Williams Exhibition Tall Cylindrical Vase

the large and deep surfaces alkaline copper glazed.

Impressed initials. Diam.385mm. H.132mm.

slip-cast, the exterior matt surface decorated with a series of freeincised thistle-down like motifs. Painted mark. H.468mm. Diam.94mm.

$1,200 - $2,000

$120 - $200

See Illustration page 92

See Illustration page 98

669 Len Castle Stoneware Press Moulded Branch Large Pot

680 Nicholas Brandon Black and White Geometric Designs Vase

saturated iron underglaze, rutile overglaze. Impressed mark. H.300mm. W.350mm. D.250mm.

ovoid, matt black ground, glossy crazed off-white glazed designs. Impressed cipher. H.208mm. Diam.180mm.

$5,500 - $8,000

$160 - $250

See Illustration page 92

681 Norma Nell Raku Vase 670 A Potter Unknown Stoneware Branch Pot press-moulded of oval section, the main surfaces each with an impressed radial pattern, bluish-purple glazed over a pale bluish grey crazed glaze, the rectangular mouth slab built, the pot supported on a rectangular large foot. Purchased from the New Vision Gallery. H.440mm. W.400mm. D.105mm.

$150 - $300 671 Yvonne Rust Wine Decanter open circle shaped mid-section with handle and pourer on the sides and a neck above. Purchased by the vendor in 1974. H.320mm.

ovoid with rings incised conical collar tapering to a small opening. H.150mm. D.130mm.

$60 - $75 682 Keith Blight Exhibition Red Copper Glaze Slab Branch Pot of rectangular section, the low and elongated form with gently curved upper and lower main edges, a coiled oval rim. Incised decorated. Exhibition purchased. W.304mm. D.75mm. H.142mm.

$200 - $350 See Illustration page 98

$800 - $1,000 672 Yvonne Rust Candle Stick hand built ribbed mid section on splayed base, brown salt glaze. Similarly modelled to above. H.240mm.

$650 - $800 673 Yvonne Rust Stoneware Jug the squat form with a ribbed surface, iron underglaze, olive coloured ash overglaze with iron streaked glaze on upper section. Firing faults. H.170mm.

$200 - $300 674 Yvonne Rust Bowl with a ribbed surface and raised on a small ring foot. Iron underglaze, olive coloured ash overglaze. Diam.150mm. H.70mm.

$200 - $300 675 Rick Rudd Raku Bottle Vase black stain linear resist decorated, the resulting geometric panels infilled with glossy blue or crackled white overglaze. H.182mm.

$300 - $500 676 Ian Dalzell Stoneware Discoid Small Wall Pocket the surfaces all-over impressed decorated. Incised mark. Diam.140mm.

683 A Stoneware Large Jug wide mouthed, applied broad strap handle. Iron underglaze, ash overglaze. Partially glazed-over impressed cipher. H.256mm.

$200 - $250 684 A Resist Decorated Small Bowl the interior with leaf motifs. Impressed combined ‘jk’ cipher, incised 63. H.72mm. Diam.132mm.

$60 - $75 685 A Brush Decorated Small Jar or Vase Impressed combined ‘jk’ cipher, 130/10. H.95mm.

$30 - $40 686 Peter Lange Set of Six Soup Bowls and Covered Tureen stoneware, each with two applied lug handles, wax resist decorated, iron underglaze, ash overglaze. Commissioned by the vendor.

$120 - $150 687 Two Stuart Slade Brush Decorated Deep Pots stoneware, wheel thrown, incised mark. 1: H.170mm.

Diam.240mm. 2: H.164mm. Diam.195mm.

$50 - $60

$60 - $100 677 Cecilia Parkinson Glazed Agate Bowl,1984

688 Gail Carlson Erotica Exhibition (Alicat Gallery) Salt Glazed Sculptural Pot

porcelain, the matt pale grey surfaces with manganese mauve swirls, the bowl supported on a tiny ring base. Diam.165mm. H.60mm.

the vessel with a bulbous mouth and a smaller bulbous spout. Impressed cipher. H.366mm.

$80 - $100

$150 - $200

678 Wendy Ronald Porcelain Crackle Glaze Small Pot

689 Simon Engelhard Stoneware Small Jug and Bowl

the ovoid form with a short neck. H.102mm.

wax resist decorated, painted marks.

$40 - $50

$50 - $60

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690 Carrick Oliver Stoneware Handled Wine Flask wax resist decorated, iron underglaze, ash overglaze. Impressed cipher. H.312mm.

$80 - $120 691 Peter Collis ‘89 Black and Gold Lustre Large Platter wheel thrown porcelain body, the gently curved broad rim with eight stylised leaves motifs in gold flashing copper lustre enclosing a larger central leaves motif, on a black ground. Incised signature and dated ‘89. Exhibition purchased, 1989. Diam.408mm.

$180 - $300 692 Una Sharpley Decorative Large Circular Platter the shallow form with a matt black ground, the surface decorated with two veined matt white abstract shapes separated by a squiggle design in iridescent glaze. Exhibition purchased. Diam.420mm.

$200 - $300 693 Val Hercus Hemp Leaves Decorated Large Platter wheel thrown, iron underglaze, speckled grey/green overglaze. Exhibition purchased. Diam.408mm.

$100 - $160 694 Mathew McClean Stoneware Brush Decorated Large Floor Pot wheel thrown, poured ‘oatmeal’ glaze, free geometric designs in autumn tones and blue. Exhibition purchased. H.365mm. Diam.445mm.

$140 - $200 695 Graeme Storm Stoneware Shallow Bowl with a concave rim and raised on a short ring foot, the rim and exterior surface iron/manganese wash, the interior blue and green copper glazed. Impressed name mark. Diam.230mm.

$140 - $180 696 Graeme Storm Resist Decorated Squat Bottle Vase

each matt black footed, one with incised vertical decoration, glossy white grey/black speckled glazed, H.72mm. The other, pale blue bands encircling the exterior, resist decorated with stylised V and O designs alternating, speckled white underglaze. H.90mm. Both with brushed S.E.marks.

$160 - $200 701 Peter Stichbury Stoneware Covered Medium Jug wheel thrown, applied strap handle, iron underglaze, grey ash overglaze. Impressed cipher H.215mm.

$80 - $120 702 Peter Stichbury Stoneware Black Iron Glazed Tall Vase with a flared mouth. Impressed cipher. H.290mm.

$100 - $180 703 Peter Lange Stoneware Squat Vase iron underglaze, red copper overglaze. Paper label Peter Lange 3.2.83. H.120mm.

$50 - $80 704 Ian Firth Stoneware Cylindrical Pot wheel thrown with a bulbous collar, an applied short strap lug to the rear, resist decorated. Iron and grey ash glazed. Impressed cipher. H.192mm. Diam.85mm.

$50 - $80 705 Doris Dutch Press Stoneware Small Platter Form the surfaces with umber wash, the platter’s shallow surface with blue clay coils impressed, thickly applied blue copper glaze effects.

Impressed cipher. Note; small chip to rim edge. Diam.210mm.

$40 - $60 706 John Papas - Journey Undertaken 1 - Ceramics

wheel thrown with later altered/flattened sides, grey ash underglaze, iron overglaze. Impressed cipher. H.125mm.

terracotta and earthenware wall plaque, depicting three hand-built fish on tile fragments inlay. Metal framed, signed John Papas 94. H.395mm. W.305mm.

$60 - $75

$200 - $300

697 Marilyn Johnson Stoneware Footed Bowl the red clay with grogged particles protruding through the grey/ green/brown glaze , wheel thrown cylindrical foot applied to the wheel thrown bowl (later mishapened to form a ‘pouring’ lip).

Impressed cipher. Note; rim chips at the ‘pouring’ lip. H.170mm.

$40 - $50 698 Margaret Sumich Raku Fired Bottle Vase with two small applied loop lugs at the shoulder, ‘volcanic’ textured surface in browns and flashing irridescense. Impressed cipher. H.130mm.

$80 - $120 699 Helen Lynch Brush Decorated Shino Square Bottle Vase stoneware, wheel thrown applied bottle top and ring foot, the four sides each with an abstract brush design on a deep shino glaze. Paper label to the base dated 1980. H.222mm.

$30 - $60

100

700 Two Simon Engelhard Porcelain Wine Cups

707 John Papas - Journey Undertaken 2 - Ceramics terracotta and earthenware wall plaque, depicting two hand-built fish on tile fragments inlay. Metal framed, signed John Papas 94. H.395mm. W.305mm.

$200 - $300 708 John Papas - Journey Undertaken 3 - Ceramics terracotta and earthenware wall plaque, a cut-out and incised textured palm tree before a building over red and blue splattered white glazed tiles. Metal framed, signed John Papas 94. H.348mm. W.306mm.

$200 - $300 709 Mirek Smisek Salt Glazed Tankard stoneware in olive and brown saltglaze, the tankard with an applied strap handle, an applied strap-coiled decoration at the base. Impressed cipher. H.130mm.

$240 - $300

710 Mirek Smisek Set of Six Stoneware Scgraffito Decorated Tumblers

720 A Wharetana Design Maori Chief Mould Decorated Small Plate

manganese underglaze; one pair yellow overglazed, another pair powder blue/grey, the third pair dusky pink. Incised ‘MS’ initials. H.97mm.

camel/cream glazed,the rear clay inscribed ‘Mr Day STD VI 6/4/50’.

The plate probably manufactured during a school class visit to the Crown Lynn Potteries and presented to the teacher. Diam.175mm.

$975 - $1,050

$1,000 - $1,200 See Illustration page 98

711

A Mirek Smisek Salt Glazed Vase in baluster shape in brown salt glaze with incised and ribbed decoration, impressed cipher to base. Note; firing faults to base. H.328mm.

$500 - $600 712 A Mirek Smisek Stoneware Bottle Vase classical Smisek salt glaze in brown. Impressed cipher near base. H.232mm.

$350 - $500 713 An Artist Unknown Red Clay Sculptured Maori Head the facial features with incised moku decoration, heavily glazed over in pale blue/white, the hair of frothy grey-green glaze over a purple scoria-like glaze, incised spirals at the neck. Note; glaze chip to rear of neck. H.120mm.

$100 - $150 714 A Stoneware Vase With Stipple Blue Glaze, James Greig

721 Crown Lynn Rare Wharetana Maori Art Pottery Pair of Salad Servers glossy brown glazed. Shape 1039, (typically no impressed number for these specific designs due to the all-over pattern). L.255mm.

$1,500 - $2,500 See Illustration page 84

722 Crown Lynn Wharetana Maori Art Pottery Pair of ‘MOKO’ Bookends a ceramic representation of ceremonial life-sized wooden masks which were hollowed out to allow the fitting over a head. Jade green lightly glazed, shape number 1019 base impressed. H.140mm.

$2,500 - $3,500 See Illustration page 84

723 Crown Lynn Wharetana Maori Art Pottery ‘KORURU’ Small Tray

wheel thrown and raised on a circular foot, unglazed, black iron underglaze, blue and white overglaze. Impressed cipher. H.280mm.

the dish decorated with the profile effigy rather than the full face, rauponga and spiral designs borders, mid brown glazed, the interior walls and well brown speckled pale green glazed. Note; small glaze frit to rim edge. Shape 1013. W.194mm. D.138mm. H.38mm.

$140 - $200

$600 - $900 See Illustration page 84

715 Michael O’Donnell Stoneware Rauru Impressed Decorated Large Shallow Bowl with a broad rim, iron underglaze, speckled iron grey/green overglaze. Incised base mark. Diam.344mm. H.85mm.

$100 - $140 716 Martin Beck Glazed Jar iron glazed, the exterior surface with some ribbing. Impressed cipher to base. Note; nibble to rim. H.278mm.

$140 - $200 717 Rosemarie Brittain Twin Necked Twig Pot the textured surface ochre washed and shino glazed.

Impressed cipher. Note; rim small chip. H.190mm.

$140 - $180 718 Temuka Potteries Attributed Bulldog Heater, Complete not tested, the dog finished in black. H.340mm.

$250 - $300 719 A Crown Lynn ‘Legend’ Plaque the surface gilded decorated with twenty six examples of New Zealand’s iconic fauna and flora species and Maori patterns in low relief on a speckled mid brown/grey ground. The ‘Legend’ details printed to the reverse. W.287mm. D.287mm.

$400 - $600

724 Crown Lynn Hand Potted Vase in Delicate Egg Shell Blue

by Ernest Shufflebottom, a thistle flower shape in an unusual coloured glaze, the base with four chips. Brown script Crown Lynn mark, incised 24. H.184mm.

$300 - $450 725 Crown Lynn Hand Potted Thistle Flower Shaped Vase by Ernest Shufflebottom in subtle cream glaze, five lathed bands. Tiki mark, ‘Hand Potted’, incised 24. H.176mm.

$300 - $450 726 Crown Lynn Hand Potted Bulbous Small Vase

by Ernest Shufflebottom, white glazed with five lathed bands, supported on a spreading foot. Note; a rim crack. Blue tiki mark, ‘Hand Potted’. H.128mm.

$100 - $140 727 Crown Lynn Hand Potted Bulbous Small Vase subtle cream glazed, the surface with five lathed bands supported on a spreading foot. By Ernest Shufflebottom, Crown Lynn script mark, ‘Hand Potted’, incised 14. Note; with faults. H.128mm.

$100 - $120 728 Crown Lynn Hand Potted Bulbous Medium Vase white glazed with five lathed bands, supported on a spreading foot. By Ernest Shufflebottom, blue tiki mark, ‘Hand Potted’. Note; foot-rim large chip. H.180mm.

$100 - $180

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729 Crown Lynn Hand Potted Bulbous Large Vase

by Ernest Shufflebottom, white glazed with five lathed bands, supported on a spreading foot. Blue tiki mark, ‘Hand Potted’, incised 14. Note; star crack to upper wall. H.220mm.

