313 Oceanic and African Art

OCeanic and African Arts 17 Jun 2010

313

17 June 2010

Oceanic & African Art

Front Cover: Lot 342 Single Huia Feather $ 500 – $700

Back Cover: Lot 343 Superb and important maori Kumete $25,000 – $45,000

Inside cover: Lot 302 Kahu Kiwi - Kiwi Feather Cloak $ 35,000 – $45,000

New Zealand’s Premier Auction House 18 Manukau Road PO Box 99 251 Newmarket, Auckland 1149 New Zealand P +649 524 6804 F +649 524 7048 auctions@webbs.co.nz www.webbs.co.nz

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Contents Introduction

4

March Sale Highlights

9

Viewing Times

15

Aboriginal Art

16

Polynesian & Melanesian Art

36

Papua New Guinean Art

50

Maori Art

58

Toki Adornment Fibre Carving Weaponry New Zealand History

60 64 69 76, 95 86 97

African Art

100

Conditions of sale for buyers

110

A guide for buyers

111

Bidding slip

112

Lot 185 Mwai Mask

$1,500 – $1,800

IN Focus 3

Introduction Oceanic & African Art

This catalogue traverses the deep continental regions of Africa and Australia, on through the Pacific Islands of Melanesia and Polynesia to the lush shorelines of Aotearoa.

When viewing the pieces within this publication, please do so with the people who created them held firmly in your minds eye. With the creator in mind, the objects live and have an effect in a manner more akin to art than to mere historical remnant or artifact. Whilst the pieces may be highly aesthetic, the value of world heritage art is informed by an object’s usage, the hands which have held it and the spiritual power which peoples, through history, have invested in it.

The epic journeys of discovery that the peoples of the Oceanic region undertook reach back tens of thousands of years and covered millions of kilometres of open sea. One of the last legs of this endeavour was achieved by the Maori who discovered the last remaining significant land mass on earth – Aotearoa.

The art of the Maori extends the Eastern Polynesian forms and the Maori taonga offered in this catalogue provide a remarkable overview of pre-contact through to 20th-century Maori arts and culture. From the gigantic 14th-century adze (Lot 230) used to undertake the sacred waka (canoe) production, to the early talisman such as the beautiful and rare Rei Puta (Lot 298) or the fine woven and carved pieces, each object represents the undertakings of the people who first brought history into our land. Te Hei Mauri Ora. It is an honour to be entrusted with the release of the Maori, Aboriginal and African holdings of the Zanesville Museum of Art, Ohio, USA. It is never a simple decision for a museum to de-accession objects, but a mandate to return these taonga to their origins resulted in the decision to send some 300 objects to New Zealand for inclusion in this catalogue. Equally, tremendous support from private collectors has resulted in a significant offering spanning the breadth of the fascinating collecting genres of Oceanic and African arts.

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Within this field of collecting, provenance weighs heavily so it was with excitement that we discovered that a large number of the pieces within the Zanesville Museum of Art’s collection have been secured via, or vetted personally by, Julius Carlebach in 1953. Julius Carlebach’s gallery is legendary as the source of many of the great pieces subsequently in the hands of early ‘tribal’ collectors such as André Breton, the founding father of surrealism, Claude Lévi-Strauss, the great French ethnographer, and Robert Lebel, the writer and biographer of Marcel Duchamp and Max Ernst. They were all avid collectors of ‘tribal’ objects who compiled collections while living in New York during the Second World War. Included in the collection of the Zanesville Museum of Art is a remarkable selection of material from Central Australia, which was assembled by an insightful American, E K Young (1896 – 1980), during the 1920s and through to the early ’70s. Mr Young developed a focused collection of mostly Central Australian artifacts during a time when there was little understanding of the significance of such works.

The catalogue also includes pieces which originate from the Christensen Fund Collection of Oceanic and African Art sale at Sotheby's, Australia, in October 1996. The Christensen Fund was established in 1957 by the American collector Allen Christensen who, with his wife, established one of the great ethnographic art collections of the 20th century.

Never before has the New Zealand market seen such a high-quality and diverse collection of objects originating from across Africa and the Asia-Pacific Rim – Australia, Melanesia, Polynesia and New Zealand. This gives rise to a wonderful opportunity to compare and contrast the prolific and highly achieved creative force that is world heritage indigenous art.

Neil Campbell Managing Director

WORKSHOP AD

Lot 101 CUlacula - Fijian War Club $ 20,000 – $ 30,000

IN Focus 5

cite AD to be supplied

A Papua New Guinean Nagwit Ancestral Figure LOT 226

A Carved Maori Ancestral Figure LOT 352

An Important Abelam Ancestral Figure LOT 182

A Massim Stool

A Painting by Ray James Tjangala

LOT 141

LOT 95

An Ivory Coast Bedu Mask

An Important Guro Mask

LOT 430

LOT 429

A Maori Carved Remington Rifle

An Exquisite Dan Mask

LOT 388

LOT 424

SHOWROOM, 18 NORMANBY RD, MT EDEN PH: 09 623 9233 SALES@CITELTD.CO.NZ WWW.CITE.CO.NZ

IMPORTANT VINTAGE & COLLECTORS’ MOTORCYCLES August 2010

The vintage and classic motorcycle collectors’ event of the year.

AN INVITATION TO CONSIGN The auction will consist of no more than 40 important machines.

As a response to the 2009 auction, the catalogue already includes over 20 superb motorcycles.

All entries to the sale will receive expert appraisal.

Please contact Neil Campbell for details on how to participate in the auction and to discuss, any aspect of buying or selling motorcycles through Webb’s auctions.

1928 Norton CS1 Realised $45,600

Contact

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Neil Campbell 021 875 966 ncampbell@webbs.co.nz

March Sale Highlights A

B

C

D

E

F A Tony Fomison

E

Hill Top Watcher Realised $ 136,900

A Lullaby of Birdland Realised $ 251,000

rare early 20th Century Louis Vuitton trunk

F

B

Realised $ 5,300 C

CHARLES GOLDIE

Mihipeka Wairama, Tuhourangi Tribe Realised $ 175,300 D

SHANE COTTON

Blackout Movement Realised $228,000

Bill Hammond

BILL HAMMOND

Ancestral E Realised $154,000 G Minton Majolica Monkey teapot

Realised $1,500

A lady’s art deco period wristwatch fully set with diamonds H

I A magnificent fancy intense yellow diamond of 5.14ct, set in a ring with two white diamonds

Realised $131,200

* All prices listed are inclusive of buyer’s premium and gst on the premium, rounded to the nearest $100

G H

I

Realised $ 11,400

IN Focus 9

27 Beach Road, Auckland Phone: +64 (09) 909 9099 Fax: +64 (09) 909 9098 Email: aucklandcity@packsend.co.nz

Specialist in providing professional, CUSTOMISED packing, INSURANCE AND FRAGILE freight solutions.

Adventure & Discovery September 2010

AN INVITATION TO CONSIGN Entries are currently invited for an exciting new category of sale covering exploration, navigation and natural history.

Zane Grey

contemplates his remarkable day at sea and acknowledges the mana of his world record catch, Bay of Islands, 1926. Print from original Cyril Morton plate (refer Lot 422).

Contact

Neil Campbell 021 875 966 ncampbell@webbs.co.nz

James Hogan 021 510 477 jhogan@webbs.co.nz

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AN INVITATION TO CONSIGN Another sale of Oceanic and African Arts will be held in late 2010. The positive response from collectors to Webb’s marketing in this specialist area of collecting is reflected in the quality, quantity and diversity of pieces included in this publication.

Extensive international and local marketing and unmatched personal expertise ensure the most professional sale service for Oceanic and African arts in this country.

Contact

14

Jeff Hobbs 021 503 251 jhobbs@webbs.co.nz

Neil Campbell 021 875 966 ncampbell@webbs.co.nz

Oceanic & African Art Thursday 17 June 2010, 4:00pm

Evening Viewing

Viewing

Thurs 10 June

Fri 11 June Sat 12 June Sun 13 June Mon 14 June Tue 15 June Wed 16 June Thurs 17 June

6:00pm–8:00pm

Antiquities Act 1975

Buyer's Premium

Please note that all Maori artifacts in this catalogue have been registered under the terms of the Antiquities Act 1975 and subsequent amendments. For a full guide for purchasing artifacts, refer to page 111. You must be a registered collector to purchase registered lots. You may purchase in advance of obtaining a Certificate of Registration; however, you will be required to pay for the purchases and Webb’s will store them until the Certificate is granted and presented.

Under this Act, no registered Maori artifact may leave the country.

A buyer’s premium of 15% will be charged on all items in this catalogue.

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

Packing and Freight

Lot 355 WAihaika

9:00am–5:30pm 11:00am–3:00pm 11:00am–3:00pm 9:00am–5:30pm 9:00am–5:30pm 9:00am–5:30pm Limited viewing

All packing and freight will be handled by expert third-party suppliers. Refer to page 111 for full details.

Intending buyers should take note of clause 6 in the Condition of Sale for Buyers printed on page 110 of this catalogue. Webb’s is not responsible for any errors of descriptions or for the genuineness or authenticity of any lot.