$250 - $300 730 Crown Lynn Hand Potted Large Vase by Ernest Shufflebottom.

740 Gary Nash Attributed Opaque Glass Shallow Large Bowl the matt surface with blue glass overlay leaf and plant designs, the rim trimmed in orange/red glass, the form raised on a small ring foot. Unsigned. Diam.418mm. H.62mm.

$200 - $260 741 Gary Nash Black Glass Sculptured Bust

glazed in a subtle off white with six lathed bands to the lower half of the body, the upper body with an applied coating. Small tiki mark, ‘Hand Potted’, incised 34. H.234mm. Diam.250mm.

the weighty head with a flat back in solid glass, technically a difficult item to survive the cooling down process from the furnace.

Signed and dated ‘06. H.400mm. W.300mm. D.100mm.

$450 - $600

$3,000 - $4,000

731 Gary Nash ‘95 Glass Vase opaque blues and greens. Etched ‘Nash 95’ base mark. H.170mm.

$100 - $150 732 Gary Nash ‘94 Glass Paperweight gold shot flower head supported in swirling cobalt, in clear glass. Etched ‘Nash 94’ base mark. H.80mm.

$100 - $200 733 Gary Nash Opaque Black Glass Large Bowl the interior surface with cratered dots not quite through to the exterior, resembling the universal night sky.

Signed and dated ‘87. Diam.375mm. H.140mm.

$400 - $600 734 Gary Nash Deep Blue Squat Ovoid Vase vertical lineal engraved of varying lengths from the ridged rim, each terminating in an engraved leaf shape. Signed and dated ‘86. H.188mm.

$350 - $500 735 Gary Nash Opaque Deep Blue Glass Tall Vase of cylindrical form with a curved base, the exterior similarly worked as the above. Signed and dated ‘87. H.295mm. Diam.144mm.

$350 - $500 736 Gary Nash Opaque Mid Blue Glass Large Bowl the upper interior wall with deeply engraved abstract designs.

Signed and dated ‘87. Diam.400mm. H.128mm.

$350 - $500 737 Gary Nash Opaque Purple and White Glass Large Vase of squat ovoid form, the exterior surface with deeply engraved abstract designs. Signed and dated ‘87. H.230mm. Diam.280mm.

$350 - $450

742 Keith Murray Wedgwood White Shoulder Vase the white matt glazed tapering body of cylindrical section with lathe turned wide banding, the base with printed marks and facsimilie signature. Note; crazed surface with some staining, an interior hairline crack. H.280mm.

$800 - $1,000 743 Keith Murray Wedgwood Matt Green Spherical Vase in the grenade shape 3765, eight lathe-turned bands encircling the body, printed marks and facsimilie signature. H.155mm.

$800 - $1,100 744 Ray Finch Winchcombe Studio Pottery Scgraffito Decorated Small Bowl mottled green glazed over iron underglaze. Impressed mark.

Ray Finch took over management of Winchcombe Pottery 1939 while Michael Cardew set up another pottery in Cornwall, and purchased the business from Cardew in 1946. Finch was awarded the MBE in 1980. Diam.146mm. H.52mm.

$200 - $350 745 A Slab Sided Stoneware Bottle Vase by Takeichi Kawai (1908-1989) the two broader panels decorated in gosu blue, shinsha red and tetsu brown brushwork on a chun type glaze, the sides, shoulder, neck and tapering rectangular foot iron underglazed. This was one of 95 pots the master potter brought with him on his visit to New Zealand 1964-65, sponsored by the New Zealand Society of Potters. At an evening in Auckland attended by some 30 potters, 19 of the Kawai vessels were sold; other pieces from the collection were destined for other national and internation exhibitions.

Because of the high demand to obtain a vessel, lots had to be drawn amongst the attendees. This one was purchased by a local potter. Labelled under the base. H.142mm. W.95mm. D.60mm.

$800 - $1,200 See Illustration page 98

746 A 19th Century Japanese Antique Sake Jar (Large) Dribble Glazed stoneware, grass fibre and paper stoppered. H.380mm.

738 Gary Nash Opaque Deep Blue Large Glass Bowl the deep interior upper wall with deeply engraved abstract designs similar to the above. Supported on a small ring foot. Signed and dated ‘91. Diam.405mm. H.154mm.

$400 - $500 739 Gary Nash Matt Purple-Black Glass Tall Vase of cylindrical form with a curved base, the exterior surface with a series of deeply engraved abstract designs worked as the above. Signed and dated ‘87. H.295mm. Diam.144mm.

$350 - $500

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$300 - $450 747 A Japanese Antique Sake Jar (Large), Characters Incised 19th century. Stoneware. Note; some rim and base chips. H.376mm.

$300 - $400

748 A 19th Century Japanese Sake Jar (Med), Characters Incised stoneware. 19th century. H.230mm.

$300 - $450 749 A Japanese Antique Sake Jar (Sml), Characters Incised stoneware, 19th century. H.280mm.

$250 - $400 750 A Japanese Antique Sake Jar (Sml), Characters Incised stoneware,19th century. H.250mm.

$250 - $350 751 Japanese Antique Sake Jar (Sml), Pale Glazed Calligraphy

757 A 19th Century Pacific Islands Cane Woven Fish Platter of oval shallow form. Provenance; collected by a close friend of and gifted to the vendors’ great grandfather in the 1880’s. L.550mm. W.365mm.

$100 - $160 758 A 19th Century Pacific Islands Cane Woven Fish Platter of free rather than circular form, in good condition. Diam.480mm.

$100 - $160 759 Two 19th Century Fijian Islands Wood Carved Cannibal Forks one two pronged, the other, four pronged, each with notch carved handles and all-over black stained. Note; old wood split to each fork. Provenance: collected by a close friend of and gifted to the vendors’ great grandfather in the 1880’s. L.285mm. & L.280mm.

on a deep brown ground. Stoneware. 19th century. H.250mm.

$100 - $140

$250 - $400

See Illustration page 99

752 A Royal Doulton Stoneware Kia Ora Ware Medium Jug the squat jug decorated with four tiki masks and a border of kowhaiwhai pattern in relief. H.115mm.

$600 - $800 753 A Ball’s Patent ‘KIA-ORA’ Tobacco Jar circa 1900. H.120mm.

$80 - $120 754 A Dutch Gouda Pictorial “TUI” and Kowhai Wall Plate in stoneware, reverse blue marked also as the Parson Bird, for the retailers GIBSONS & PATERSON. LTD. N.Z. Note; small hairline. Diam.270mm.

$80 - $160

ITEMS OF PACIFIC ORIGIN 755 A 19th Century Solomon Islands Shell Inlay Comb the twelve palmwood teeth spreading from a black paste coated tapering ‘handle’ made from crushed Parinarium nuts, the four surfaces decorated with notch patterned Nautilus shell cut pieces inlay, terminating at a curved end. Note; some shell pieces loss, and some loss to some of the teeth. Provenance: collected by a close friend of and gifted to the vendors’ great grandfather in the 1880’s. L.180mm.

$400 - $800 756 Two 19th Century Melanesian Split Cane Combs each one the teeth lashed together on a cross bar, secured by vegetable fibre and coated with black paste and pigment, bound into a tapering and flatterned upper body bound by natural fibres and covered with vegetable black resin, terminating in a ‘single’ cane. Provenance; collected by a close friend of and gifted to the vendors’ great grandfather in the 1880’s. L.265mm. & L.245mm.

$150 - $250

760 A Fine 19th Century Melanesian Oval Shaped Large Deep Bowl just below the rim the wooden bowl is simplistic two dimensionally carved decorated with three frigate bird type motifs with white lime painted notch and groove incised elements to emphasise effects. The bowl superbly balanced with the merest surface in contact with that on which it rests. Provenance; collected by a close friend of and gifted to the vendors’ great grandfather in the 1880’s. L.700mm. W.300mm. H.146mm.

$400 - $600 See Illustration page 99

761 Two 19th Century New Hebrides Yam Pudding Knives one with a regularly serrated and leaf shaped handle, L.552mm, the other with serrated and linear pierced handle (with a wood split), L.560mm.

$50 - $80 762 A 19th Century Melanesian Ceremonial Mask the wood mask semi-enclosed, the exaggerated nose and hooked nostrils notch carved and infilled with lime, the mouth showing the lips, teeth and tongue with a small pierced opening just below the tongue, blue pigment and white lime painted (remnants), the small eyes each with a pierced crescent slit opening, pierced carved elongated ear and ear decorations, the jaw line notch carved, remnants of red pigment and lime. Note; with some wood carving loss.

Provenance; collected by a close friend of and gifted to the vendors’ great grandfather in the 1880’s. L.480mm. W.250mm. D.180mm.

$200 - $400 See Illustration page 99

763 A 19th Century Santa Cruz Breast Pendant the tridacna shell slightly ovoid disc with a tortoise shell overlay, the lower motif depicted as a frigate bird with outstretched wings and bifurcated tail, the upper possibly a series of stylised fish, which in turn is secured with natural fibre cordage.

Provenance; collected by a close friend of and gifted to the vendors’ great grandfather in the 1880’s. W.125mm.

$600 - $800 See Illustration page 99

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764 A Pacific Islands Adze/Axe/Tool Handle Only old break at the heel iron repaired. L.720mm.

$100 - $120 765 A Pacific Islands Walking Stick the integral four sided handle tapering into a gentle curve, terminating in a blunt point. L.880mm.

$100 - $120 766 A Rare Papua New Guinea Highlands Zoomorphic Wood Carved Head Rest the elongated and slender bodied rest carved with a lizard shaped head with nassa shell eye inlay, and a short tail section, supported on four slender branching legs. L.470mm.

$800 - $1,000 767 A Fijian Wood Carved Priest’s Bowl the shallow form carved in the shape of a human body, with a suspension hole carved at the base of the rear of the head. L.412mm. W.180mm.

$100 - $140 768 A 19th Century Fijian Gata Club simplistic linear grooves incised, the club with good patination. Note; wood surface splits. L.955mm.

$250 - $300 769 A 19th Century Fijian Gata Club with loss to the heel, soft patination to the surface. L.720mm.

$150 - $200 770 A 19th Century Fijian Missile or Throwing Club the handle butt notch carved and with a drilled suspension hole, some old slitting to the lower shaft, good age patination.

Provenance; collected by a close friend of and gifted to the vendors’ great grandfather in the 1880’s. L.430mm.

$400 - $800 See Illustration page 99

771 A 19th Century Tongan War Club wood, tapering lozenge-section head with with three ridged sections, the lower section with four ridges, the middle section with six ridges, the upper head with eight ridges (some loss), triangular butt lug for wrist cord. Provenance; collected by a close friend of and gifted to the vendors’ great grandfather in the 1880’s. L.685mm.

$200 - $400 772 A 19th Century New Britain War Club, Wood and Stone the pierced ovoid stone (minus the original securing gum) firmly on the tapering polished wood shaft, the shaft terminating into a point. Provenance; collected by a close friend of and gifted to the vendors’ great grandfather in the 1880’s. L.1275mm.

$400 - $500 773 A 19th Century New Britain War Club

108

774 A 19th Century Melanesian Bow the medium brown wood of oval section, tapering to each point, the surfaces with good patination. Provenance; collected by a close friend of and gifted to the vendors’ great grandfather in the 1880’s. L.1410mm.

$200 - $275 775 Two 19th Century Melanesian Palmwood Bows tapering to each point, the flatterned surface and curved sides black paste painted, the upper curve russet stain remnants, each with twisted fibre strings. Provenance; collected by a close friend of and gifted to the vendors’ great grandfather in the 1880’s. L.1820mm.

$200 - $300 776 A 19th Century Melanesian Palmwood Spear of oval section tapering to both points, with some carved details. Provenance; collected by a close friend of and gifted to the vendors’ great grandfather in the 1880’s. L.2360mm.

$100 - $175 777 A 19th Century Solomon Islands Palmwood Spear the barbed head above twin seated pronathous figures. L.1228mm.

$50 - $75 778 A 19th Century Melanesian Wood Arrow the shaft with ‘pokerwork’ cross hatch motifs, L.1060mm. Together with a notched wood dart, black painted bands remnants, L.558mm.

779 Six 19th Century Northern Region Australia and Melanesian Fishing Spears wood and cane, variously decorated black and red pigment painted bands, one with feathers, one with bound sting-ray spines along the point, two with barbed wood points. Note; with faults. Provenance; collected by a close friend of and gifted to the vendors’ great grandfather in the 1880’s.

$180 - $300 780 A 19th Century Northern Region Australia Fishing Spear a single long shaft of light wood with black pigment remnants (the upper shaft broken but present), three wood points bound and gummed to the shaft, red and white painted bands.

Provenance; collected by a close friend of and gifted to the vendors’ great grandfather in the 1880’s. L.1360mm.

$100 - $140 781 Two 19th Century Northern Territory /Arnhem Land Cane and Black Glass Spears each with a cane shaft, one with the flaked black glass/obsidian point (now loose) inserted into red painted with a black painted bird motif incised gum, L.1400mm. The other with major loss to the flaked point, the gum red and black bands painted, L.1390mm. Provenance; collected by a close friend of and gifted to the vendors’ great grandfather in the 1880’s.

$100 - $200 782 A 19th Century Nothern Region Australia Spear Thrower

pointed shaft, butt flange, polished stained surface.

Provenance; collected by a close friend of and gifted to the vendors’ great grandfather in the 1880’s. L.1384mm.

broad, flattish wood shaft, the wood peg bound and gummed, the handle butt black gummed with traces of red, polished.

Provenance; collected by a close friend of and gifted to the vendors’ great grandfather in the 1880’s. L.904mm.

$100 - $200

$500 - $650

783 A Papua New Guinea Boar Tusks Nose Ornament the two tusks joined by black resin/paste over fibre. Collected in the 1960s.

$80 - $100 784 A Papua New Guinea Boar Tusks Nose Ornament the two tusks joined by clear resin over fibre. Collected in the 1960s.