Buyers should proceed upon their own judgement. The condition of items is not generally detailed in this catalogue.

Buyers must satisfy themselves as to the condition of lots they bid on. Webb’s is pleased to provide intending buyers with condition reports.

$15,000 - $ 25,000

IN Focus 15

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Aboriginal Art

Illustrated left: Photographer unknown, Aborigines before a Corroboree ceremonial pole

This catalogue includes extraordinary Aboriginal pieces, most collected by Mr E K Young (1896–1980) and placed with the Zanesville Museum of Art, Ohio, USA, as outlined in the introduction to the catalogue on page 4.

Of sophisticated design and composition, Lot 1 of the sale is the superb Wunda shield. Typically identified by fluted channels running parallel on three distinctive planes, the Wunda shield’s central panel is always diagonal or horizontal. Although Wunda shields have been found throughout western Australia, their manufacture was centred in the Gascoyne-Murchison region. Their dispersal was a result of being traded rather than of being manufactured in other regions; they may have been traded for simple economic or religious reasons. Whilst coveted for their beauty, Wunda shields communicated the high rank of their owners both in and out of ceremonial environments. This example follows strict orthodox form and is an exquisite example of the great precision offered by fine Aboriginal artwork.

Churinga, made of elongated wood or sometimes stone, were found only in Aranda, central Australia. Exemplifying the fact that all artistic activities of the Aborigine have religious or spiritual associations, churinga are finely carved and shaped with beautiful, highly conventionalised designs. The churinga served as a kind of ‘mnemonic’ record of totemic myths. The linear incisions drawn on the surface refer to mythology, maps of the landscape and animals and their tracks and would be interpreted to male initiates by the tribal elder to explain tribal traditions and legends. Commonly linked to a general belief held by Aborigines that the spirit or life essence returns at death to its spirit home in a waterhole, a rock, a tree or the sky, the churinga is a further expression of the Aboriginal people’s core belief in reincarnation and the great cycle of life. During the early 20th century and before, only initiated males were able to see or touch these sacred objects. Women and uninitiated males were not allowed to touch them or see them, except from a far distance.

The catalogue includes a number of ancient, traditional Aboriginal forms: the waddy or nulla-nulla (war clubs); hooked boomerangs of central and northern Australia of a non-returning design used for hunting and extensively traded; turndun (bull roarers) used during religious ceremonies; woomera (spear throwers); and delicate coolamon vessels.

Oceanic & african Art 17 Oceanic & african Art 17

1 Aboriginal Wunda Shield

Carved in softwood, of elongated ovoid form, the front decorated with deeply fluted zigzag design articulated into orthodox three section form and in-filled alternatively with bands of red and white natural earth pigments. The reverse offers incised longitudinal design with intersecting pointed border. Strong traces of red ochre overall, with detailed loop handle. 18th century.

Provenance: Zanesville Museum of Art, USA. L 710mm W160mm.

$3,000 - $5,000

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Aboriginal Bean Wood Shield Of deep elliptical form, with rebated handle on the back carved into body of shield. Front and back are decorated with broad parallel longitudinal grooves. A varied reddish-brown patina dominates a large painted (natural pigment) circle couched by four very faint latitudinal thickly painted lines on the shield’s face.

Provenance: Zanesville Museum of Art, USA. H710mm W105mm.

$3,000 - $5,000

Fine Aboriginal Shield Of flat elliptical form, with rebated handle on the back carved into body of shield. Decorated on the front with deep parallel grooves with a zigzag motif that articulate on black pigment lines approximately 100mm apart, and on the reverse with repeating parallel red pigments and stone or ivory tooled incised vertical grooves; fine and varied deep reddish-brown patina.

Provenance: Zanesville Museum of Art, USA. H1000mm W105mm.

$3,000 - $5,000

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Fine Aboriginal Shield Ovoid wooden body with parallel circular rainbow and pointillism motif on front section. Grooved back section with hollowed out hand grip. Traces of insect damage. Provenance: Zanesville Museum of Art, USA. L600mm W185mm.

$2,000 - $3,000

Aboriginal Shield Stone tooled, surface undressed. Strong curvilinear form with integrated handle. Provenance: Zanesville Museum of Art, USA. L640mm W135mm.

$1,500 - $2,500

Fine Karajarri Aboriginal Shield Front of eucalyptus wood shield covered with ochre and dot painted motif and back incised with interlocking key and herringbone patterns. Mount Vernon area. Australia.

L960mm W110mm.

$1,200 - $1,500

Oceanic & african Art 19

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COOLAMON Coolamons are generally made by men and can be made from either soft wood such as bean wood (central Australia) or hardwood such as mallee. Traditionally used by women to carry water, fruits and nuts as well as to cradle babies, coolamons were often carried on the womens’ heads using ring pads called akartnes which were usually made from braided possum and/or human hair.

HOOKED BOOMERANGS Like the majority of Aboriginal boomerangs, the hooked boomerangs of central and northern Australia were non-returning. Often referred to as ‘swan-neck’ boomerangs because of their distinctive shape, these boomerangs appear to have been made primarily by the peoples of the Tanami Desert in the Northern Territory, but were exchanged widely throughout the central and northern regions along a complex and far-reaching system of inland trade routes.

Boomerangs of this type were primarily employed in fighting but were also used in bird hunting. Thrown into the rising flocks, they were highly effective in striking birds in flight, causing them to fall to the ground where they could be captured easily. Today the ‘swan-neck’ boomerang is appreciated for its fine elegant fluting that echoes the great ridged sand dune lines of Australia.

10 Giant Coolamon - Aboriginal Vessel

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11 Coolamon - Aboriginal Vessel

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Aboriginal ‘Swan Neck’ Boomerang Wood, dyed with red ochre, flattened, lense-shaped in diameter, a beautifully curved handle with hook-shaped head and rounded endings. Fine longitudinal incisions fluting tightly through the surface complementing the overall form of the finely carved ‘swan neck’.

Provenance: Zanesville Museum of Art, USA. L780mm W50mm.

$600 - $800

Two Aboriginal ‘Swan Neck’ BoomerangS

$800 - $1,000

Orthodox form. Broad longitudinal incisions fluting through the internal and external surfaces. Natural ochre pigments accent entire object.

Provenance: Zanesville Museum of Art, USA. L540mm W193mm.

$800 -$1,000

Base of light red ochre with white and yellow linear parallel line pattern to front and back. Portion of blade slightly split. Provenance: Julius Carlebach Gallery, New York,1958. Zanesville Museum of Art, USA. W724mm.

$600 - $800

13 Fine Aboriginal Ceremonial Boomerang

$700 - $900

Wood, dyed with red ochre, flattened, lense-shaped in diameter, a curved handle with hook-shaped head and rounded endings.

Fine longitudinal incisions fluting tightly through the surface complementing the overall form of the finely carved ‘swan neck’.

Provenance: Zanesville Museum of Art, USA. L720mm and 740mm.

$1,200 - $1,500

12 Fine Aboriginal Ceremonial Boomerang

Two Aboriginal ‘Swan neck’ BoomerangS Wood, dyed with red ochre, flattened, lense-shaped in diameter, a curved handle with hook-shaped head and rounded endings. Fine longitudinal incisions fluting tightly through the surface complementing the overall form of the finely carved ‘swan neck’.

Provenance: Zanesville Museum of Art, USA. L640mm and L620mm.

Extremely rare and large. Broad longitudinal incisions fluting through the internal and external surfaces. Natural ochre pigments accent entire object.

Dark horizontal decoration line represented in internal body of vessel.

Significant signs of old repair and damage.

Provenance: Zanesville Museum of Art, USA. L910mm W220mm.

Base of ochre with strong linear parallel lines to front and back. Provenance: Julius Carlebach Gallery, New York,1958.

Zanesville Museum of Art, USA. W597mm.

$600 - $800

14 Fine Aboriginal Ceremonial Boomerang

Base of ochre with linear parallel dot pattern to front and back. Provenance: Julius Carlebach Gallery, New York,1958.

Zanesville Museum of Art, USA. W690mm.

$600 - $800

Oceanic & african Art 21

15 Two Fine Aboriginal BoomerangS

One with incised linear pattern to back, traces of green pigmentation and painted motifs on both. Provenance: Julius Carlebach Gallery, New York,1958. Zanesville Museum of Art, USA. W700mm, W590mm.

$250 - $350

16 Three Fine Aboriginal BoomerangS

Stone tooled, with two examples offering finely incised parallel marking which follow the form of the object.

Provenance: Julius Carlebach Gallery, New York,1958. Zanesville Museum of Art, USA. W700mm, W580, W600mm.

$400 - $600

THE WADDY OR NULLA NULLA The waddy or nulla-nulla, war club, is heavy and constructed from a single piece of wood, usually sourced from a young tree pulled from the ground with its roots intact. It was employed for various uses: in hand-tohand combat; to split shields; as a projectile in combat; to make fire and ochre for ceremonial activities; and as a beating stick for punishing those who broke Aboriginal law. Made by both men and women, these objects were often left unpainted, although many were finely engraved with kangaroo teeth as is evident in many of the pieces in this catalogue.