$80 - $100 785 A Papua New Guinea Boar Tusks Nose Ornament the two tusks joined by black resin/paste over fibre. Collected in the 1960s.

$80 - $100 786 A Papua New Guinea Boar Tusks Nose Ornament the two tusks joined by tape. Note; with faults. Collected in the 1960s.

$80 - $100 787 Three Small Sperm Whale Teeth collected in the 1960s. 1: L.90mm. 2: L.70mm. 3: L.75mm.

$200 - $250 788 Three Sperm Whale Teeth

794 An Indonesian (Bali) Cane Woven Football collected in the 1960s. Diam.130mm.

$20 - $40 795 A Pitcairn Island Carved Fish on Stand by John Christian purchased by the vendor enroute to New Zealand from Great Britain when the S.S. Mataroa (Shaw Savill) called at Pitcairn, Nov.1948. Note; tail wood split old repair. L.450mm. H.130mm.

$600 - $800 See Illustration page 99

796 A Pitcairn Island Leaf Woven Small Basket and Cover traded by a Pitcairn teenage girl for a decorative hair clip from the vendor enroute to New Zealand from Great Britain when the S.S. Mataroa (Shaw Savill) called at Pitcairn, Nov.1948. Diam.180mm. H.75mm.

$50 - $75

MISCELLANEOUS 797 An Indian Portrait Miniature in an Ebony Carved Table Frame

reduced in length. 1: L.58mm. 2: L.90mm. 3: L.95mm.

the portrait of a be-jewelled beauty in an oval mount, the shaped frame floral carved in low relief. H.154mm. W.100mm.

$100 - $140

$100 - $200

789 A 20th Century Fijian Small Tapa Cloth of an old traditional stencil pattern; a series of natural and black patterned and plain brown borders enclosing two central panels, each with stylised flower motifs on black and brown grounds and separated by black patterned panels.

Collected in the 1960s. L.1355mm. W.1000mm.

$200 - $300 790 A 20th Century Fijian Small Tapa Frieze of an old traditional stencil patterns; a series of natural and black patterned and plain brown borders enclosing twelve panels, each with two stylised flower motifs on alternating black and brown grounds and separated by black patterned panels. Collected in the 1960s. L.1820mm. W.620mm.

$200 - $300 791 A 20th Century Polynesian Shell and Seed Decorated Plant Fibre Skirt natural fibres, the waist decorated with strings of threaded grey and red seeds and shells, secured by cowrie shells to form loops. Collected in the 1960s. Skirt drop L.1000mm.

798 A Victorian Portrait Miniature of a Woman signed J. Rousseau circular mounted in an ebonised square frame, with faults.

$100 - $180 799 A Portrait Miniature of a Woman painted on ivory, a rectangular mount in an ebonised conforming frame. Note; with faults.

$80 - $100 800 A Victorian Portrait Miniature of a Gentleman Littlejohn Yeat (?) 1807, in an ebonised oval frame, with faults. H.145mm. W.126mm.

$80 - $100 801 A 19th Century Pair of Ebonised Framed Silhouette Groups W.114mm. H.95mm.

$100 - $180

$60 - $100 792 A 20th Century Polynesian Shell and Seed Decorated Artificial Raffia Skirt in red, the cloth waist band decorated with white raffia, cowrie shells and black seed applied flower motifs above strings of threaded white raffia tassels flanked by black seeds and small white shells. Collected in the 1960s. Skirt drop L.820mm.

$40 - $60 793 A Polynesian Leaf Woven Fan

802 Tres Parisien. La Mode, Le Chic, L’Elegance.

Joumard, G. P. the original illustrated pochoir cover showing French Art Deco female fashions dated ‘Mars 1922’ , the contents of fourteen superbly illustrated tipped-on-hand-coloured pochoir plates on thin Chinese paper and mounted on stiff board paper as listed in the index, and including a Supplement au “Tres Parisiene” No 3, again beautifully illustrated, some the plates with touches of silver.

$500 - $900 See Illustration page 103

synthetic fibre bound handle. Collected in the 1960s. L.360mm.

$20 - $25

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803 A Central Asia Antique Tumar Breast Amulet

807 A Central Asia Antique Child’s Anklet the two sections cast, Kazakhstan or Kyrgyzstan, 19th c. Diam.105mm.

representing the union of two triangles, one pointing upwards, one pointing downwards, a graphic representation of perhaps a man and a woman, the amulet with decorative brass overlay, silver, cornelian and cornelian coloured glass (replaced). Kazakhstan, 19th c. W. 230mm.

$200 - $400 See Illustration page 102

$100 - $160 See Illustration page 102

808 A Naîve Maritime Diorama the three masted vessel in wood, plaster and tin, constucted in the first half of the 20th century. Distressed condition. Frame H.410mm. W.590mm. D.80mm.

804 A Central Asia Antique Pair of Bilerik or Open Ended Bracelets typically made as a pair to be worn on both hands, the surfaces finely decorated with granulation and engraving, the smalto with silver and gilt overlay. Kazakhstan, 19th c. W.60mm.

$300 - $500 809 A Naîve Maritime Diorama the four masted vessel in wood, plaster and tin, constucted in the first half of the 20th century. Distressed condition. Frame H.470mm. W.710mm. D.95mm.

$400 - $600 See Illustration page 102

$300 - $500

805 An Antique Pair of Silver Anklets of hollow crescent form with simplistic engraved and impressed surface decoration, the ends joined to a rectagular shaped slim box form which has red and green glass inlay to represent rubies and emeralds. Central Asia, 19th c. W.140mm.

810 A Gilded Edition ‘The Life & Explorations of Dr Livingstone The Great Missionary Traveller’ hand dated 1879.

$80 - $140

$200 - $300 See Illustration page 102

811 806 A Central Asia Antique Child’s Open Ended Bracelet

$160 - $200

a kitset plywood and batton working model assembled to be driven by children between four and eleven years old. Battery powered electric motor, forward/reverse controls, steering and brakes, headlamps and an adjustable seat. The body finished in forest green. Circa 1994. L.1720mm. W.640mm.

See Illustration page 102

$950 - $1,200

decorated silver overlay, with pink and green glass inlay. Kazakhstan, 19th c. W.95mm.

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A Late 20th Century English Classic Children’s Sports Car “ The Dewlin”

925

812 An English (Attributed) Vintage Teddy Bear in White Shaggy Mohair Plush painted brown eyes with black pupils, the nose with with vertical brown stitches, the two centre stitches reach down to meet the V-shaped mouth, the three claws of brown thread, plush pads.

The bear with a working growler located in its back. The ears look to have been re-attached. C.1920s - 1930s. Manufacture not known but similar to ‘Chiltern’ manufactured bears. L.385mm.

$500 - $800

815 An Early 20th Century Ivory Fan elegantly plain, with twenty two spatula shaped sticks. Circa 1900. L.260mm. Open 450mm.

$250 - $400 816 A Meerschaum Pipe Bowl Carved as Two Horses the stem absent, the morocco leather case with damage to hinges.

$60 - $80

See Illustration page 103

813 A Crimson Stained and Natural Chess Set of the Staunton Pattern and Tooled Leather Chess Board the chess set complete in bone, the King height 70mm, the crimson stain in bright original colour, with some minor wear/ loss of stain to some pieces. The folding games board with a fine hide playing surface, tooled and gilt decoration.

$320 - $400 814 A 19th Century Tortoise Shell Veneer and Wood Sewing Box

817 A 19th Century Finely Cast Horse’s Head Paperweight in Gilt Metal with glass inset eyes.

$100 - $120 818 A 19th Century Cast Bronze Pair of Semi- Recumbent Lions each lion with one paw resting on a gilded ball. H.110mm.

$250 - $350

the five exterior surfaces with totoise shell veneer, the interior with a lift-out ten compartmented tray, eight of the compartments each with a decorative cover in either tortoise shell or ebony inlay, and two compartments each with a wooden spool. One interior lid with an inked message; ‘Purcased by Geo. Allen at Port Said about the year 1878.’ Note; with some faults inc. some veneer loss to the back of the hinged lid. W.274mm. D.182mm. H.87mm.

$550 - $700

N e w z e a l a n d h i s t o r i c a l , a n t i q u e s & d e c o r at i v e a r t s 111

819 A 19th Century Anglo-Indian Ebony and Ivory Inlay Table Cabinet

of hexagonal section, the surfaces decoratively engraved. Closed L.86mm

four of the five exterior surfaces decorated with four serpents enclosed by borders of birds amongst scrolling foliage, their features in ebony and ivory inlay on a mid-brown timber, the rear exterior panel and the internal face of the hinged drop-front panel similarly ebony and ivory inlaid in wheel and foliage motifs, the interior with full length drawer above two banks of small drawers, all of full depth. Each drawer front again featuring the bird and scrolling foliage inlay and with pierced brass small fittings. The box with a carry handle to one side, the other absent. Note; the brass front plate absent. Circa 1880.

With a key and working lock. W.460mm. D.340mm. H.350mm.

828 A Seal Top Rolled Gold Sliding Pencil

$1,200 - $2,000

829 A Seal Top Sliding Pencil

See Illustration page 106

820 A Stradivari Copy Contemporary Violin in Case a copy of Antonio Stradivari Anno 1716 Luthier. H.Lillioja.

The violin constructed with a maple top and spruce back, with bow and shoulder rest. L.600mm.

$3,000 - $4,500 821 A Stradivari Copy Contemporary Violin in Case a copy of Antonio Stradivari Anno 1716 Luthier. H.Lillioja.

The violin constructed with a maple top and spruce back, with bow and shoulder rest. L.590mm.

$3,000 - $4,500 822 An Early 19th Century Gothic Gold and Maple Harp by Pierre Erard 47 string patent 5539 (pre-1835), the hexagonal pillar base and capital with gilt gesso decoration in the gothic style, the sound board in maple, engraved “Sebastian amd Pierre Erard’s patent n 5530 18 Great Malborough St London” to the frame. Note; some losses and repairs to the decoration, requires some attention. Pierre Erard was the nephew of Sebastian Erard, the pioneering harp and piano designer and manufacturer of the 18th/19th C. Erard’s designs with regard to the double action harp placed them as leaders in the field. The 1810 patent action by Erard is regarded as the date of invention of the concert harp. H.1750mm. Maximum D.900mm.

$7,000 - $10,000 See Illustration page 106

823 A Gilt Bronze Figure of a Youth with a Trophy, A Gaudez cast signature A Guadez, the pedestal with a cartouche engraved ‘Vainqueur par A Gaudez Hors - Concours’.

Note; damage to bow and arrow. H.630mm.

$600 - $800 824 A Cast Spelter Pair of Neo-Classical Figures of women emblematic of fishing and hunting, with original gilt and green decoration. marked ‘Wangen’ within the casting. Note; some small faults. H.530mm.

$600 - $800 825 Four Assorted Sliding Pencils including one with a sliding pencil to one end, a sliding open nib to the other. Note; faults.

$40 - $50 826 A Seal Top Rolled Gold Sliding Pencil the surfaces all-over floral and foliate engraved. Closed L.85mm.

$80 - $120

112

827 A Seal Top Rolled Gold Sliding Pencil

$80 - $120

of hexagonal section, the surfaces decoratively engraved. Closed L.82mm.

$80 - $120

foliate engraved surfaces. Closed L.76mm.

$80 - $120 830 A Seal Top Rolled Gold Sliding Small Pencil closed L.42mm.

$50 - $75 831 A Seal Top Rolled Gold Sliding Pencil L.65mm.

$50 - $75 832 A Rolled Gold Swivel Seal Sliding Pencil of heaxagonal section, each of the sides foliate engraved. Closed L.58mm.

$120 - $200 833 A Heavy Yellow and Rose Rolled Gold Sliding Pencil closed L.62mm.

$120 - $200 834 A Rolled Gold Sliding Pencil closed L.45mm.

$50 - $75 835 An Egyptian Revival Tutankhamun Sliding Pencil in the shape of the mummy casket, the fine enamel inlay decoration with some loss. Late 1920s. Closed L.30mm.

$120 - $180 836 A Seal Top Sliding Combination Pencil and Nibbed Pen of square section three surfaces foliate engraved, the fourth engraved ‘JAMES DEAN 14/9.90. Closed L.02mm.

$200 - $250 837 A Seal Top Sliding Pencil closed L.40mm.

$50 - $75

STERLING SILVER & GLASS 838 A Sterling Silver Seal Top Sliding Pencil engraved surfaces. Birmingham 1904. Closed L.60mm.

$80 - $120

839 A Sterling Silver Ruler Pencil pencil shape of square section, the side of one length inches engraved to 3.1/2 inches, the opposing side centremeters engraved to 9, extending to 15.5 cms, or 6 inches. Birmingham 1924.

$150 - $200 840 A William IV Period Pair of Sterling Silver Highly Decorated Plates by Paul Storr each of good weight, the shaped rims foliate engraved and repousse decorated, framing a wider border of foliate embossed panels with diaper patterns, the well roundel plain.

London 1834,1835, maker Paul Storr. Diam.250mm.

848 A Silver Mote Spoon with a decorative pierced bowl and spear point handle, mark indistinct. Note; small fault to bowl. C.1780.

$50 - $100 849 A Tiffany & Co. Sterling Silver Tea Strainer and Stand with two pierced handles. W.150mm.

$120 - $150 850 An 800 Marked Silver Repousse Circular Patch Box

$7,000 - $10,000

the hinged lid floral embossed. Diam.42mm.

See Illustration page 102

$40 - $60

841 A 19th Century Sterling Silver Three Piece Teaset by Paul Storr comprising of a teapot, milk (1837) and a two handled sugar basin, the basin with a gilded interior, each lobed plain form with an armorial and motto, “ESSE QUAM VIDERI”, a Latin phrase meaning “To be, rather than to seem”. The teapot of a pumpkin form, the hinged lid of naturalistic leaf shape with a raised acorn and oak leaved finial, the teapot spout and handles each of naturalistic branches terminating in oak leaves, and each piece raised on three naturalistic fruiting oak leafy branched feet. The teapot (young Victoria head, rubbed date marks) and basin (1837) marked STORR & MORTIMER, the three pieces stamped PS. Note; repairs to jug and sugar basin walls. Teapot hinge pin absent.