25 Three Aboriginal Nulla Nulla - Waddy Clubs

17 Two Aboriginal BoomerangS

In traditional form. One with stone tooled surface the other depicting modern human forms at play. W570mm, W540mm.

$300 - $500

$300 - $500

19 Two Fine Aboriginal BoomerangS

In traditional form. One in non symmetrical form. Aged patina.

Evidence of red ochre. Provenance: Purchased by the current owner from Sotheby’s, Australia. W560mm, W710mm.

Non symmetrical blade. Beautifully carved parallel lines following form of object. Red ochre evidenced. Provenance: Purchased by the current owner from Sotheby’s, Australia. W670mm.

In orthodox form. Rich dark patina. Provenance: Purchased by the current owner from Sotheby’s, Australia. W720mm.

$200 - $300

22 Fine Aboriginal Boomerang

In traditional non symmetrical form. Stone tooled. Strong, well defined parallel incisions follow form of blade. Traces of pigment. Provenance: Purchased by the current owner from Sotheby’s, Australia. W720mm.

$200 - $300

23 Two Aboriginal Throwing Clubs

One with bulbous head, light brown patina. The second with conical head, dark brown patina. Provenance: Sotheby’s, Australia. L750mm, L680mm.

$300 - $500

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$200 - $400

$400 - $600

Wood, reddish brown patina, leaf-shaped flat springboard. The front entirely covered with linear grooved carving using zigzag motif. Handle with knob, leading tip wrapped in museum cotton protecting affixed tooth (presumably wood.) Provenance: Zanesville Museum of Art, USA. L780mm W160mm.

$400 - $600

28 Two Aboriginal Woomera - Spear Throwers

Light-weighted wood, reddish brown patina, flat paddle-leaf shaped body with narrow handle, a tooth (presumably from a kangaroo) affixed by grass fibre, slightly damaged, small cracks, drilled holes. One with, and one missing anchor tooth. Black resin knobs. Early 20th century. Provenance: Zanesville Museum of Art, USA. L550mm W122mm and L550mm W93mm.

$500 - $700

29 Three Aboriginal NULLA NULLA Waddy Clubs

Carved in longitudinal lines.

Provenance: Zanesville Museum of Art, USA. L780mm, L580mm, L550mm.

$400 - $600

30 Two Aboriginal Woomera - Spear Throwers

Heavy weighted wood, reddish brown patina, flat narrow paddle-shaped body. Provenance: Zanesville Museum of Art, USA. L600mm, L660mm.

$400 - $600

31 Aboriginal Woomera - Spear Thrower

24 Aboriginal Throwing Club Centre weighted terminating softly at each end.

Provenance: Zanesville Museum of Art, USA. L817mm.

Centre weighted throwing sticks terminating sharply at each end.

Dark hardwood patina. 19th century.

Provenance: Zanesville Museum of Art, USA. L780mm, L916mm.

27 Large ABORIGINAL Woomera - Spear Thrower, Western Australia

$200 - $400

21 Fine Aboriginal Boomerang

$300 - $500

20 Fine Aboriginal Boomerang

$400 - $600

26 Three Aboriginal Nulla Nulla - Waddy Clubs

18 Two Fine Aboriginal BoomerangS In traditional form. Deep aged patina. Provenence: Purchased by the current owner from Sotheby’s, Australia. W550mm, W580mm.

Linear incisions following form of club. Rich varied patina. Provenance: Zanesville Museum of Art, USA. L590mm L620mm L690mm.

Narrow, leaf shaped flat springboard. The front entirely covered with linear grooved carving using zigzag and parallel motif. The back also stone tooled.

Handle with resin knob, leading tip wrapped in museum cotton protecting affixed tooth.

Provenance: Zanesville Museum of Art, USA. L640mm W66mm.

$300 - $500

32 Aboriginal Woomera - Spear Thrower

Dry brown patina, leaf-shaped flat springboard. The front sparsely covered with linear zigzag motif (steel tooled).

Provenance: Zanesville Museum of Art, USA. L610mm W70mm.

$300 - $500

33 Aboriginal Woomera - Spear Thrower

Wood, reddish brown patina, leaf-shaped flat springboard. The front entirely covered with linear grooved carving using parallel and diagonal motif. Chip carved suggesting stone tooled. Handle with knob, leading tip wrapped in museum cotton protecting affixed tooth.

Provenance: Zanesville Museum of Art USA. L800mm W80mm.

$350 - $550

41 Two Aboriginal Spear Throwers, a Seedpod and a Woven Dilly Bag

$600 - $800

35 Two Aboriginal Spears

Long form hunting spears. Example one offering finely crafted double sided barbed head with signs of natural pigment decorations remaining (tiwi style). Example two utilises innovative steel blade with netted white line decorations. Cape York style.

Provenance: Zanesville Museum of Art, USA. L2490mm, L2770mm.

$600 - $800

36 Two Aboriginal Spears

Long form hunting spears. Example one offering finely crafted single barbed head (possibly Swan River style). Second example utilises single side multiple barb technique (northern Australian style).

Provenance: Zanesville Museum of Art, USA. L2540mm, L2850mm.

$600 - $800

37 Rare Aboriginal Wooden Leangle Club

Victoria was one of the first areas settled in Australia and for this reason the local indigenous population stopped using real Leangles by the late 19th century. Dark black/brown patina.

Provenance: Zanesville Museum of Art, USA. L770mm.

$200 - $400

38 Two Aboriginal Throwing Clubs

Straight form hardwood with longitudinal incisions.

Provenance: Zanesville Museum of Art, USA. L970mm W50mm, L910mm W50mm.

$400 - $600

39 An Aboriginal hafted stone axe.

The stone head hafted between two wooden shafts and affixed with human hair binding and resin. Traces of ochre decoration to the hafts and head. Provenance: Zanesville Museum of Art, USA. L640mm.

$750 - $950

40 Three Aboriginal Waddy Clubs

Provenance: Zanesville Museum of Art, USA. L720mm, L560mm L582mm.

$450 - $650

$250 - $450

42 Aboriginal Flaked Flint Spear Tip and Stone Adze

Traces of gum resin and fibre to base. Together with an early stone adze.

Provenance: Zanesville Museum of Art, USA. Adze L113mm, W55mm, Spear L170mm W40mm.

$100 - $300

43 Two Aboriginal Lizard Forms

34 Aboriginal Spear Long form hardwood spear with terminating oval formed tip. Rich dark patina with light parallel incision decorations at one end. Mid 19th century. Provenance: Zanesville Museum of Art, USA. L2330mm.

A fine spear thrower with rich dark patina and resin mounted kangaroo tooth tip, together with a weathered spear thrower and a seed pot and woven dilly bag. L620mm, L600mm L550mm, L350mm.

Incised pokerwork design.

Provenance: Zanesville Museum of Art, USA. L380mm, L340mm.

$100 - $200

44 Bundle of Fine Rope, Aboriginal

Made from intertwined human hair.

Provenance: Zanesville Museum of Art, USA.

$100 - $200

45 Group of Three Aboriginal Waddy Clubs

One with incised lineal carving and resin to butt, one with pointed head and one with three barbs to the pointed head.

Provenance: Zanesville Museum of Art, USA. L655mm, L670mm, L713mm.

$450 - $650

46 Two Exceptional Aboriginal Waddy Clubs

One a fine example of ovoid form with carved linear decoration and plain uncarved handle. The other long club of ovoid form with incised dot and lineal decoration. Rich dark patina. Provenance: Purchased by the current owner from Sotheby’s Australia. L1030mm, L1270mm.

$1,200 - $1,500

47 Three Aboriginal Waddy Clubs

One with incised lineal carving and resin to butt, one with pointed head and one with three barbs to the pointed head. Provenance: Purchased by the current owner from Sotheby’s, Australia. L655mm, L670mm, L713mm.

$450 - $750

48 Aboriginal Painted Didgeridoo

A fully decorated wooden didgeridoo. White, black, red and brown pigments with free and animal forms painted to mid-section. Provenance: Purchased by the current owner from Sotheby’s Australia. L1500mm, W45mm.

$350 - $550

49 Group of five Aboriginal Spear Heads

Wood, sinew and gum. Old label attached.

Provenance: Zanesville Museum of Art, USA. L45mm.

$200 - $300

50 Group of four Aboriginal Spear Heads and A sheath

Of various regions. Old label attached.

Provenance: Zanesville Museum of Art, USA. L890mm.

$200 - $300

Oceanic & african Art 23

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54 Aboriginal Churinga 51 Aboriginal Churinga

With incised circular grooving to top side with suspension hole.

Traces of red ochre.

Provenance: Zanesville Museum of Art, USA. L190mm W22mm.

$1,000 - $2,000

$1,000 - $2,000

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$1,500 - $3,500

With an incised intertwined parallel motif on both surfaces. Traces of ochre.

Old collection label attached.

Provenance: Zanesville Museum of Art, USA. L233mm W26mm.

$1,500 - $2,000

56 Rare and Important Aboriginal Stone Churinga

53 Aboriginal Churinga With incised linear and circular designs to both surfaces. Okirra (large kangaroo) totem. Traces of ochre. Old museum label attached.

Provenance: Zanesville Museum of Art, USA. L324mm W90mm.

$1,000 - $2,000

55 Aboriginal Churinga

52 Aboriginal Churinga With incised intertwined parallel motif on both surfaces with suspension hole. Traces of ochre. Old collection label attached.

Provenance: Zanesville Museum of Art, USA. L184mm W20mm.

With incised inter-twining decoration to one side with suspension hole.

Traces of ochre.

Provenance: Zanesville Museum of Art, USA. L192mm W22mm.

Parallel circular and rainbow motifs. Ubnirringita (Witchetty) totem and on reverse okirra (large kangaroo) totem. Workings to end of blade suggest significant ritual use. Patina reflects considerable age. Small chip to top end.

Provenance: Zanesville Museum of Art, USA. L246mm W72mm.

$10,000 - $20,000

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Aboriginal Turndun - Bull roarer Related in form to the churinga is the bull roarer. Both were used during religious ceremonies to summon the participants. The turndun was swung above the head from woven fibre made from human hair and gave out a characteristic rhythmic, deep, vibrating sound which the uninitiated believed to be the voice of the spirits warning them to keep away from the sacred ceremony.

57 Aboriginal Turndun - Bull roarer

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Large with shallow broad stone tooled longitudinal incisions with corresponding latitudinal incisions that formulate into circular patterns. Provenance: Zanesville Museum of Art, USA. L610mm W90mm.

$1,500 - $3,500

58 Aboriginal Churinga

Large with incised linear circular designs to both surfaces. Traces of ochre.

Provenance: Zanesville Museum of Art, USA. L450mm W60mm.

$1,500 - $3,500

59 Aboriginal Churinga

With tightly carved stone tooled geometrical pattern formulating into well defined complex interlocking totem motif carved over earlier churinga design.

Provenance: Zanesville Museum of Art, USA. L615mm W85mm.

$1,500 - $3,500

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60 Aboriginal Churinga

With incised circular designs to both surfaces. Hourglass shaped hole. Traces of ochre.

Provenance: Zanesville Museum of Art, USA. L480mm W82mm.

$1,500 - $3,500

61 Aboriginal Churinga

With front carved with circular and parallel incised decoration.

Back with parallel incised decoration. Traces of ochre. Hourglass shaped hole. Old collection labels attached.

Provenance: Zanesville Museum of Art, USA. L520mm W56mm.

$1,500 - $3,500

62 Aboriginal Churinga

Incised parallel circular and linear designs to front and back.

Hourglass shaped hole. Traces of ochre.

Provenance: Zanesville Museum of Art, USA. L410mm W70mm.

$1,500 - $3,500

Oceanic & african Art 27

63

64

63 Aboriginal Churinga

With incised chevron design to front. Traces of ochre.

Rich dark patina.

Provenance: Zanesville Museum of Art, USA. L375mm W40mm.

$1,500 - $3,500

64 Aboriginal Churinga

Circular totems linked throughout by three and five line linear incisions. Rich red ochre patina.

Provenance: Zanesville Museum of Art, USA. L355mm W50mm.

$1,500 - $3,500

65 Aboriginal Churinga

With incised circular and linear designs to front and back.

Traces of ochre.

Provenance: Zanesville Museum of Art, USA. L342mm W45mm.

$1,500 - $3,500

66 Aboriginal TURNDUN Bullroarer

28

Chip carved surface, mid-brown patina, hourglass incision hole.

Provenance: Zanesville Museum of Art, USA. L412mm W40mm.

$1,500 - $3,500

65

66

67

67 Aboriginal Churinga

With incised cross-hatched design to front. Traces of ochre.

Old collection label attached.

Provenance: Zanesville Museum of Art, USA. L370mm W40mm.

$1,500 - $3,500

68 Aboriginal Churinga

With incised interlocked circular motifs to top and circular motifs to back. With rich ochre patina.

Provenance: Zanesville Museum of Art, USA. L495mm W60mm.

$1,500 - $3,500

69 Aboriginal Churinga

With undulating parallel motifs to front and back. Rich ochre patina.

Provenance: Zanesville Museum of Art, USA. L405mm W74mm.

$1,500 - $3,500

70 Aboriginal Churinga

With circular motifs to front and back. Traces of ochre.

Provenance: Zanesville Museum of Art, USA. L520mm W65mm.

$1,500 - $3,500

69

70 68

Oceanic & african Art 29

71

74

72

75

73

76

71 Aboriginal Churinga

With incised circular totems. Traces of ochre.

Provenance: Zanesville Museum of Art, USA. L290mm W45mm.

$1,500 - $3,500

72 Aboriginal Churinga

With interconnecting incised linear and circular patterns.

Provenance: Zanesville Museum of Art, USA. L245mm W55mm.

$1,500 - $3,500

73 Aboriginal Churinga

30

With interconnecting incised linear and circular patterns with pointillism. Unchichera - frog totem.

Provenance: Zanesville Museum of Art, USA. L254mm W47mm.

$1,500 - $3,500

74 Aboriginal Churinga

With circular and zigzag totems incised front and back. Okirra totem, large kangaroo totem.

Provenance: Zanesville Museum of Art, USA. L280mm W44mm.

$1,500 - $3,500

75 Aboriginal Churinga

With interconnecting incised linear and circular patterns.

Provenance: Zanesville Museum of Art, USA. L296mm W45mm.

$1,500 - $3,500

76 Aboriginal Churinga

With incised chevron and linear designs to top. Square cut suspension hole. Dry brown patina.

Provenance: Zanesville Museum of Art, USA. L225mm W39mm.

$1,500 - $3,500

77

78

79

77 Two Aboriginal Singing Churinga

Cigar shaped, with delicately incised decoration. Light brown dry patina.

Provenance: Zanesville Museum of Art, USA. L240mm.

$400 - $600

78 Aboriginal Ceremonial Spear Head

Obsidian blade tip affixed with gum. Ochre, dot patterning to tip and shaft. Old label attached.

Provenance: Zanesville Museum of Art, USA. L450mm W25mm.

$500 - $1,000

79 Two Aboriginal Singing Churinga

Both cigar shaped with circular and zigzag motifs and traces of ochre.

Provenance: Zanesville Museum of Art, USA. L220mm.

$400 - $600

80 Aboriginal Singing Churinga

Cigar shaped with circular and linear motifs. Traces of ochre.

Provenance: Zanesville Museum of Art, USA. L270mm.

$150 - $350

81 Two Aboriginal Singing Churinga

Cigar shaped with circular and linear motifs, one with poker work. Traces of ochre.

Provenance: Zanesville Museum of Art, USA. L400mm, L290mm.

$200 - $400

Oceanic & african Art 31

82 Aboriginal Throwing Club

Large throwing stick terminating softly at each end. Dark coloured hardwood with varnished patina. Complex longitudinal and zigzag incisions fluting intermittently across entire surface.

Provenance: Zanesville Museum of Art, USA. L1040mm.

$500 - $800

83 Aboriginal Throwing Club

Curved and slender throwing stick with fine fluting over the entire surface. Longitudinal incised decoration.

Provenance: Zanesville Museum of Art, USA. L1154mm.

$500 - $800

84 Aboriginal Throwing Club

Large centre weighted throwing stick terminating softly at each end. Dark hardwood patina with complex longitudinal incisions running from tips to the centre which is detailed with a lined intersecting cross motif.

Provenance: Zanesville Museum of Art, USA. L1220mm.

$500 - $800

85 Aboriginal Throwing Club

Centre weighted throwing stick terminating softly at each end. Light coloured hardwood with soft patina. Fine longitudinal incisions fluting across majority of the surface except tips which employ latitudinal border incisions.

Provenance: Zanesville Museum of Art, USA. L1080mm.

$500 - $800

86 Aboriginal Throwing Club

Terminating softly at each end. Dark coloured hardwood. Deep longitudinal incisions fluting intermittently at two variable lengths across majority of the surface. Repeated pattern is boxed by zigzag motif.

Provenance: Zanesville Museum of Art, USA. L1090mm.

$500 - $800

87 Aboriginal Throwing Club

Dark coloured hardwood. Deep longitudinal incisions fluting intermittently at two variable lengths across majority of the surface.

Provenance: Zanesville Museum of Art, USA. L640mm.

$500 - $800

88 Two Aboriginal Woomera - Spear Throwers 82

83

84

85

Rectangular handles lead to narrow tapering body. Traces of ochre. One point missing. North West Coast, Queensland.

Provenance: Zanesville Museum of Art, USA. L860mm W62mm, L840mm W45mm.

$1,000 - $1,200

89 Aboriginal Woomera - Spear Thrower

32

Reddish brown patina, leaf-shaped flat springboard. The front entirely covered with linear grooved carving using zigzag and parallel motif. Stone tooled. Leading tip wrapped in Museum cotton protecting affixed tooth.