$8,000 - $12,000 See Illustration page 102

842 A Late Victorian Period Cased Set of Three Sterling Silver Ornate Spoons the pierced handles and gilded bowls scrolling foliate cast with repousse decoration, one spoon with a foliate pierced bowl as a caster. London 1899, maker W.C. L.195mm.

$300 - $400 843 Set of Eight American Sterling Silver 925 Butter Knives each handle scrolling foliate engraved and script initialled ‘C’. Stamped S. Kirk & Son Co. 925/1000. L.128mm.

$150 - $200 844 A Cased Pair of Berry Spoons, Plated

851 A Pair of Rococo Style Candle Sticks in Silver Plate on copper, the cast scroll and leaf patterns with repousse style effects. H.290mm.

$250 - $350 852 A European Wall Plaque in Silver Plate of hexagonal shape, decorated with a young girl and a goose. H.180mm.

$80 - $120 853 A Sterling Silver and Velvet Lined Table Double Picture Frame the embossed heart shaped mounts with the cartouche areas foliated initials engraved. London 1901. Maker W.C. W.268mm. H.188mm.

$400 - $600 854 An Art Nouveau Pierced Sterling Silver and Wood Table Picture Frame Birmingham 1904. The sterling silver shaped panel with embossed stylised blooms and a message from Byron “FRIENDSHIP IS LOVE WITHOUT HIS WINGS’, in embossed lettering. H.160mm. W.114mm.

$250 - $400 855 Lalique Display Perfume Bottle a large chemist display example for Nina Ricci, L’air DuTemps. The stopper modelled as two doves. Etched Lalique. H.315mm.

$800 - $1,100

brightcut decorated, the ovular bowls gilded. L.230mm.

$60 - $100 845 A Sterling Silver Caster Spoon London 1882. Note; some distortions.

$50 - $70 846 A George III Period Sterling Silver Caddy Spoon of Acorn Shape with bright-cut decoration. Birmingham 1801.

$80 - $120 847 A Sterling Silver Toastrack

856 Lalique ‘BACCHANTES’ Vase the massive form in frosted and clear glass, the exterior walls with ten moulded nudes. Note; crack to rim, intact. In original Lalique box. H.235mm.

$600 - $800 857 A Bristol Blue Glass Miniature Teaset comprising of a lidded teapot, milk jug, fluted bowl on stand, two cups and two saucers.

$80 - $20 858 A Waterford Crystal Set of Six Colleen Pattern Sherry Glasses

of a small size. London 1910.

H.110mm.

$50 - $80

$200 - $300

N e w z e a l a n d h i s t o r i c a l , a n t i q u e s & d e c o r at i v e a r t s 113

859 A Waterford Crystal Set of Twelve Colleen Pattern Dessert Wine Glasses H.122mm.

$600 - $750

PORCELAIN & CHINA 860 A Rare Geometric and Angular Form Large Cat Spill Vase by Louis Wain (1860 - 1939) the earthenware body hand-painted in purple/mauve with black bordered pale green and red stripes and impressed irregular patterns to either flank, the triangular ears, geometrically shaped facial features, tail and paws painted in pale green and red with black outlines. Impressed and black signature to the lower right side, impressed Reg No 637131 lower left side, base marks impressed ‘Made in England’ together with a black stamped ‘Made in England’ mark, painted black RD NO 637131, shape or design No ‘4’ and a black cypher mark. Note; a few minor paint flakes, two small hairlines to the rear of the spill rim. H.282mm.

$10,000 - $15,000 See Illustration page 103

867 A Meissen Pair of Figures both standing, the gentleman peering through a looking glass, the woman reading a letter. Blue crossed swords mark, etched D.66. Note; small faults inc. loss of fingertips to the gentleman’s L. hand, some lacework loss. H.200mm.

$1,600 - $2,000 868 A 19th Century Minton Blue and White Oriental Influence Tall Vase possibly a stick stand, the body transfer decorated with a pond scene of a kingfisher, water foliage and small birds, the reverse with a coned pine bough and birds, the short straight neck with a frieze incorporating a key pattern and floral studies. H.590mm.

$900 - $1,200 869 A Pair of Doulton Burslem Vases similarly floral decorated with hand painted sprays in soft tones, the flowers and foliage outlined with delicatelytraced gold on an ivory blush ground. Brown Doulton Burslem mark, impressed DOULTON. H.150mm.

$200 - $300 861 A Louis Wain Nursery Small Plate, ‘The Aeroplane Journey’ depicting two cats each brightly attired in a jacket, waistcoat and trousers, seated in a framework behind a turning propellor on a white ground with a green trim.

Paragon China. Note; an old crack. Diam.152mm.

$100 - $200 862 Schau Bach Kunst Art Deco Figure of a Langorous Naked Woman in cream china, leaning on a ball. Underglaze mark. H.330mm.

$150 - $250 863 An 18th Century Chelsea ‘Gold-Anchor Period’ Style Porcelain Pair of Figures modelled as produce sellers characterised by inviting attention to accompanying baskets of fruits, the bocage with clustering flowers in full relief, her costume painted with flowers and floral motifs, his lengthy undercoat painted with dots within squares, both with gilded effects and each accompanied by a dog. A gold anchor mark to the rear of the rococo scrolled base with gilded effects. Note; some loss to petals and leaves, the woman with a finger loss to the right hand. H.245mm.

$1,600 - $2,000 864 A Staffordshire Pair of Spaniels

870 A Royal Doulton Sung Glaze Small Vase of slender tapering form with a bulbous shoulder. This piece marked with a Flambe backstamp, the name Sung was not used on Doulton wares until 1919-20. H.176mm.

$600 - $850 871 A Royal Doulton Sung Glaze Bud Vase of slender form with an oval section and a taperping long neck with a shaped rim, the Sung glaze developed by Noke. This piece marked with a Flambe backstamp, the name Sung was not used on Doulton wares until 1919-20. Note, the base factory ground probably as a result of glaze run during firing. H.184mm.

$300 - $500 872 A Royal Worcester Bullfinch Figure shape 2662, the bird hand painted perching on a floral decorated gilded trunk. Black mark. H.135mm.

$250 - $350 873 An Italian Majolica “Bevi Se Puoi” Puzzle Jug translating “Drink if you can”. Marked ‘G. Grazia, Dervia Italy’.

Circa 1930. Note; glaze nibble on spout. H.132mm.

$150 - $200

with green and copper lustre details. H.245mm.

$200 - $300 865 A 19th Century European Porcelain Small Teapot the fluted body decorated with floral swags painted in enamels and gilt trailing leaves, metal replacement lid. Blue crown over D mark. H.102mm.

$80 - $120 866 A 19th Century European Porcelain Coffee Can and Saucer Dish the cup painted with a passion flowers botanical study, the dish with an poppy botanical study (some enamel loss), both with gilded trims. Cup H.60mm. Saucer Diam.130mm.

$80 - $120

874 A 19th Century Porcelain Small Vase with foliate mouldings in lemon and gilt, one panel painted with a ruins landscape, the reverse with a posy panel in bright enamels, gilded trims. H.155mm.

$80 - $120 875 A Continental Porcelain Miniature Jardiniere hand decorated with a pheasant in a woodland, the reverse with a posy of cottage flowers. French mark. H.90mm.

$60 - $100 876 A Royal Bonn Germany Pair of Art Nouveau Vases tube-lined dandelion decorated in autumn colours, supported in period pewter mounts, one mount with a split to collar. H.210mm.

$300 - $450.

114

877 An Early 19th Century Pair of Spode Oriental Patterned Medium Ashettes each with a diaper patterns (some with gilded outlines) and floral reserves decorated rectangular border with a chamfered rim, enclosing an oval well painted with peonies, prunus and rocks. Brown mark, stone-china. W.370mm. D.275mm.

$500 - $700 878 A Victorian Copeland Spode Imari Plate quatrefoil shape, with central medallion framed by scale moulded salmon ground and broad borders variously decorated with oriental floral and bird motifs. Note; some rubbing to gilding. W.240mm.

$80 - $100

ORIENTAL 879 A 20th Century Chinese Jiang Xi Province Porcelain and Polychrome Tall Vase a six sided form with curved walls, three walls enamels pictorial painted depicting a man and woman on a willow trunk raft riding choppy waves, a temple beside a meandering path through the clouds above, the reverse with the woman figure standing amongst clouds, a bat and stork flying above her, on a white ground. Circa 1920-50. H.365mm.

885 A Chinese Ming Style Figures Decorated Blue Cup the shallow bowl form supported on an pedestal spreading tall foot. H.90mm. Diam.115mm.

$200 - $400 886 A 20th Century Chinese Blue and White Porcelain Tall Vase birds and butterflies amidst peonies and rocks decorated. Note; manufacuring glaze fault to rim, foot rim small chips. H.258mm.

$60 - $100 887 A Chinese Porcelain Polychrome Ovoid Vase the body painted with a long-tailed bird perched on a rose bough, with delicate pink rose blooms and rocks. Note; rim chips. H.230mm.

$80 - $140 888 Two 18th Century Chinese Porcelain Wine Cups one painted with figures and pavillions in the famille, (nibbles to the rim), H.42mm. The other a blue painted figure on a bridge and pavillions painted scene, gilt trim remnants to the rim, H.50mm. Diam.87mm.

$150 - $200

$350 - $500 See Illustration page 102

880 An Early 19th Century Japanese Pair of Export Ware Polychrome Medium Bowls porcelain, copies of Chinese Ming Dynasty bowls with some gilded effects, raised on a ring foot. Diam.190mm. H.75mm.

$400 - $600 See Illustration page 102

881 An Early 19th Century Japanese Export Ware Bowl of good quality, the interior decorated with four panels, each gilded and red painted with three-toed dragons separated by ho ho birds, reserves of diaper patterns and floral motifs, enclosing a good fortune symbol. Diam.225mm. H.66mm.

889 Two 18th Century Chinese Porcelain Export Ware Small Cups one a wine or small tea cup painted in the famille a with restrained floral decoration and with a shaped rim. H.46mm. The other, a handled blue and white small teacup decorated with willows in a landscape. The rim with nibbles and chips. H.68mm.

$150 - $200 890 Four Tek Sing Ship Wreck Recovered Blue and White Porcelain Bowls circa 1820. Two small bowls, their exterior surfaces with a simplistic dot and circle painted band. Diam.108mm.

Together with two shallow bowls, each foliate and floral painted, each with an old crack. Diam.205mm.

$100 - $140

$300 - $600 See Illustration page 102

882 A 19th Century Chinese Yellow Ground Large Vase the yellow glaze crackled throughout with a fine network of superficial lines, the exterior surface textured with two five-clawed imperial green dragons in pursuit of the jewel of omnipotence, amidst scrolls of clouds and forked flames. Tao-kuang mark. On original wood stand. H.285mm.

$900 - $1,200 883 A 19th Century Chinese “Fu” Wine-Pot moulded in the form of the character fu, “happiness,” simplisitic dragons and forked flames decorated in softtoned colours, the cover fashioned in the shape of the first dot of the hieroglyph. H.240mm. W.225mm. D.65mm.

$200 - $300 884 An Early 20th Century Porcelain Figurine of a Chinese Woman standing, holding in one hand a basket of delicate blooms, repaired. Impressed mark 025. H.305mm.

$200 - $300

891 A 19th Century Chinese Porcelain Polychrome Bowl and Saucer the surfaces enamel painted with court figures or folk-lore characters in highly decorative costumes, some with gilt effects, and with reserves calligraphic inscriptions. Note; the bowl with faults.

$150 - $300 892 An Exportware Plate in the Imari Palette with four floral and foliate panels enclosing a circular panel of rocks and plants in blue. Diam.225mm.

$150 - $250 893 An Exportware Plate Shallow Bowl in the Imari Palette the oval dish painted with four stylised fans each decorated with foliate and floral panels. W.250mm. D.210mm.

$150 - $300 894 A 20th Century Japanese Woodblock Miniature Print by Sozan a winter scene of an elegantly red-robed woman walking through falling snow. Printed 1930s, in card mount.

$200 - $250

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895 A 20th Century Japanese Woodblock Miniature Print by Hokusai

903 A Queen Anne/ George I Period Five Drawer Chest the drawers lined of oak in a pine carcase, the chest figured walnut veneered with feathered-edge drawer details, floral engraved brass bale handles with matching esctucheons, not original to the chest, ogee moulding to the underside of the top and base, the chest raised on four turned bun feet. Restored. W.1010mm. D.560mm. H.1000mm.

a landscape showing figures and horses with Mt Fuji in the distance. Printed 1930, in card mount.

$200 - $250

$9,500 - $12,000

896 A Qing Dynasty 19th Century Court Figures Painted Fan the folding two surfaces each decorated with thirty figures conversing in courtyards, each figure with his or hers facial features finely painted on shaped ivory pieces, their robes made from woven silk with hand painted details and effects, the paper secured onto pierce-carved sticks and folding into a relief carved covers, old tassels attached to the metal swing mount. Note; some small faults. L.332mm. closed, opening to W.600mm.

$250 - $350

See Illustration page 107

904 A Walnut Veneered Sutherland Table of small proportions, with turned legs and stretchers.

W.960mm. D.840mm. H.660mm.

$500 - $700 905 An Early 20th Century Pair of Torcheres of the Georgian style in mahogany. Each with reeded columns and leaf capitals, circular dished tops with shaped rims and supported on shaped square bases. Re-finished. H.1355mm.