Provenance: Zanesville Museum of Art, USA. L760mm W110mm.

$800 - $1,200

90

92 91

93

89

90 Aboriginal Woomera - Spear Thrower

With decoration of kangaroo, kookaburra and emu totems. Chocolate brown patina. Point missing.

Provenance: Julius Carlebach Gallery, New York,1958.

Zanesville Museum of Art, USA. L510mm W92mm.

92 Aboriginal Woomera - Spear Thrower

$800 - $1,200

91 Aboriginal Woomera - Spear Thrower

Heavy weighted wood, reddish brown patina, flat paddle-shaped body decorated with zigzag motif. Red ochre apparent. Narrow handle highlights stone tooled surface. No point attached. Old label attached.

Provenance: Zanesville Museum of Art, USA. L655mm W130mm.

$800 - $1,200

Wood, dark brown patina, leaf-shaped flat springboard. The front entirely covered with zigzag motif. Stone tooled. Reverse with six line zigzag pattern running down centre of blade. Serrated cutting edge evident. Edge deteriorating and missing tip.

Provenance: Zanesville Museum of Art, USA. L600mm W100mm.

$800 - $1,200

93 Aboriginal Woomera - Spear Thrower

Narrow leaf shaped springboard. Handle and tip wrapped in Museum cotton. The inside surface with finely chipped finish.

Old label attached. Smooth dry patina.

Provenance: Zanesville Museum of Art, USA. L810mm W90mm.

$800 - $1,200

Oceanic & african Art 33

94

94 Kathleen Petyarre

Region: Utopia, Language group: Anmatyerre/Alyawarre Untitled. Synthetic polymer on Belgian linen, circa 2004.

Provenance: Gallerie Australis, Adelaide, signed verso.

1070mm x 1070mm.

$12,000 - $16,000

95 Dick Ngulei-Ngulei Murrumurru

Bark painting. Title inscribed and artist’s name inscribed on typed document affixed verso.

Provenance: purchased by current owner from Sotheby’s Australia 895mm x 390mm.

$2,500 - $3,500

96 Ray James Tjangala 96

34

Untitled. Inscribed Ray James Tjangala, Papunya Tula Artists Pty Ltd verso. Accompanied by Certificate of Authenticity.

610mm x 1220mm.

$4,000 - $6,000

95

97

97 Emily Kame Kngwarreye

Emily Kame Kngwarreye (c1915-1996). Region: Utopia Language group: Eastern Anmatyerre.

Of My Country (1993).

Synthetic polymer paint on linen Signed verso.

1210mm x 900mm.

Provenance: Commissioned by Delmore Gallery in February 1993.

Northern Territory Corporate collection, Melbourne.

Sotheby’s, Sydney, 28 - 29 July 2003, lot 370.

Literature: Of My Country: Emily Kame Kngwarreye, The Applied Chemicals Collection, Bendigo Art Gallery, 1999, p. 13, colour illus. p. 9.

Exhibited: Of My Country: Emily Kame Kngwarreye, The Applied Chemicals Collection, 1999: Bendigo Art Gallery, Hamilton Art Gallery.

Swan Hill Regional Gallery, Wagga Wagga Gallery, Mornington Peninsula Regional Gallery. 2000: George Adams Gallery, Victorian Arts Centre.

$35,000 - $45,000

98 Long Tom Tjapauangka

Untitled.

Acrylic on canvas.

Accompanied by Certificate of Authenticity.

1220mm x 1520mm.

98

$6,000 - $9,000

Oceanic & african Art 35

36

Polynesian & Melanesian Art

Lot 192 Ritual Dress Santa Cruz Island 1985 Colour photographic print signed and dated 2010 1/1 by Victoria Ginn H330mm W330mm $ 500 - $700

Polynesia and Melanesia, subregions of Oceania, comprise thousands of islands scattered over the central and southern Pacific Ocean extending from the western end of the Pacific Ocean of the Arafura Sea, and eastward to the Marquesas Islands.

For thousands of years, many peoples have lived throughout this vast region and their arts are tremendously diverse.

Clubs are among the most important group of art objects that were made throughout Polynesia. Used for combat, dancing and prestige display, those made for chiefs were shaped and decorated by master artists. Powerful chiefs lobbied the most sought-after artists and political alignments could be signified through the exchange of a great artist’s club. The aesthetic was intertwined conceptually with the form and balance of the object. The physical stature of the commissioning chief was a key factor in the geometric proportions of the final outcome.

A highly refined work would take on layers of ceremonial meaning throughout the creation process. After the wood had been carefully selected, it was then buried in homeland soil or soaked in fresh water for long periods so that it would attain the proper colour and seasoning before it was shaped and carved. The artist used stonebladed adzes, splitting wedges, hardwood hammers, shell scrapers, twist drills and rasps made of coral or the skin of sharks or rays. The most important clubs required the collaborative skill of two artists: one to prepare the wood and give the club its essential shape, another to apply the ivory inlays and meticulous decorative surface embellishments that are so distinctive to these objects. After the work was finished, the clubs were sanded smooth with pumice and finally oiled with sacred shark-liver oil. Many of the clubs offered here reflect these master practices and, as such, are extremely rare and prestigious objects of beauty.

Adornments of the Oceanic people also act as important expressions of rank, lineage and leadership. The magnificent Tongan chest plate (Lot 100) is an icon both in terms of its highly refined form and for the fact that it was fashioned from the sacred jawbone of a whale, a revered ocean spirit.

Often worshipped prior to embarking on oceanic voyages, the Marquesas Islands Stone Tiki (Lot 99) with its bulging eyes, protruding tongue and hands extending, is extremely rare and echoes the Maori’s use of the abstracted human form.

Oceanic & african Art 37 Oceanic & african Art 37

99 Double Tiki Form - ocean navigation deity

38

Robustly resting against one another with arms coming to rest on thighs. Faces express orthodox form with tongues extended and eyes widened, all seeing. Decorative head adornment expressed with geometric carving to the side of each temple. Suspension hole in well balanced position, centering the sculpture. Basalt with earthened patina. Marquesas Islands.

Provenance: Private New Zealand collection. Previously on long term loan to Auckland Museum 1977 - 2010. H170mm W95 mm D164mm.

$20,000 - $30,000

100 Rare Tongan Whalebone Chest Ornament

Of symmetrical abstract form, fashioned from a single piece of fine marine ivory, from the roof of a whalebone jaw. Center line decorated with subtle linear relief, receding as the line falls through to the base of the lower plate. A relief border of a culminating zigzag motif extends around the entire form. Suspension holes incised at upper corners are hourglass in shape and show signs of wear. The patina is of a rich honey colour.

Provenance: Private New Zealand Collection.

W180mm D161mm.

$20,000 - $30,000

In the second half of the 18th century Tongan warriors began making excursions to Vitian (Fiji) territory, where they were repulsed by arrows from the Vitian bows. In response the Tongans produced large atypical whalebone armour breast plates capable of shielding vital organs. Because of the rarity of the material being used, the chest plate also became a lineage signifier communicating rank and power. The Tongan chest plate is considered by many as a perfect Oceanic form. This was certainly the case with regard to the Fijian warriors of the day who coveted the Tongan chest plate above all other spoils of war. Ref ‘The art of Tonga’ 1997, Keith St Cartmail.

Oceanic & african Art 39

101 Rare And Superb Fijian War Club

40

Superbly balanced and made from a single piece of age soaked Vesi (Iron Wood) the culacula form is highly complex offering subtle concave and convex surfaces throughout the blade. The decorative elements are highly achieved with geometric carving throughout the grip and lower and upper mid section of the work. The head of the club is of a sophisticated design with the centre line tapering off to a thin mid section that then flares as it terminates towards the tip. This purposeful design subtly distributes weight to the top of the blade providing more power to the action of the club. The shoulder blades are finely serrated. The patina is remarkable, offering a dark rich color that transitions to deep illustrious red. Overall stability of the club is excellent. Early 19th century.

Provenance: Formerly in the collection of Norman Hurst Gallery, Boston USA. Private New Zealand Collection. L1170mm W340mm.

$22,000 - $32,000

102 Rare and prestigious Inlaid Fijian Rootstock Club

Highly achieved vunikau bulibuli or dromu vonotabua with a classic rootstock head with fourteen prestigious ivory inlays leading to a sennit bound shaft with base of handle also offering large star formed ivory inlay. Certainly the work of a master artist. Rich deep mid-brown patina. Mid 19th century.

Provenance: Private New Zealand Collection. L1080mm W90mm.

$18,000 - $28,000

Oceanic & african Art 41

103

104

105

106

107

108

109

103 Fijian Club - Totokia

Large example of pineapple form with head binding and some age damage. Rich patina of age. L760mm W160mm.

$1,000 - $1,500

107 Rare Vanuatu Club

104 Fijian Club - Kiakavo

Of well balanced proportion. Orthodox rough incurve at top.

Superb light patina. Old museum label attached.

Provenance: Julius Carlebach Gallery, New York, 1955. Zanesville Museum of Art, USA. L900mm.

$2,500 - $4,500

$8,000 - $10,000

$1,500 - $1,200

108 New Caledonia Bird Head Club

105 Fine Fijian Club - Gata

Classic form, well balanced and finely carved detailing throughout handle and continuing into delicate sun / life motif notching throughout the head reflecting chiefly status. Rich superb patina of age. L1000mm W150mm.

Carved from a single piece of hardwood, the base of the handle is circular which then extends into highly refined ‘hockey stick’ form. Dark patina. 19th century. Espiritu Santo, Vanuatu.

Provenance: Julius Carlebach Gallery, New York 1955.

Zanesville Museum of Art, USA. L1040mm.

Displaying a hooded medial ridge on the face, bulbous domed eyes soft slightly raised handle end. Early rich mid-brown patina.

Provenance: Formerly in the Oldman Collection, Otzis Collection and Christensen Fund Collection cc60032 as dispersed by Sotheby’s 1996. L825mm W200mm.

$800 - $1,200

106 Prestigious Fijian Rootstock Club

109 Fine Fijian Totokia Club

42

Vunikau, of gigantic chiefly proportions made of traditional Vesi wood. Finely incised handle. Excellent patina reflects good age. 19th century. L1110mm.

$2,500 - $4,500

Of chiefly proportions and well balanced. Beautiful dark rich patina.

Provenance: Private Collection New Zealand.

L820mm W150mm.

$7,000 - $10,000

110

111

112

113

114

115

116

110 Mangaian Ceremonial Adze - COOK ISLANDS

Square section with heavily abstracted human forms in deep relief. Extremely fine lashings accentuated prestigious nature of the adze. Traditionally the personal belonging of a chief and used to make the first few chops while invoking Tane Mata Ariki, the god of wood workers. L970mm W230mm.

$6,500 - $8,500

111 New Britain Club

Classic mace form with stone head, superb condition with stone, gum and shell inlay. Rich brown patina. L1260mm W76mm.

$800 - $1200

114 Fine Solomon Island War Club

$400 - $600

113 Early Vanuatu Club

Superb early example with binding to handle. Rich old reddish brown patina. Pentecost Island. Early 20th century. L1100mm.

$700 - $1,000

$400 - $600

115 Rare New Britain Ceremonial Axe

112 Fine Solomon Island War Club

Long slender leaf blade in orthodox form. Smoked brown patina. Florida Island style. L1250mm.

Long slender leaf blade in orthodox form. Smoked brown patina. Florida Island style. L1300mm.

The head in the form of a trade axe with carved target motif to blade leading into a long shaft ending with an unusual termination to handle which has a star burst motif. Coloured with black and red pigment. Light brown smoked patina.

Wood, gum. Treasury Island, New Britain. L1140mm.

$800 - $1,200

116 Fine Fijian Gata Club

Of small well balanced proportion. Shell or stone tool carving to handle and upper neck. Damage to top flair. L720mm.

$4,000 - $6,000

Oceanic & african Art 43

117 Fijian Club - Ula

Classic throwing type club of fine form. Rich Patina. L370mm.

$400 - $600

118 Vanuatu Club

An early Pentecost Island club.

Provenance: Zanesville Museum of Art (USA). L970mm

$700 -$1,000

119 Solomon Islands Sulka Club

129 Papua New Guinea Club

Of orthodox form. Rich dark patina. Malaita Island.

Provenenace: Previously in a private English collection. L970mm W70mm.

$800 - $1,200

Orthodox form with variable ribbing. L373mm.

$300 - $500

122 Massim Club and Lime Spatula

Hardwood club and a fine spatula. Solomon Islands. L70mm, L230mm.

$400 -$600

123 Solomon Island Club, Malaita

With a diamond shaped head and raised mid-rib in the form of a cross moving down to a hooked crescent shaped butt. Blackened fibre binding on grip. Mid brown patina. A very good example. L675mm W168mm.

$700 - $1,000

124 Samoan Short Club

With incised Missionary script lettering “MITTELI� on handle and with a suspension hole. L350mm W65mm.

$250 - $450

125 Fijian Club

126 Rennell Island Club

Ua, a paddle club with subtly raised cross formed blade with a dark rich patina. L610mm W170mm.

Roromaraugi curved head incised with triangular detailing leading to long round handle. Old weathered patina. San Cristobel Island, Solomon Islands. Provenance: Zanesville Museum of Art, USA. L1010mm W325mm.

44

Large orthodox mace form with stone head missing its gum inlay and shell.

Rich brown patina.

Provenance: Julius Carlebach Gallery, New York,1958.

Zanesville Museum of Art, USA. L1220mm.

$400 - $600

$1,200 -$1,500

With a thin and finely worked stone blade and intricately plaited rattan casing. Eastern Highlands. Provenance: Julius Carlebach Gallery, New York,1958. Zanesville Museum of Art, USA. Max L800mm H550mm.

$1,200 -$1,500

132 Two Solomon Island Spears

Barb blackened hardwood tips with zigzag motif bound on with woven sennit. Long wood shafts with old collection label. L2200mm, L2688mm.

$400 - $600

133 Collection of Arrows and Bow

Sixteen arrows made up of wood, bamboo, cane, fibre, pigment together with a palm wood bow. L910mm -1750mm.

$200 - $400

134 Solomon Islands Hunting Bow

Traditional form with correct bow line. Fine patina.

Provenance: Eady Collection. Previously on loan to Auckland Museum. Old collection No 16497.1. L1920mm.

$250 - $450

135 Fine Fijian Club Kiakavo

$600 - $900

128 Stone Headed New Britain Club

With a thin and finely worked stone blade, and intricately plaited rattan casing. These Mount Hagen axes serve primarily as prestige objects of great value. They were used not only in regular trade and exchange situations, but also as marriage gifts or as part of the price paid for the bride. They were also worn or carried in certain ceremonial situations.

Small chip damage to one of the blades. Eastern Highlands, Papua New Guinea.

Provenance: Julius Carlebach Gallery, New York,1958.

Zanesville Museum of Art, USA. Max L800mm H550mm.

131 Two FINE PapUa New Guinea Ceremonial Clubs

$500 - $700

127 Solomon Island Club Shield

Ula, type of throwing or missile club with dark rich patina. L420mm.

$400 - $600

$200 - $400

130 Two FINE PapUa New Guinea Ceremonial Clubs

121 Fijian Tapa Beater

Palm wood club with damaged serrated edge leading to flat carved handle. Milne Bay, Papua New Guinea. L775mm W78mm.

Of small well balanced proportion. Orthodox rough incurve at top. Rich red patina. Small flare at butt with terminating knob.

Provenance: Private Collection New York. L645mm.

$500 - $800

136 Solomon Islands Club

Unusual form with damage to one wing, San Cristobel Island, Solomon Islands. L960mm.

$400 - $600

139

137

138

137 Fine Solomon Islands Bowl

A superbly formed bowl in classical ovoid form, terminating in finely detailed ends with inverted stylised birds. Delicate shell inlay work to the outer surface. c. 1850. Choiseul or New Georgia Islands Solomon Islands.

Provenance: David Rosenthal, San Francisco. L438mm W87mm D80mm.

$3,500 - $4,500

139 Very Fine New Caledonian Cane

138 Important Fijian Headrest

Elaborate scrimshaw design to the surface of the bamboo incorporating ancestral fish, human figures, a colonial horse and rider. Missionary script adorns large proportions of the surface. Supported with elegant vee shaped forms which are then latched with plaited fibre binding in a fine complex braided manner. Provenance: Taylor Dale. H170mm W670mm.

$5,000 - $10,000

Extremely fine geometric engravings extended throughout the body of the bamboo cane. Depictions of fish at one end of the piece.

As a status signifier, the Kanak people attributed magical powers to these chiefly orators’ sticks. Used by high ranking Kanak in a range of formal and informal social and spiritual ceremonies. Such a stick would have commonly contained herbs to enhance spiritual ceremonies and ensured the owner safe passage. Early 19th century.

Provenance: Private Collection, New Zealand. L1083mm.

$2,500 - $4,500

Oceanic & african Art 45

140

140 Large Fine Tapa

A large tapa cloth with a fine fish net design at top moving into the more usual geometric forms. Black, brown and red pigments contrasted against the cream masi cloth. W4000mm H3600mm.

143 BABA Tagwa Dance Costume, Tumbua

$2,800 - $5,000

141 Massim Stool

With abstracted human form supporting both base and seat depicting a model of strength and serenity. Top of stool finely carved with geometric motifs. H510mm W320mm.

$600 - $800

142 Superb Massim Lime Spatula

46

$3,000 - $4,000

144 Early Ambrym Fern Mask

A large ebony lime spatula with a finely mirrored figurative elements carved at top. Provenance: Hudig Collection and Private Collection, New Zealand. L630mm.

$800 - $1,200

Of a large cone-shaped wicker framework highly adorned with sago spathe overlay with attached carved mask, trade cloth feathers and pigment. Base adorned with fibre fringe. Such dance costumes represent a spirit from the era of creation. The dancers make threatening gestures and brandish spears to frighten away uninitiated boys from initiation ceremonies. Provenance: Christensen Fund Collection cc61457, as dispersed by Sotheby’s 1996. H1500mm W850mm.