897 An Early 20th Century Chinese Painted Scroll a pair of pheasants beneath large and small flowering chrysanthemums and trellised bamboo canes. L.1710mm.

$2,200 - $3,000

$150 - $250 906 A Late Georgian Period Teapoy in Mahogany 898 A Graduated Set of Nine Cast Bronze Opium Weights

on an octagonal section tapering pedestal, supported on a tri-form base, the scroll carved feet on original brass small casters. The tea casket of typically restrained form, the hinged cover opening to reveal a green baise lined well. H.765mm. W.500mm. D.365mm.

$100 - $140

$1,700 - $2,000

FURNITURE & DECORATIVE ITEMS 899 An Oriental Black Lacquer Ware and Gilt Decorated in the Round Small Display Cabinet of rectangular form with engraved metal mounts, the cabinet fitted with asymmetrical two upper drawers and a two sliding doors small cupboard above staggered open shelves, a two-doored cupboard flanking two small drawers below. The surfaces with fine gilt decorations including prunus, small birds, butterflies, flowers, storks, the drawer lacquered interiors with gilt flecks.

Note; small faults to lacquer. W.775mm. D.360mm. H.735mm.

907 A Late 19th Century Corner Cupboard in Mahogany with a single fielded panel door opening onto two oak shelves. Circa 1890.

$240 - $350 908 An Early 19th Century Continental Mahogany Sofa Table the ends supported on scroll shaped legs with inlaid edges and with a framed panel of stylised anthenion mounted flowers, a single drawer to the frieze with a diamond shaped inset with a metal escutcheon. Circa 1820.

$400 - $600 See Illustration page 106

$1,500 - $2,000

900 A Pair Late 19th Century South China Side Chairs the shaped back carved and painted with the mythical Kylin, raised on heavy square section legs united by stretchers.

$350 - $450

909 A 19th Century Fall Front bonheur dU Jour in the French style typically constructed with slightly curved sides and apron, raised on slender cabriole legs with figural metal mounts to the knees and paw foot caps. The fall front and top with inlay brass and gilt cupid’s bow and arrow, the interior with a shaped shelf above two conforming small drawers and a well. Ebonised finish. Note; losses to the decoration. W.780mm. D.460mm. H.935mm.

901 A Mid 19th Century Metamorphic Dumb Waiter in Mahogany of table form with a single open shelf rising to a three-tier waiter, the scroll legs on replacement casters. The waiter with age-related small faults. Circa 1860. Opened W.1220mm. D.610mm. H.1045mm.

$1,800 - $2,500 See Illustration page 106

$1,900 - $2,200 910 An Early 19th Century Corner Cupboard in Dark Oak with key patterned borders enclosing an arch panelled door, brass fittings including ‘H’ shaped brass hinges, the interior with two fitted shelves. W.670mm. D.430mm. H.925mm.

902 An 18th Century Oak Coffer plain three panel top with later-carved edge, the front with three latercarved inset panels. Replacement bracket feet. W.1290mm. D.570mm.

$700 - $1,000

$2,000 - $2,500 911

A Highly Decorative French Boulle Bureau Plat Writing or Centre Table with a serpentine top, raised on cabriole legs with ornate foliate and mask moulding. Cut brass and red tortoiseshell, the top centred with a depiction of a charioteer mask, centred drawer to one side. Note; some loose inlay and small shell loss. W.1430mm. D.850mm. H.760mm.

$8,000 - $9,000

116

912 A Mid 19th Century Inverse Breakfront Sideboard of Good Proportions the twin pedestals with scroll foliate carved decoration enclosing figured-wood cupboard panels flanking a central drawer, the drawer with an ogee pull along its length, the left pedestal with an adjustable slide shelf, the right pedestal with a drawer and shelf, the break front top with a small drawer flanking a larger central drawer, each of the drawer faces curved, the surface with a glass panel cut to shape, the figured-wood upstand again scrolling foliate decorated along the upper edge and sides, the decoration incorporating a carved shield. W.2130mm. D.760mm. H.1578mm.

$2,000 - $3,000 913 An 18th Century Rococo Beechwood Sofa three shaped backs with partial gilt carved cresting rails, similarly repeated on the frieze of the seat, supported on four carved legs, perished varnish finish.

$2,000 - $2,500 914 An 18th Century Pair Rococo Side Chairs

921 A Pair of Gold Fringed Small Cushions similar to the above. W.400mm & W.320mm. D.150mm.

$60 - $80 922 A Pair of Green Fringed Small Cushions similar to the above. W.480mm. D.160mm.

$80 - $100 923 A Magnificent Tabriz Silk Carpet, Finely Knotted intricately patterned borders and panels including animals and plants within architectural frames in a multitude of colours. L.3000mm. W.2000mm.

$9,000 - $10,000 See Illustration page 110

924 An Excellent Qum Pictorial Silk Rug, Finely Knotted

in beechwood with varnish finish, standing on cabriole legs and with shaped back slots, the carved shell motifs with original gilt.

of animal motifs, showing a number of hunters on their mounts with a variety of game on a green field, the pink border with stylised floral motifs. L.2070mm. W.1280mm.

$900 - $1,200

$4,500 - $5,500

915 A Brass cased Carriage Clock the simple dome topped and bevelled glass case enclosing an enamelled dial with Roman numerals. Unnamed, not working. H.145mm including handle.

$200 - $400

925 An Early 20th Century Very Good Hand Knotted ORIENTAL Rug in wool and silk, traditional floral designs in muted shades. L.2020mm. W.1360mm.

$4,000 - $5,000 See Illustration page 111

916 An Early 19th Century Long Case Clock by Thomas Martin of Thirsk, Yorkshire the fine oak case with canted corners in mahogany with ebony and fruitwood stringing, the hood with brass balls and eagle mounts, the painted arched face with an anemone and for-getme-nots floral spray, painted spandrel motifs, Arabic minutes, Roman hours, Arabic days, and a subsidiary seconds dial below XII, ornate pierced hands, 8 day works and bell.

$3,500 - $5,000 See Illustration page 107

917 A French Tower Clock the cast iron and brass striking movement with a ‘spy’ dial, labeled J. Wagner Neveu, Montmartre 118, Paris, the clock raised on an iron stand. H.1410mm. D.360mm. W.1009mm.

$2,500 - $3,000 918 A French Black Slate Mantle Clock the highly decorative case with marble inlays and neo-classical inspired cast mounts, the face with brocot visible deadbeat escapement and marked Wm. Angus 7 Lord Street Liverpool (the retailers).

Note; some small faults. H.445mm. W.310mm. D.170mm.

$1,000 - $1,500 See Illustration page 103

919 A Pair of Small Fringed Cushions W.300mm. D.160mm.

$60 - $80 920 A Pair of Small Cushions similar to the above, one with tassels. W.320mm. D.150mm.

926 An Early to Mid 20th Century Chinese Loop-Pile Carpet of complex geometric floral design in pleasant muted colours of beige, fawn, blues, pinks and greens. L.3900mm. W.2740mm.

$600 - $1,000 927 A Needleworked Panel Oriental Floral Study including iris, prunus, and peony blooms in a metallic threads basket. Note; some water staining. Frame H.605mm. W.500mm.

$120 - $180 928 A Water Colour of Bothwell Castle intialled LKW 1891 the gilt-wood frame with some moulding loss. Frame H.560mm. W.466mm.

$100 - $150 929 Louis Wain Pair of Large Lithographic Prints, Framed one depicting twelve cats chorusing beneath a crescent moon, its companion featuring eleven bemused dogs staring at a pretty non-concerned cat calmly sitting below a bough of mistletoe. Frame L.1025mm. W.465mm.

$1,000 - $2,000 930 A Female Large Portrait in Oil on Canvas the subject seated and distracted from reading a book, she wearing a red velvet gown with white lace and bows, signed S. Bambi. Mounted in an elaborate giltwood frame. Frame H.1285mm. W.965mm.

$900 - $1,100

$80 - $100

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118

Day 4

Important Works of Art

Illustrated left: Lot 17 Michael Illingworth Untitled (Newborn)

oil on canvas, signed and dated ‘71 verso 305mm x 255mm

$40,000 - $50,000

DAY 4

Viewing

Important Works of Art

Evening Preview

MONDAY, 22 september 2008 6.30pm

Thursday

11 September 6.00pm – 8.00pm

Thursday 11 September Friday 12 September Saturday 13 September Sunday 14 September Monday 15 September Tuesday 16 September Wednesday 17 September Thursday 18 September Friday 19 September Saturday 20 September Sunday 21 September Monday 22 September

9.00am – 8.00pm 9.00am – 5.30pm 11.00am – 3.00pm 11.00am – 3.00pm 9.00am – 5.30pm 9.00am – 5.30pm 9.00am – 5.30pm 9.00am – 5.30pm 9.00am – 5.30pm 11.00am – 3.00pm 11.00am – 3.00pm 9.00am – 12noon

BUYER’S PREMIUM A buyer’s premium of 12.5% will be charged on this section of this catalogue. GST of 12.5% is payable on the buyer’s premium only.

i m p o r ta n t w o r k s o f a r t 119

1001

1004

1002

1001 Allen Maddox

Lozenge 3

oil on canvas, title inscribed, signed with artist’s initials AM and dated ‘97

600mm x 600mm

$8,000 - $12,000

1002 Ian Scott

1003

Small Lattice No.19

acrylic on canvas, title inscribed, signed and dated July ‘78 verso

810mm x 810mm

$5,000 - $7,000

1003 Dick Frizzell

Detail of Central Figure from Workin’ on the Rail Road

oil on board, title inscribed, signed and dated 27/1/82

435mm x 395mm

$8,000 - $12,000

1004 Patrick Hayman

120

Love/Wilderness/ Tree Poem and Paintings

gouache on paper, signed; title inscribed signed, and dated 1971 verso

290mm x 220mm

$3,500 - $4,500

1005

1007 1008

1005 Greer Twiss

Tall Figure

bronze on wood base 555mm x 125mm x 100mm

$4,000 - $5,000

1006 Greer Twiss

Three Seated Figures bronze 160mm x 130mm x 100mm

$5,000 - $7,000

1007 Paul Dibble

Pounder and Bird

cast bronze, signed and dated 2002 475mm x 140mm x 140mm

$5,000 - $7,000

1008 Paul Dibble

Rams Horn Shell

1006

cast bronze, signed and dated 2002 320mm x 200mm x 140mm

$5,000 - $7,000

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1009 Elizabeth Thomson

Rhinos

a pair of patinated bronze sculptures, signed and dated 1991

200mm x 480mm x 420mm each

$12,000 - $18,000

1010 Don Binney

122

Te Henga

charcoal on steinbach paper, title inscribed, signed and dated June-Aug 1976

700mm x 1080mm

$8,000 - $12,000

1011 Pat Hanly

Cone & Moon (Mt Eden) enamel on board, signed and dated ‘78, title inscribed, signed and dated ‘78 verso 295mm x 415mm

$20,000 - $30,000

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1012 Max Gimblett

Argent - P2844

oil, japanese pink leaf, plaster, plaster weld and polyurethane, title inscribed signed and dated 2001 and inscribed oil, japanese pink leaf, plaster, plaster weld and polyurethane verso 640mm diameter

$18,000 - $25,000

1013 Bill Hammond

‘Get It On, Bang A Gong, Get It On’ T.Rex oil on aluminium, title inscribed, signed and dated 1986 305mm x 375mm

$15,000 - $20,000

124

1014 Brent Wong

Cloud, Finial, Chimney acrylic on hardboard, signed; title inscribed and dated c 1980 verso 320mm x 274mm

$12,000 - $15,000

1015 John Walsh

Kotahitanga

oil on canvas, title inscribed, signed and dated 2002-2005 verso 1200mm x 1500mm

$30,000 - $40,000

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1016 Dick Frizzell

Seeing the Grand Canyon enamel on board, title inscribed, signed and dated 1/12/79 1020mm x 1200mm

$25,000 - $30,000

126

1017 Michael Illingworth

Untitled (Newborn)

oil on canvas, signed and dated ‘71 verso 305mm x 255mm Exhibited: A Tourist in Paradise Lost - the Art of Michael Illingworth. City Gallery, Wellington, 2001.

Illustrated: Don Barrier, Such Feet Little Horse (pub unknown) p.20

$40,000 - $50,000

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1018 Paul Dibble

Defining the Homelands bronze, signed and dated ‘99 1950mm x 370mm x 170mm

$35,000 - $45,000

128

1019 1020

1019 Charlotte Fisher

Big Red

Australian hardwood, copper, stain and paint 1890mm x 380mm diameter

$8,000 - $12,000

1020 Gretchen Albrecht

Spring Landscape

acrylic on canvas, title inscribed, signed and dated 1973 verso 1450mm x 690mm

$15,000 - $18,000

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1021 Brent Wong

Clouds - Field

acrylic on board, title inscribed, signed and dated 1989 verso 600mm x 350mm

$25,000 - $35,000

130

1022 Allen Maddox

Cat

oil on canvas, title inscribed, signed with artist’s initials and dated ‘94 1520mm x 1830mm

$25,000 - $30,000

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Bill Hammond 1023 Bill Hammond

Hokey Pokey 3

oil on canvas, title inscribed, signed and dated 1997 1000mm x 795mm Provenance: purchased by the present owner from Peter McLeavy Gallery, 1997.

$95,000 - $120,000

In the late 1990s, around the time that this work was painted, Bill Hammond’s works captured the attention of art curators, critics and collectors. The bird paintings began following the artist’s 1989 trip to the Auckland Islands, and they became increasingly popular. But it hadn’t always been birds. In the 1980s, when he already had a cult following, Hammond’s paintings had been funky and clunky, even junky. Hammond often painted on supports other than the traditional stretched canvas of fine art, like wallpaper, and in a consciously bad style featuring cartoonish figures, puddles and streaks of paint in rancid colours.

His titles were often references from corny pop songs by bands like the Beegees.