Elongated vertical diamond shape with green and red pigment and plant fibre band, with weathered patina. Such masks are used during festivities within male Ole society and are traditionally destroyed after use. Ambrym Island, Vanuatu. L770mm W130mm.

$600 - $900

141

146

145

147

148

145 Fine Wooden Fijian Headrest

Of large rare form created from a single piece of hardwood. A curved top supported by the ovoid pillars and elegant diagonal cross structures. Rich brown patina. Sennit binding. L560mm D100mm.

$2,000 - $3,000

146 Early and Rare Malekula Mask

147 FINE Malekula Mask

A superb mask with double face decorated with multicoloured chevron and dot motifs used for the Nalawan grade ceremonies. Cane, bark, bamboo, boars tusks fibre and pigment. Southern Malekula Vanuatu.

Provenance: Julius Carlebach Gallery New York, 1958.

Zanesville Museum of Art, USA. H350mm W240mm

$3,000 - $5,000

A superb mask with double face decorated with multicoloured chevron and dot motifs used for the Nalawan grade Ceremonies. Cane, bark, bamboo, boars tusks fibre and pigment. Southern Malekula, Vanuatu. H1300mm W670mm.

$2,000 - $3,000

148 Extremely Rare Massim Soul Boat

Carved from single piece of dark hardwood offering remarkable patina in extremely fine condition. Used as a ceremonial vessel the orthodox scroll work and delicate proportions represent the work of a high ranking master carver. 18th century.

Provenance: Julius Carlebach Gallery, New York,1958.

Zanesville Museum of Art, USA. L670mm WL20mm.

$3,000 - $5,000

Oceanic & african Art 47

153 Solomon Island Belt

A circle shaped belt of fibre and bark, old label attached. W325mm.

$200 - $400

154 Solomon Island Comb

Made of strips of coconut wood lashed together with dyed grass, plaited in an elaborate pattern. L194mm.

$200 - $400

155 Solomon Island Comb

A superb flat comb made with strips of coconut wood lashed together. Middle area covered in a black gum with inlaid shell and leading to delicate crescent shaped finials at top. L250mm.

$500 - $700

156 Rare Kiribati Shell and Bead Belt

With finely drilled belt adornment (katau), Nonouti, Kiribati. L1600mm.

$200 -$300

157 Rare Kiribati Shell Belt

Finely drilled belt adornment, katau, Nonouti, Kiribati. L1000mm.

$200 -$300

158 Solomon Island Arm Bracelets

A group of four early arm adornments, three shell, one fibre, gum and pigment. Max L280mm.

$200 - $300

159 Two Breast Ornaments 143

Mother of pearl, plant fibre, red pigment and cowrie shell. Worn by both men and women and used as currency. L220mm.

$250 -$450

160 Tongan Cowrie Shell Skirt

Finely constructed skirt of tan and white shell and fibre. L1120mm D450mm.

$200 - $400

149 Papua New Guinea Adornment

An unusually large example of a ceremonial headband made up in traditional form with juvenile nassa snail shells.

Provenance: Purchased by the current owner from Sotheby’s, New York. L500mm W156mm.$400 - $600

$400 - $600

161 A Santa Cruz Gourd

$400 - $600

151 Papua New Guinea Adornment

Ceremonial headband made up in traditional form with juvenile nassa snail shells. Pierced nassa snail shells are woven into geometric flows.

Provenance: Purchased by the current owner from Sotheby’s, New York. L520mm D120mm. .$400 - $600

$400 - $600

152 Papua New Guinea Adornment

48

A Blyth’s hornbill used as an adornment, two suspension holes used for attaching fibre plaited ties. Rich cream patina. L206mm W50mm.

$300 - $400

$100 - $200

162 Two Admiralty Island Daggers

150 Papua New Guinea Adornment Ceremonial headband made up in traditional form with juvenile nassa snail shells. Pierced nassa snail shells are woven into geometric flows.

Provenance: Purchased by the current owner from Sotheby’s, New York. L380mm D80mm. .$400 - $600

Neck secured with finely woven fibre. L180mm W120mm.

Flaked black obsidian blades attached to handles with fibre and gum. The handles incised with triangulated forms. Red and orange pigment. L220mm L260mm.

$400 - $600

163 A Fine Tongan Comb, HELU

Helu, used as a comb and also hair decoration. Coconut and coir leaflet midribs. 19th century. H278mm W58mm.

$400 - $600

164 New Hanover Stone Discs and Adzes

A pair of very early stone discs possibly a form of currency found in a plantation in New Hanover Island together with assorted stone adzes (7).

$200 - $400

165 Two Papua New Guinea Bone Daggers

A pair of well shaped cassowary bird bone daggers, some carving to surface with rich variegated blackened cream coloured patina. L340mm L310mm.

$250 - $450

166 Prestigious Papua New Guinea Bone Dagger

The carved dagger with deep circular carving and intertwined with heavily abstracted faces. Inlaid cowrie shell eyes to top and with attached brown and white paradise bird feathers.

Kwoma people, Washkuk Hills, East Sepik. L370mm.

$900 - $1,200

167 Vanuatu Breadfruit Knife

Of plain wooden form decorated with complex silhouette hand. Dark patina. Torres Island, Vanuatu. 19th century. L530mm W210mm.

$200 - $400

168 A Wooden Huon Gulf Ladle

Top and mid section carved with wide tapering scoop. Black patina with some traces of lime infill. L730mm W80mm.

$400 - $600

169 Royal Tongan Tapa

A superb Tongan Tapa made for Queen Elizabeth’s Royal Tour, 1953.

W4200mm H1960mm.

$300 - $400

170 A Santa Cruz Island Gourd

Neck secured with finely woven fibre. W120mm.

$100 - $200

171 Solomon Islands Bowl A superbly formed bowl in classical ovoid form, terminating in finely detailed ends with inverted stylised birds. Shell button inlay work to the top ends. 19th century. Choiseul or New Georgia Islands, Solomon Islands.

L515mm W210mm D140mm.

$800 - $1,200

172 A Rare Group Of SEVEN Hawaiian Awls OF Carved Bird Bone

Found in the ancient Hawaiian ‘Kapo cave’ in Puna. Which is linked to the legend of Kopokohelele (Kapo of the flying vagina) the goddess Kapo, who sent her flying vagina to lure the demi-god Kamapua’a away to save her family and her sister Pele. Max L80mm.

$2,000 - $4,000

173 Captain Tilly’s Hat Box

A tin hat box containing a large group of items of adornment, including the captains log book and coat buttons, a pearl shell spoon and pendant, a large cloth and two banana leaf finely woven bags with geometric designs, together with rope, bindings, an arm band, a weaving peg and a skirt. Santa Cruz, Solomon Islands.

Provenance: Acquired by current owner from Dunbar Sloane, Auckland.

$2,000 - $3,000

174 Ceremonial Bowl

With ‘Mary Itunga’ carved on side. Fine Patina. Santa Cruz, Solomon Islands. L530mm W210mm.

$500 - $700

175 Solomon Island Fishing God

175

A statue of a fishing god with an anthropomorphic bird-man figure holding a headless fish and crouching on a sea turtle entwined by a snake; shell inlaid eyes rich honey coloured patina. Roviana Island, Solomon Islands. H280mm.

$800 - $1,200

176 Fijian Tapa Cloth, MASI

A fine and early example with various geometric designs. H370mm W2540mm.

$200 - $300

177 Fijian Tapa Cloth, MASI

Another fine example with similar geometric designs. H1660mm W1940mm.

$400 - $600

178 Fijian Tapa Cloth, MASI

Another fine example. H1020mm W1880mm.

$500 - $800

179 Fijian Tapa Cloth, MASI

A fine and early example with various geometric designs, Fiji.

H1930mm W2140mm.

$700 - $1,200

180 Hawaiian Food Bowl Sling

Of natural fibre, Hawaiian. 19th century.

$500 - $700

181 Two Spear Heads

Max W113mm.

$400 - $600

Oceanic & african Art 49

Lot 191 Victoria Ginn Cabo Colour photograph $250 - $350

50

Papua New Guinean Art Papua New Guinea in itself is one of the most diverse societies on Earth, with over 850 indigenous languages and at least as many traditional societies, within a population of just under seven million. The people of Papua New Guinea are prolifically creative across all forms of artistic expression.

The Abelam ancestral figure (illustrated right) is a remarkable sculpture and represents a master Abelam art form: back arched, narrow shoulders thrown back, torso bent, hands on both sides of the waist, legs bent and creasing knees, along with a marked oval face and a long straight nose. Fine and complex polychrome patterns of red, black and yellow ochre balanced with solid colour highlight volumes and balance throughout the entire body.

Included here are also wonderful examples of costume from the famous Christensen Fund Collection of Oceanic and African Art sale at Sotheby’s, Australia, in October 1996.