Hammond later began to saturate his surfaces in a rich and dominant hue, like the luminous, almost acidic blue-green of The Fall of Icarus from 1995 and Placemakers I from the following year. In Hokey Pokey 3, it is gold that floods the black ground to an alluring but also sinister effect. The plunging perspectives of Hammond’s earlier paintings are replaced, in these works, with a more levelled arrangement of elements and incidents, up and down and across the surface.

Hammond’s fantasy world is poised more securely, rather than seeming to spill out of the picture, into the world beyond.

In Hokey Pokey 3, the dribbles and smudges of previous works have become a more systematic and artfully controlled series of runs or streams, that culminate, like frayed fabric, at the base of the composition, reminding Michael Dunn of the American abstract painter Morris Louis . Contained by a wide black wooden frame, and within the painted black margin at the edges of the canvas, there are all manner of intriguing details, and numerous ways of interpreting them – something that especially appealed to critics in the art-world of the 1990s. Hieronymus Bosch comes to mind, perhaps Watteau (note the ghostly garden wall with its ornate urn, from which sprouts a plant and, apparently, a telephone pole). We should not let references to the world of art run away with us, however. Hammond’s paintings can equally be seen more simply as fantastic private worlds, illustrations of an idiosyncratic imagination.

Edward Hanfling

1 Michael Dunn, New Zealand Painting: A Concise History, Auckland: Auckland University Press, 2003, p. 177.

132

i m p o r ta n t w o r k s o f a r t 133

Dick Frizzell 1024 Dick Frizzell

Big Train Crash (Under the Southern Cross) oil on canvas, title inscribed, signed and dated 21/2/2002 1800mm x 2400mm

$45,000 - $65,000

At almost two and a half metres in length and depicting the crushing of a car by a huge steam locomotive, is Big Train Crash (Under the Southern Cross) a painting to stand in front of and quietly contemplate? ‘Absolutely not!’ says artist Dick Frizzell whose aim with works such as this is to address the changing role of painting in the face of the media-rich, image-saturated world in which we live. In 2002, Frizzell was thinking deeply, and still is today, about painting and how it can operate at a time dominated so strongly by the moving image.

If painting could still compete with movies and television, what would it look like? How would you make an ‘action painting’ that was as interesting as a movie? Big Train Crash (Under the Southern Cross) is Frizzell’s answer to these sorts of questions … a huge painting full of explosive energy and narrative drama, an archetypal action scene. “Rather than painting always being seen as a meditative, static alternative in our visual world that can’t compete with the movie screen and must be emptied of any sense of narrative, I wanted to go against the trend, to give it a go, test its limits – maybe painting could still do it!” Big Train Crash (Under the Southern Cross) was the key work from Frizzell’s Phantom Series exhibited in 2002 at Gow Langsford Gallery, Sydney, Australia.

The exhibition was very well received and reviewed in The Sydney Morning Herald at the time. Frizzell has often turned to comic books in his search for narrative dramatic content - and the drawings of Wilson McCoy, in particular, are his favourite source. McCoy was a much-admired artist who worked on The Phantom comic strip from 1949 until his death in 1961. Frizzell utilises the graphic comic strip style to ramp up the tension in the painting: dramatic sheets of rain burst into the scene like flames from hell, while broken shards of glass pierce the air. The train’s pilot or cowcatcher angrily lunges towards the unfortunate trapped car like angry teeth ripping into its metal sides. The headlamps, which are referred to in the title as the Southern Cross, are too small to have issued any significant warning of the impending crash. If indeed this painting were a movie, it would be awarded an Oscar for best drama.

Sue Gardiner

134

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Michael Smither 1025 Michael Smither

Fern Flat Still Life with Bananas oil on board, signed with the artist’s initials MDS and dated ‘92 880mm x 1030mm

Illustrated: Trish Gribben, Michael Smither, Painter, Ron Sang Publications, 2004, p.223

$70,000 - $90,000

It looks casual, but Michael Smither has constructed a tightly planned Still Life. It’s cleverly organised and brilliantly harmonious. While it revisits the domestic themes of the 1960s and earlier, its slick surface and super modulated forms contrast with the rougher technique of those earlier examples.

The rectangle has been divided up to display the fruit, matches, box of tea and various kitchen utensils. The horizontal line crossing at just above the vertical midpoint leaves the top of the frying spatula on the left, skims the bottom of the cheese grater, the contour of the top of the blue jug, and the edge of the shadow from the blue kettle to clip the top of the yellow lemon on the right. On the other hand, the descending vertical line, halfway across, taps the right-hand edge of the kettle’s base and chops down right through the intersecting levers of the can opener and its key. And the Bell of the Bell Tea box is positioned neatly above the spout of the blue milk jug.

There are other coincidences. There are five planes of red (grater handle, tea lid, tea box side, the beehive on the matches, scissor handle) balanced by five blocks of yellow (bananas, cut lemon, two matchboxes, tea-box label). These chromatic accents work against the dominant blue.

Then there are diagonal lines used which are much stronger than the horizontal or vertical ones. The bench itself is a foil to the spoon, can opener, purple drying rack, matches, gas oven and kettle handle.

Certain shapes repeat each other too: the grater with the spatula blade; and the oval of the large saucepan with the top of the milk jug. They make echoes to be savoured.

It’s an abstract painting, this Still Life. Unlike Dutch 16th-century examples, it has no symbolism, no message about the brevity of existence. Like them it celebrates light on form, but like Mondrian it presents interacting relationships on its painted skin, the picture plane.

John Hurrell

136

i m p o r ta n t w o r k s o f a r t 137

Colin McCahon 1026 Colin McCahon

A Landscape

solpah on board, title inscribed, signed and dated 10.2.59 and inscribed solpah 15 gns verso 1205mm x 595mm Reference: Colin McCahon database www.mccahon.co.nz Record number: cm001582 Exhibited: Contemporary New Zealand Painting and Sculpture, Auckland City Art Gallery, April 1960 cat #30.

Reference: Gallery 51, Christchurch, 1959, cat #15 A Survey Exhibition, Auckland City Art Gallery, 1972 p.27 Illustrated: New Zealand Herald 30.08.02 p.13.

Provenance: Purchased by current vendor’s parents c1971

$200,000 - $300,000

This austere and powerful painting belongs to a group of landscapes that McCahon painted at Titirangi between December 1958 and February 1959. Dated to February 1959 it lies towards the end of a series that includes the well-known Tomorrow Will be the Same but Not as This Is in the Christchurch Art Gallery. These works deal with familiar landscape elements such as glimpses of sky, sea and land but are more abstract than most of his previous Titirangi landscapes. Conceptually and technically they show the influence of his trip to the United States in 1958. He painted them after the Northland Panels with which they share some concerns, but they are not in the scroll format. Instead they are painted onto rigid supports like hardboard, ply or cardboard in commercial house paint, in this case Solpah, an oil-based enamel.

By using Solpah, McCahon was able to dispense with the niceties of conventional oil painting and was encouraged to work broadly paying more attention to the organisation of the picture surface than to illusionistic spatial effects. He has cleared the works of descriptive content, such as the trees and houses of his Titirangi landscapes, and painted in broad sweeps of tone. This work is largely painted in a dark palette with low tonal contrast. There is only one light section roughly in the shape of a tau cross which brings connotations that function symbolically and go beyond landscape references. The introduction of symbolic components is typical of this series in which the idea of light falling on a dark landscape is very much to the fore.

His friend the poet John Caselberg wrote to Charles Brasch about these works in March 1959: ‘To my mind, it is some of the most powerful & beautiful of his work...

These paintings are stark, like all his work; ... Mostly black & white; but with many variations on this, & many traces of delicate colour. His artistic vision is so fierce & sharp: so unlike anything else in N.Z. unless it is Maori art itself.’

Here McCahon actively pursues the freedoms and opportunities for painting opened up to him by his first-hand engagement with contemporary American art. For instance, he enlivens the surface by an experimental technique of brushing, pouring and dribbling the solpah onto the hardboard. As he noted himself on one occasion, there were ‘accidents’ that could be turned to good effect. Here we have the drops or splatters of red paint that have shaped themselves against the sombre tones on which they fell. They have connotations of blood shed, perhaps an allusion to Christ’s suffering on Calvary, or more generally of the need to suffer if we are to find a way through the darkness of material existence and be saved.

This was a time of great energy and change in McCahon’s painting and in his approach to landscape. He abandoned older styles of composition which were enclosed and self-contained and allowed his new works to be open and free to engage with his viewers. He deliberately left some questions unanswered, allowing his viewers some personal scope for interpretation. A Landscape, 1959, is a fine example from this energetic period in his evolution as a painter.

Michael Dunn

138

i m p o r ta n t w o r k s o f a r t 139

Michael Smither 1027 Michael Smither

Golden Syrup Tin

oil on board, signed and dated 1967; title inscribed and signed verso and inscribed $180, 290 Latrobe Street, Argus Gallery, Melbourne verso 910mm x 690mm

$70,000 - $100,000

This is a beautifully radiant and serene painting from one of the most productive periods of the artist’s career. Between 1965 and 1968/9 Michael Smither lived with his family in ‘The Gables’, an historic, 2-storey house on the outskirts of New Plymouth. In return for considerable repairs and renovations carried out by the artist, the city council gave the Smither family tenancy of the house for this period. Before the Smithers moved in, the house had been tagged for demolition. It was one of the very few houses on the edge of town that had survived the ravages of the colonial Land Wars, and this was due in part to the good relationship the then owner had with local Iwi. ‘The Gables’ had been designed by English architect Frederick Thatcher and shipped to New Zealand in prefabricated form. The artist has very fond memories of the house, and its studio; he recalls its plank and batten walls, and the way the light used to flow into its spacious rooms, both features evident in this domestic scene. Many scenes of his family, including wife Elizabeth Smither, the children Thomas and Sarah and the artist’s mother and father, were painted in the Gables house, and many of them carry a profound sense of feeling at home.

The saturated lemon yellows in the Smither kitchen, cooled with soft bluishgreys and whites, and spiked with small areas of red, orange and violet, seem here imbued with what Smither especially remembers as the house’s ‘wonderful atmosphere’. Lemon yellow has always been one of the artist’s favourite colours. Smither’s yellow conveys both the citric tang of its name and the expansive, transcendent effulgence of golden light, evoking an animistic pantheism like Turner’s when he muttered “The Sun is God”, ‘a few weeks before he died, with the setting rays of it on his face’, as Alexander Thoreau puts it in his paean to the hue. The gold of the sun is playfully presented in bold lettering on the tin of Chelsea Golden Syrup, and in the white orb that rises from the horizon of the painting’s bottom edge. Just the name of this viscous syrup, is enough to conjure up promises of the good and simple life, and to reawaken memories of childhood breakfasts when the sleepy body drowned in pools of early morning sunlight.

The Golden Syrup tin, as common on 1960s kiwi kitchen tables as the jar of Vegemite and the pound of butter, gives the image a vernacular, regional flavour. It was also for the artist a localizing of what he was seeing at the time as the new thing in American Pop painting with its cans of Campbell’s Soup and bottles of Coca-Cola.

Allan Smith

140

i m p o r ta n t w o r k s o f a r t 141

1028 Ralph Hotere

Port Chalmers

brolite lacquer on hardboard, title inscribed, signed and dated ‘73 verso 600mm x 590mm

$65,000 - $75,000

Hotere’s painting Port Chalmers, 1973, consists of repetitive vertical lines which create a mesmerising rhythm. This painting was originally painted for the National Bank Art Award Mural. Hotere has employed an industrial spray-painting technique to apply immaculate layers of cellulose lacquer which is then buffed and polished. Then the thin crisp lines are created by using a traditional sign writing tool, which consists of a small spinning wheel with a channelled groove down the centre. The lacquer flows onto this spinning wheel from a small chamber as it is ruled down the work, resulting in an exceptional, tense meniscus upon the black ground.

Hotere’s work has been described as “a process of subtraction... he removes everything inessential through constant contemplation and re-evaluation.” Ralph pays homage to Barnett Newman and Ad Reinhardt. The verticality of the line in the composition references mankind’s verticality on the earth, just as in Barnett Newman’s ‘Zip’ paintings. The an hua effect of the Roman Catholic deep purple on a rich dense black echoes Reinhardt’s black-on-black, nonobjective abstract paintings from the 1960s. Hotere’s paintings, on first glance, can appear indecipherably nihilistic, clinical and austere but, when viewing the work from different angles in certain light, they glow and shapes appear from within the surface.

Jonathan Organ Eggleton. D, Ralph Hotere: Shadowing the Sublime, Art New Zealand, Summer 1996 - 97, No. 81.

142

1029 Michael Smither

Still Life with Coffee, Boiled Egg and Toast oil on board, signed with the artist’s initials MDS and dated ‘63 580mm x 440mm Trish Gribben, Michael Smither, Painter, Ron Sang Publications, 2004, p.34

$30,000 - $50,000

i m p o r ta n t w o r k s o f a r t 143

1030 David Bromley

Boy, Girl and Dog in Clinker acrylic on stretched canvas, signed 1520mm x 1820mm

$20,000 - $30,000

144

1031 Tony Fomison

Night & Day

oil on canvas board, title inscribed, signed and dated 1988 verso 448mm x 895mm

$45,000 - $65,000

i m p o r ta n t w o r k s o f a r t 145

Tim Storrier 1032 Tim Storrier

(Arm/Will) for Sculpture and Landscape at Summit oil and rope on canvas, title inscribed, signed and dated 1984 1000mm x 1300mm

$40,000 - $60,000

Australian painter, Tim Storrier ( b.1949), is well known for his love of the Australian desert and for his often-dramatic depictions of the landscape that range across constructions, photography, drawings and paintings. His works are included in the collections at the Metropolitan Museum of Art, New York, the National Gallery of Australia, Canberra and the Art Gallery of New South Wales, Sydney amongst others and he was awarded the AM for services to contemporary Australian art in 1994.

His use of the Australian landscape often hints at emotional undercurrents of dreams, fears and fantasies, as well as a portrayal of limitless space, extremes of conditions and an unforgiving sense of infinity. A duality exists in his work between delicate refinement and sensitivity and explosions of fiery passion and violence. In the mid-1980s, he embarked upon a series of works that are considered to represent a breakthrough in his artistic practice, with the major painting The Burn, 1984, winning the Sulman Prize at the Art Gallery of New South Wales the same year. Arm/Will, 1984, is a work on paper from this series.

Writer Deborah Hart describes the series as being triggered by the breakdown of Storrier’s personal relationship at the time and Storrier himself has said the use of the image of the burning rope, and in other works the depiction of a raw carcass, are totems for an emotional state. In Arm/Will, a piece of found rope and some hanging, thinner cords are attached to the large sheet of paper, which has been painted in both delicate washes of pinks and creams, and harsh, violent strokes of reds and oranges. In its use of a found piece of rope, the work is linked to his earlier 1980s’ Constructions, where the artist installed objects such as wire, rope and steel directly in the landscape and set them on fire, and photographed the events. Then translated onto paper, the burning rope, set within the vastness of the isolated landscape, represents a venting of powerful emotions, a release of anger, and is a potent symbol of distress exposed.

Sue Gardiner

146

i m p o r ta n t w o r k s o f a r t 147

1033 Edward Bullmore

Cuban Crisis #4 Fusion oil and collage on canvas, signed and dated 1963 and inscribed 117 New Kings Rd Fulham SW6 verso 670mm x 565mm

$30,000 - $40,000

148

1034 Max Gimblett

Edo Memory

oil size, black varnish, 12k white gold, 23 3/4 schlagmetal, hyplor spray, title inscribed, signed and dated 1989/91 verso 640mm diameter

$15,000 - $20,000

1035 Gretchen Albrecht

Song

acrylic on canvas, title inscribed, signed and dated ‘85 verso 1800mm x 900mm

$15,000 - $20,000

i m p o r ta n t w o r k s o f a r t 149

1036 Brent Wong

The Window

acrylic on ivory board, title inscribed, signed and inscribed 1966-67-72 verso, inscribed catalogue number 49 on original Survey Exhibition, Dowse Art Gallery, Lower Hutt label affixed verso 565mm x 395mm Exhibited: Survey Exhibition, Dowse Art Gallery, Lower Hutt and toured through New Zealand by the QEII Arts Council

$15,000 - $25,000

1037 Richard Cooper

Untitled

powder coated aluminium, signed and dated 2400mm x 2400mm

$10,000 - $15,000

150

1038 Toss Woollaston

Greymouth

oil on board, signed; inscribed #69/282 verso 580mm x 480mm

$20,000 - $40,000

1039 Terry Stringer

Table with Still Life cast painted bronze, signed and dated 1999Â 1100mm x 410mm x 270mm

$18,000 - $24,000

i m p o r ta n t w o r k s o f a r t 151

1040 Milan Mrkusich

Untitled

oil on board, signed and dated 1959 600mm x 475mm

$18,000 - $25,000

1041 Fred Graham

Whiti Te Ra

mixed media on board, dated ‘66; title inscribed, signed and dated and inscribed 50gns verso 550mm x 1290mm

$20,000 - $30,000

152

1042 Peter McIntyre

The White Cliffs, Rangitikei oil on board, signed; title inscribed on label affixed verso 495mm x 735mm

$20,000 - $25,000

1043 Doris Lusk

Mikanui & Amuri Bluff watercolour and collage on paper, signed and dated 1972 530mm x 790mm

$12,000 - $16,000

i m p o r ta n t w o r k s o f a r t 153

1044 Ralph Hotere

Untitled

oil on canvas 725mm x 620mm

$22,000 - $28,000

1045 Julia Morison

Equivocation

acrylic on canvas, dated ‘85 ‘86 and inscribed Louise Beale, Artis Gallery 1430mm x 1475mm

$5,000 - $7,000

154

1046 Ralph Hotere

1046

Untitled

lithograph, signed and dated ‘02 625mm x 500mm

$5,500 - $7,500

1047 Milan Mrkusich

Monochrome Burnt Sienna acrylic on paper, signed and dated ‘77 410mm x 330mm

$7,000 - $9,000

1048 Ralph Hotere

Round Midnight lithograph and drawing, title inscribed, signed and dated 2000; title inscribed, signed and dated 2000 verso 565mm x 760mm

$4,000 - $6,000

1047

1048

i m p o r ta n t w o r k s o f a r t 155

1049

1050

1051

1049 Garth Tapper

Beethoven

1050 Dick Frizzell

oil on board, signed Provenance: Commissioned from the artist in 1978 300mm x 250mm

580mm x 755mm

$4,000 - $6,000

$4,000 - $6,000

1051 Philip Clairmont

1052

156

Still Life II

screenprint, acrylic and graphite on paper, title inscribed, signed and dated 30/1/90

Painter Performing Decapitation Ritual

watercolour, ink and graphite on paper, title inscribed, signed with the artist’s initials PC and dated 1976; original Ferner Galleries label with artist biography affixed verso

570mm x 400mm

$7,000 - $9,000

1052 Allen Maddox

And Now I’m Into Street Theatre oil on board 790mm x 620mm Exhibited: Denis Cohn Gallery, 1983

$5,000 - $7,000

1053 James Ross

Figure (Gnomon) oil on four panels, title inscribed, signed and dated 1984-85 and inscribed May 84 - July 85 ref#P85-9 2120mm x 560mm

$3,000 - $4,000

1054 Chris Bailey

Pou Whenua

paua and oil on wood 3000mm x 820mm diameter

$6,000 - $8,000

i m p o r ta n t w o r k s o f a r t 157

1055

1056

1055 Mark Olsen

Hilary Hana Howard Holly oil on canvas, signed and dated 02/02/04 1510mm x 2250mm

$12,000 - $18,000

1056 Louise Henderson

Raratongan Garden Series c1974 oil on board 480mm x 375mm

$7,000 - $9,000

158

1057

1058

1057 Ross Ritchie

Thought (Party) oil on board, signed and dated ‘64; title inscribed and signed and inscribed 25gns verso 745mm x 1200mm

$6,000 - $8,000

1058 Philip Trusttum

Back Garden

oil on board, signed and dated ‘73; title inscribed, signed and dated ‘73 verso 500mm x 630mm

$6,000 - $8,000

i m p o r ta n t w o r k s o f a r t 159

1059

1060

1061

1059 Billy APPLE

Numbered and Signed - The Given as an Art Political Statement hand-worked screenprint 23/25 title inscribed, signed and inscribed 23/25, A screen print in red and black in an edition limited to 25 copies numbered and signed by the artist.

Numbered and signed is being published by Peter Webb Galleries, Auckland, New Zealand, and is printed on 300gsm Arches 88 handmade paper

by The Seriographic Workshop, Auckland. The print measures 560 x 760 mm. The price before publication on October 30th, 1980, is $125.00.

After publication that price will be $175.00.

The artist’s 50% share is being donated to the Department of Art History, University of Auckland.; title, artist and year inscribed on original Detail & Design framing label affixed verso 540mm x 760mm

$8,000 - $12,000

1060 Nigel Brown

Clothesline Painting No 4 By the Motorway acrylic on board, 400mm x 580mm

$4,500 - $6,500

1061 Philip Trusttum

New Ones

acrylic on unstretched canvas, title inscribed 2400mm x 1400mm

$7,000 - $9,000

160

1062

1063

1062 Raymond Ching

New Zealand Shoveler Duck acrylic on board, signed 282mm x 415mm

$6,000 - $8,000 1064

1063 Henryk Szydlowski

Abstract Composition

oil on canvas, signed; title inscribed and signed verso 750mm x 600mm

$4,000 - $6,000

1064 Tim Wilson

Wakatipu

oil on linen, signed by Kiri Te Kanawa, inscribed Painted for Kites for Kidz in Support of the National Burn Centre on certificate of authenticity affixed verso 1300mm x 720mm

$3,000 - $4,000

i m p o r ta n t w o r k s o f a r t 161

Prices Realised

* Under Negotiation

SALE 297 Photography: 23 – 24 July 2008 298 A2 Art, fine jewellery & watches, antiques & Decorative arts: 5 – 7 August 2008 LOT

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750 4,000 450 2,000 6,500 2,250 30,000 4,000 7,500 4,000 2,250 4,000 3,500 4,000 650 8,500 1,250 1,500 1,000 800 1,000 7,500 2,000 1,750 2,250 2,750 3,000 750 500 800 1,300 1,100 1,400 600 650 250 1,750 2,500 700 500 850 1,600 550 400 400 500 500 700 2,250 3,500

LOT

116 117 118 119 120 122 125 127 128 129 131 136 139 140 141 144 145 146 147 148 149 150 151 152 153 154 155 156 157 158 159 160 163 165 166 167 168 169 170 171 172 173 174 175 176 177 178 179 180 181

$

150 320 300 400 800 450 300 2,800 5,200 2,100 1,500 1,350 1,400 3,100 1,050 2,100 550 600 1,100 1,450 1,100 2,800 900 1,300 3,400 1,400 800 1,350 1,100 1,200 1,000 1,200 300 100 250 350 2,000 700 1,700 1,700 400 300 300 300 100 100 200 100 600 100

LOT

182 1 85 188 190 196 198 199 200 201 202 203 204 205 207 210 212 215 217 223 224

$

300 300 300 50 150 85 85 100 100 100 220 220 100 100 100 100 100 85 85 210

LOT

3 5 6 7 8 9 9A 10 12 13 14 15 18 20 22 24 25 28 29 30 31 35 37 40 41 42 43 44 45 46 49 52 54 58 62 63 65 66 68 71 73 74 75 76 77 80 81 82 83 84

$

1,800 2,450 650 450 700 800 150 1,000 2,000 650 550 1,500 1,800 200 950 1,350 750 2,000 700 550 1,300 3,500 2,000 2,700 1,250 2,000 6,000 3,500 2,500 1,500 3,500 450 1,800 2,000 4,000 1,150 1,500 1,200 950 2,000 1,400 2,000 700 2,900 2,200 400 160 2,400 100 200

LOT

85 91 93 94 95 96 97 99 101 103 107 108 110 114 115 116 117 119 120 122 123 124 127 129 133 135 137 141 144 145 146 147 148 149 150 152 153 154 155 156 157 158 159 160 161 163 164 165 167 168

$

1,200 2,000 2,300 280 275 220 1,000 500 3,400 550 650 600 1,100 400 80 1,800 350 600 400 250 400 300 800 700 175 200 80 200 350 650 150 80 200 120 150 250 300 450 600 350 1,000 800 550 600 3,200 800 500 600 300 450

LOT

1 70 171 172 173 174 175 176 177 178 179 180 181 182 183 185 186 187 191 192 193 195 196 402 403 404 405 406 408 409 410 411 412 413 414 415 416 417 418 419 420 421 425 429 431 432 434 435 436 439 441

$

120 950 160 600 950 160 160 300 300 550 1,700 350 300 1,200 550 1,050 2,700 650 600 640 450 125 750 80 200 100 2,100 150 200 500 9,000 600 500 175 850 2,300 67,500 2,500 875 60 120 2,000 1,500 2,850 2,600 6,000 600 1,200 7,000 6,000

Prices Realised

* Under Negotiation

298 A2 Art, fine jewellery & watches, antiques & Decorative arts: 5 – 7 August 2008

LOT

42 4 444 447 448 449 452 453 460 462 466 468 469 481 486 488 493 495 496 497 498 499 502 506 507 509 510 600 602 603 604 606 607 608 609 610 611 613 614 616 617 618 619 620 621 626 627 628 629 630 631

$

3,000 75,000 2,000 10,000 1,400 7,000 2,700 2,200 9,500 26,000 2,500 275 900 525 1,200 2,100 300 275 100 1,600 5,500 375 240 300 3,400 750 350 525 175 475 320 440 1,000 300 50 50 90 360 200 50 40 500 210 1,800 140 1,300 600 3,900 320 80

LOT

32 6 633 635 636 637 638 639 640 641 642 643 645 646 647 648 649 650 651 652 653 659 660 662 663 665 666 669 670 671 672 673 674 675 676 677 678 679 680 681 682 685 686 687 688 689 690 692 693 694 695

$

LOT

$

300 130 160 260 260 190 210 240 330 275 50 420 240 280 310 160 160 160 160 850 40 350 100 375 325 2,200 600 100 50 950 800 70 80 2,000 170 625 60 200 90 60 160 200 280 200 1,400 200 210 400 500 380

97 6 699 700 702 704 705 706 707 708 709 710 711 712 713 714 717 718 721 722 723 724 726 730 731 732 733 734 735 737 739 741 742 743 744 746C 747 747A 748 749 750 751 752 753 754 755 756 757

240 400 425 2,600 150 150 500 1,100 220 600 50 150 160 460 375 100 300 575 100 325 120 120 3,500 1,000 6,000 500 570 250 1,200 1,100 1,000 120 27,000 150 1,100 5,800 150 800 2,000 2,250 550 700 400 4,000 600 200 2,900

CATALOGUE INFORMATION

163

Catalogue subscription form Eight catalogues including: Modern, Contemporary and Historical Paintings, Prints, Photography and Sculpture. Fine Jewellery and Watches. Antiques, Decorative and Applied Arts including 20th Century Design, New Zealand History and New Zealand Pottery.

New Zealand United Kingdom / europe

$120

Australia / Pacific

$220

$350

Usa / asia / other

$328

Include fine wine catalogue at no extra cost

YES / NO (please circle option)

All international delivery is by First Class Airmail - New Zealand Post Door-to-door courier available. Please enquire for specific charges.

Name: _ _____________________________________________________________________________________________ Email: _______________________________________________________________________________________________ Address: _____________________________________________________________________________________________ PH Work:_______________________________________ PH Home:_____________________________________________ PH Mobile:______________________________________ Fax: _ ________________________________________________ Specific areas of collecting interest: _______________________________________________________________________ ____________________________________________________________________________________________________

Payment by Cheque Amount of cheque enclosed:________________________________________________________________ Payment by Credit Card

Payment by On-line Deposit

Credit Card: Amex / Visa / Bankcard / Mastercard / Diners (please circle option)

Bank:

Card Number:

AUCKLAND

Name:

PETER WEBB GALLERIES LTD

Account No:

03-0104-0448184-00

Particulars:

SUBSCRIPTION

Code:

YOUR SURNAME

Expiry Date: All information provided will be regarded as confidential

WESTPAC, 79 QUEEN ST,

bank Account details payment by deposit Important: Fax this form to Webb’s: +64 9 524 7048 so payment can be confirmed and purchases released.

Buyer Name:............................................................ Buyer Number: . ...............................................................

299 Sale Number:...........................................................

Balance owing for purchase/s: NZ

*Please include a sale number and buyer number as reference for on direct credits to enable us to dispatch your items efficiently.

Bank Account Details: Bank: WESTPAC 79 QUEEN ST AUCKLAND Name: PETER WEBB GALLERIES LTD Account Number: 03-0104-0448184-03 For international deposits Swift Code: WPACNZ2W Amount transferred (including freight if applicable): NZ Date transferred:................................................ signed: . .............................................................................

CONFIDENTIALITY: The information contained in this facsimile is legally privileged and/or confidential. If you are not the addressee listed below you are notified that except as authorised agent to the addressee any use disclosure copying or distribution of any of the contents of this facsimile by you is prohibited. Recipients other than the addressee listed below are asked to notify us immediately and return the original facsimile to us.

164

Bidding Slip For absentee bidders on lots in sale 299 - historic works of art, fine jewellery & watches, NZ History, antiques & decorative arts, important works of art Arts: 16,17,18, 22 september 2008 Please bid on my behalf at the above sale for the following lots up to prices recorded below. These bids are to be executed as cheaply as is permitted by other bids or reserves if any. * I agree to comply with the Conditions of Sale as printed in the catalogue. I understand that in the case of a successful bid on items in the Historical Works of Art, Important Works of Art and Fine Jewellery & Watches sales a buyers premium of twelve and a half percent (12.5%) and in the Antiques & Decorative Arts sale a buyers premium of fifteen percent (15%) will be added to the hammer price and that G.S.T is charged on the premium.

On major lots customers may prefer to bid by telephone. Please enquire regarding this service which Webb’s carry out at no charge. lot no.

catalogue description

mr/mrs/ms

Bid*

first name

home phone

surname/company

business phone

mobile

facsimilie

postal address

contact name

email address

ARRANGEMENTS FOR PAYMENT: I agree to pay immediately on receipt of notice from Webb’s of my successful bid. Payment will be by cash cheque or bank transfer. I will arrange for collection of my purchases or I agree to pay for packing and freight costs incurred by Webb’s in having any purchases forwarded to me. In order to avoid delay in clearing purchases Buyers who are unknown to us are advised to make arrangements for payment before the sale or for references to be supplied. If such arrangements are not made cheques will be cleared before purchases are delivered.

* Webb’s will do its upmost to carry out bidding instructions for absentee bidders. It will not be responsible however if circumstances prevent it doing so.

18 Manukau Rd Newmarket PO Box 99251 Auckland New Zealand Ph: 09 524 6804 / Fax: 09 524 7048 auctions@webbs.co.nz / www.webbs.co.nz

SIGNED & DATED CATALOGUE INFORMATION

165

CONDITIONS of sale for buyers 1. Bidding: The highest bidder shall be the purchaser subject to the auctioneer having the right to refuse the bid of any person. Should any dispute arise as to the bidding the lot in dispute will be immediately put up for sale again at the preceding bid or the auctioneer may declare the purchaser which declaration shall be conclusive. No person shall advance less at a bid than the sum nominated by the auctioneer and no bid may be retracted.

7. Webb’s Act as Agents. They have full discretion to conduct all aspects of the sale and to withdraw any lot from the sale without giving any reason.

the following rights or remedies: a. To issue proceeding against the purchaser for damages for breach of contract. b. To rescind the sale of that or any other lot sold to the purchaser at the same or any other auction. c. To resell the lot by public or private sale. Any deficiency resulting from such resale after giving credit to the purchaser for any part payment together with all costs incurred in connection with the lot shall be paid to Webb’s by the purchaser. Any surplus over the proceeds of sale shall belong to the seller and in this condition the expression “proceeds of sale” shall have the same meaning in relation to a sale by private treaty as it has in relation to a sale by auction. d. To store the lot whether at Webb’s own premises or elsewhere at the sole expense of the purchaser and to release the lot only after the purchase price has been paid in full plus the accrued cost of removal storage and all other costs connected to the lot. e. To charge interest on the purchase price at a rate 2% above Webb’s bankers’ then current rate for commercial overdraft facilities to the extent that the price or any part of it remains unpaid for more than seven days from the date of the sale. f. To retain possession of that or any other lot purchased by the purchaser at that or any other auction and to release the same only after payment of money due. g. To apply the proceeds of sale of any lot then or subsequently due to the purchaser towards settlement of money due to Webb’s or it’s vendor. Webb’s shall be entitled to a possessory lien on any property of the purchaser for any purpose while any money remains unpaid under this contract. h. To apply any payment made by the purchaser to Webb’s towards any money owing to Webb’s in respect of any thing whatsoever irrespective of any directive given in respect of or restriction placed upon such payment by the purchaser whether expressed or implied. i. Title and right of disposal of the goods shall not pass to the purchaser until payment has been made in full by cleared funds. Where any lot purchased in held by Webb’s pending i. clearance of funds by the purchaser or ii. completion of payment after receipt of a deposit the lot will be held by Webb’s as bailee for the vendor risk and title passing to the purchaser immediately upon notification of clearance of funds or upon completion of purchase. In the event that a lot is lost stolen damaged or destroyed before title is transferred to the purchaser the purchaser shall be entitled to a refund of all monies paid to Webb’s in respect of that lot but shall not be entitled to any compensation for any consequent losses howsoever arising.

8. Collection. Purchases are to be taken away at the buyer’s expense

11. Bidders deemed Principals. All bidders shall be held personally

If this is not done Webb’s will not be responsible if the lot is lost stolen

telephone”and absentee bids”. Any person wishing to bid as agent for

2. Reserves. All lots are sold subject to the right of the seller or his agent to impose a reserve.

3. Registration. Purchasers shall complete a bidding card before the sale giving their own correct name address and telephone number. It is accepted by bidders that the supply of false information on a bidding card shall be interpreted as deliberate fraud.

4. Buyers’ Premium. The purchaser accepts that in addition to the hammer or selling price Webb’s will apply a buyer’s premium of 12.5% of the hammer price (unless otherwise stated) together with GST on such premium, which combined sum shall be the total purchase price.

5. Payment. Payment for all items purchased is due on the day of sale immediately following completion of the sale.

If full payment cannot be made on the day of sale a deposit of 10% of the total sum due must be made on the day of sale and the balance must be paid within 5 working days.

Payment is by cash, bank (cashiers) cheque or Eftpos. Personal and private bank cheques will be accepted but must be cleared before delivery of goods will be given. Credit cards are not accepted.

6. Lots sold as Viewed. All lots are sold as viewed and with all errors to description faults and imperfections whether visible or not.

Neither Webb’s nor its vendor are responsible for errors of description or for the genuineness or authenticity of any lot or for any fault or defect in it and make no warranty whatever. Buyers proceed upon their own judgement.

Buyers shall be deemed to have inspected the lots or to have made enquiries to their complete satisfaction prior to sale and by the act of bidding shall be deemed to be satisfied with the lots in all respects.

bank Account details payment by deposit

Important: Fax this form to Webb’s: +64 9 524 7048 so payment can be confirmed and purchases released.

Buyer Name:............................................................

Buyer Number: . ............................................................... immediately after the sale except where a cheque remains uncleared. and solely liable for all obligations arising from any bid including both damaged or destroyed. third party must obtain written authority to do so from Webb’s prior Sale Number:........................................................... Balancea owing for purchase/s: NZ

Any items not collected within seven days of the auction may be subject to bidding. to a storage and insurance fee. A receipted invoice must be produced *Please a sale us to dispatch your items efficiently. prior toinclude delivery of number any lot.and buyer number as reference for on direct credits to enable 12.”Subject Bids” Where the highest bid is below the reserve and the auctioneer declares 9. Licences. Buyers Details: who purchase an item which falls79 within the STaAUCKLAND sale to be “subject to vendor’s consent” words to thatLTD effect the Bank Account Bank: WESTPAC QUEEN Name: PETER WEBBorGALLERIES provisions of the Protected Objects Act 1975 or the Arms Act 1958 highest bid remains binding upon the bidder until the vendor accepts Account Number: 03-0104-0448184-00 For international deposits Swift Code: WPACNZ2W cannot take possession of that item until they have shown to Webb’s or rejects it. If the bid is accepted there is a contractual obligation upon a license under the appropriate Act. the bidder to pay for the lot.

Amount transferred (including freight if applicable): NZ

10. Failure to make Payment. If a purchaser fails either to pay 13. SALES POST AUCTION OR BY PRIVATE TREATY for or take away any lot Webb’s shall without further notice to the above conditions shall apply to all buyers of goods from Webb’s Date transferred:................................................ signed:The . ............................................................................. purchaser at its absolute discretion and without prejudice to any other irrespective of the circumstances under wheich the sale is negotiated. rights or remedies it may have be entitled to exercise one or more of

166

Index of ArtistS – Historical works of art Name Ashton, Sir William Aubrey, Christopher Baker, William George Barnes, Frank Barraud, Charles Decimus Benivento (Italian), Professor E Blomfield, Charles

Clark, Russell Eise, Ida Fletcher, Blythe Gaut, Joseph Goldie, Charles Frederick Gully, John Haite, George Hodgkins, Frances Hodgkins, William M Hollabon, J Hoyte, John Barr Clarke Hutton, David Edward Kelly, Cecil Kirkwood, Henry William Krumholz, Ferdinand Lindauer, Gottfried Lovell-Smith, Rata

lot no 2 35 85 66 50, 79 58 23-24, 38, 44-45, 82-83 15 3 63 75, 81 18, 20 36, 67

49, 74, 78 55 61

Scott, James F Sharpe, Alfred Sherwood, Maud Stack, Major Frederick Rice Stoddart, Margaret Stuart, Samuel

37 19, 22 10, 71 39 29, 46, 52, 73 13-14

Thompson, Sydney Lough Tole, John

9 11

Van der Velden, Petrus Van Herp I (attributed to), Willem Vertin (Dutch 1819-1893), Pieter Gerardus Vickers (attributed to), Alfred Henry

76 54 59 65

Weeks, John

4, 12

34 53 60, 62 16, 25, 40 1 5 80 72 42 48 17 47

Nerli, Girolamo Pieri Nicholls, PRBA, Betram

57 64

Peele, James Perrett, John Douglas Pheney, Robert

Richmond, James Crowe Richmond, Dorothy Kate Ross (RA), Sir William Charles

lot no

56 21, 26-27, 43 30 69 8, 28, 31-32, 51 33

McCracken, Francis McIntosh Madden, John Menzies-Gibb, William Merrett, Joseph Jenner Moore Igglesden, Charles Moore-Jones, Horace Moultray, J Elder

O’Brien, George Oldfield, E Oliver, Commander Richard

Name

6-7 68 41 84 77 70

CATALOGUE INFORMATION

167

Index of ArtistS – Important works of art Name Albrecht, Gretchen Apple, Billy

1035, 1020 1059

Bailey, Chris Binney, Don Bromley, David Brown, Nigel Bullmore, Edward

1054 1010 1030 1060 1033

Ching, Raymond Clairmont, Philip Cooper, Richard

1062 1050 1037

Dibble, Paul Fisher, Charlotte Fomison, Tony Frizzell, Dick Gimblett, Max Graham, Fred Hammond, Bill Hanly, Pat Hayman, Patrick Henderson, Louise Hotere, Ralph

1007-1008, 1018 1019 1031 1003, 1016, 1024, 1052 1012, 1034 041 1013, 1023 1011 1004 1056 1028, 1044, 1046, 1048

Illingworth, Michael

1017

Lusk, Doris

1043

Maddox, Allen McCahon, Colin McIntyre, Peter Morison, Julia

1001, 1022, 1051 1026 1042 1045

Mrkusich, Milan Olsen, Mark

1040, 1047 1055

Ritchie, Ross Ross, James

168

lot no

1057 1053

Name Scott, Ian Smither, Michael Storrier, Tim Stringer, Terry Szydlowski, Henry Tapper, Garth Thomson, Elizabeth Trusttum, Philip Twiss, Greer Walsh, John Wilson, Tim Wong, Brent Woollaston, Toss

lot no 1002 1025, 1027, 1029 1032 1039 1063 1049 1009 1058, 1061 1005-1006 1015 1064 1014, 1021, 1036 1038

{Suite} 19 th – 21st Century Fine Art 69 Owen Street Newtown, Wellington Thursday–Friday 11am–5pm Saturday 11am–4pm www.suite.co.nz

Callum Arnold Bishop & Bagnall Mike Davison Desiree Dolron Andrea Gardner Arie Hellendoorn Frits Klein Fiona Pardington Neil Pardington Anton Parsons Richard Reddaway Elspeth Shannon Anoek Steketee E Mervyn Taylor Terence Taylor Ans Westra

Arie Hellendoorn Lost World 2008 Oil on linen 920 x 660 mm

New Zealand’s Premier Auction House 18 Manukau Road Newmarket, PO Box 99251 Auckland, New Zealand 0800 22 00 77 +649 524 6804 +649 524 7048 auctions@webbs.co.nz www.webbs.co.nz