The outstanding Mwai masks (Lot 185 and 186) are good examples of the quality of this section of the catalogue. One should also admire the highly achieved and rare shields such as the beautifully minimalist Kukukuku shield (lot 219) and the impressive Kwoma pigskin shield (Lot 217).

182 Important Abelam Ancestral Figure

A large and impressive Abelam male spirit figure from a traditional men’s house, decorated overall with ochre and mineral pigments.

Abelam People, Prince Alexander Mountains, Papua New Guinea.

Provenance: Julius Carlebach Gallery, New York, 1958.

Zanesville Museum of Art, USA. H995mm W195mm.

$8,000 -$12,000

Oceanic & african Art 51 Oceanic & african Art 51

183 Fine Betel Nut Mortar

Of unusual form, with typical scrollwork and raised birds in high relief, their beaks pecking at a fish motif beneath; each bird forming the ‘nose’ of a face with two disks for eyes, two further birds form the back of the stylised head and ‘ears’. Variegated lustrous surface. Papua New Guinea, Milne Bay Province.

Provenance: Mark Lissauer, USA. H600mm W50mm.

$3,500 - $5,500

184 Rare Village Challenge Post, MIDDLE SEPIK RIVER

Beautiful carved post with typical Sepik mythology, Atmel people. Highly achieved with superb ancestral bird grasping onto a male figure who stands on two ascending intertwined crocodiles. Base is also heavily detailed and offers three carved heads. H2000mm W680mm.

$2,500 - $3,000

185 Mwai Mask

A superb mask of wood covered with a coating of claystone inlaid with nassa cowry shells. Red white and black pigments accentuate broad open face and eyes inset with conus shell. A strong nose line with flared nostrils from which are are extended prestigious boar tusks. Multi-colored vegetable fibres frame the jaw line. Upper lip extends towards chin which terminates with finely carved head and contorted ancestral figure.

Provenance: Christensen Fund Collection cc60994, as dispersed by Sotheby’s 1996. H970mm W370mm.

$1,500 - $1,800

186 Mwai Mask

183

184

With classic elongated face decorated with human hair, boar tusks and finely laid mosaic of cowry, conus and nassa shells in clay. Nose extends gracefully towards chin which terminates with ancestral bird totem. Face has part polychrome surfaces.

Provenance: Christensen Fund Collection cc60988, as dispersed by Sotheby’s 1996. H880mm W160mm.

$700 - $1,000

187 Solomon Islands Walking Stick

With mother of pearl inlay. L1020mm.

$500 - $700

188 Sorcerers Soul Stone

Papua New Guinea, Highlands. See and illustration of this stone in a original colour photograph by Victoria Ginn, page 50, Lot 191. D92mm.

$250 - $350

189 Papua New Guinea Cowrie Shell Necklace

Papua New Guinea, Highlands. L600mm.

$250 - $350

190 Papua New Guinea Adornment

Of cassowary feathers finely woven into head net, Highlands. H300mm W500mm.

$250 - $350

191 Victoria Ginn - Cabo - Sorcerer holding Sorcerer’s Stone Colour photograph signed and dated 1977

1/1 by Victoria Ginn. H330mm W330mm.

See illustration page 50.

$250 - $350

192 Victoria Ginn - Five Colour photographs

185

52

186

Dodore Giant, Maliata, Soloman Islands 1986; Kapa Dancer, Bellona, Soloman Islands 1986; Local Goroka, Papua New Guinea 1978; Ritual Dress Santa Cruz Islands 1986. Each title inscribed, signed and dated 2010 each 1/1. H330mm W330mm

$2,500- $3,500

193 Rare and Important Papua New Guinea Sepik Ancestral Hook

The circular base is framed by three hooks which intersect under the base of the work. The tip of the hooks are double barb with a single geometric relief on each. The base of the figure is again circular. Muscular legs articulate into buttocks. Torso is also beautifully defined with chest and rear shoulder lines balanced. Arms come to rest on broad hips. The strong neck line is heavily decorated. The head is superbly carved with a highly refined chin line delicately extended with an abstracted beard form. The strongly inset eyes are framed by an angular brow and nose which is pierced. The forehead is carved with an abstract totem. The suspension hole is square cut. Signs of white pigment show through very aged patina. Does not stand freely. Reference: Meyer, 1995: 229, text to fig. 242.

Provenance:Â Vetted by Julius Carlebach in 1958 who ascribed a value at that time of US$900. Zanesville Museum of Art, USA.

H510mm W138mm.

$15,000 - $25,000

Oceanic & african Art 53

194 Fine Massim Drum

Of tapering hollowed form with a carved ridge with central handle and finely pierced ridges on either side for the attachment of ornaments, the whole decorated in bands of undulating and curvilinear motifs.

Light brown patina. Papua New Guinea. L630mm W120mm.

$800 - $1,200

195 A Fine Massim Drum

Of tapering hollowed form with a carved ridge with central handle and finely pierced ridges on either side for the attachment of ornaments, the whole decorated in bands of undulating and curvilinear motifs.

Fine dark brown patina. Papua New Guinea. L655mm W165mm.

$800 -$1,200

196 Important Haus Tamburan Finial

From a large Haus Tamburan with large stylised bird form at top having carved designs on open wings. Heavy weathered patina with small traces of pigment remaining, village repair to one eagle wing. This piece is a virtuoso carving effort made to be viewed at a distance and from below. L1990mm W675mm.

$1,500 - $1,800

197 Indonesian Figurative Ceremonial Horn Spoon

195

194

Handle depicting multiple figurative elements surrounded with sun and animal motifs. Reserve side offers variation. Top of handle terminates with eight fashioned comb like fingers. Neck of spoon guarded by bird forms. The spoon shows signs of extensive use, particularly the inner portion of the ladle. Rich tan patina. L257mmW50mm.

$3,000 - $5,000

198 Indonesian Ifugao Ceremonial Spoon

Delicately carved with standing figure with arms resting on thighs. Well defined face with elaborate head nut. Spoon form deep and elliptical.

Provenance: Zanesville Museum of Art, USA. Rich red patina.

L168mm W51mm.

$400 - $600

199 Fourteen PapUa New Guinea Spears

A range of finely crafted hunting spears of bamboo hafted and gummed to a variety of fine tips. 19th century.

Provenance: Zanesville Museum of Art, USA. L1050mm - L1500mm.

$200 - $400

200 TWO Papua New Guinea Paddles

With traditional ribbed crease extending up body of blade then spreading into vee form at the shoulder. Shaft is plain. Upper grip of paddle offers abstract pig form. Provenance: Zanesville Museum of Art, USA. L710mm W110mm.

$200-$400

201 Papua New Guinea Paddle

A superbly carved paddle decorated with the abstracted form of a crocodile and with a light to mid brown patina. L430mm W80mm.

$200 - $400

202 Rare Baining CerEmonial Mask

196

54

Rattan frame covered with fine bark cloth painting, depicting the head of a stylized butterfly and duck bill. Large concentric circles on both wings and very fine geometric painting detailing overall form. H1100mm L900mm W400mm.

$4,000 - $6,000

203 Sepik River Crocodile Spirit Form Papua New Guinea

Carved from single piece of softwood. Strong detail and excellent pigment decorations remaining.

Provenance: Julius Carlebach Gallery New York 1958.

Zanesville Museum of Art, USA. L800mm W40mm.

$3,000 - $5,000

204 Two Bows Papua New Guinea

Provenance: Julius Carlebach Gallery, New York, 1955.

Zanesville Museum of Art, USA. L1630mm, L1500mm.

$200 - $400

205 Papua New Guinea Paddle

With traditional centre crease extending up body of blade then spreading into a vee form at the shoulder. The shaft is decorated with a finely carved abstract bird form.

Provenance: Zanesville Museum of Art, USA. L1450mm W110mm.

$200 - $400

206 FINE Papua New Guinea Carved Ceremonial Vessel

Finely carved coconut with butterfly totems.

Provenance: Julius Carlebach Gallery, New York 1958.

Zanesville Museum of Art, USA. W143mm D123mm.

202

$400 - $600

207 Sepik Carver’s Adze

A wooden adze handle with steel blade, small figural carving to top.

Provenance: Julius Carlebach Gallery, New York,1958.

Zanesville Museum of Art, USA. L350mm.

$250 - $450

208 Spear Thrower, Papua New Guinea

Bamboo shaft, closed on one end, heavily abstracted wooden carving representing bird spirit affixed by rattan, slightly damaged; Sepik River.

Provenance: Julius Carlebach Gallery New York 1958.

Zanesville Museum of Art, USA. L850mm.

$200 - $400

203

209 Spear Thrower, Papua New Guinea

A split bamboo shaft with wooden carved ornament in form of a stylised bird and end stopper, attached with cane binding.

Blackened varied patina. Sepik River. L980mm .

$200 - $400

210 Group of Papua New Guinea Arrows

Finely crafted hunting arrows of various styles.

$250 - $450

211 Ancestral Figure, Papua New Guinea

Of elongated stance and muscular shoulder line. Arms resting comfortably.

Carved from fine hardwood. Rich dark patina. H290mm W43mm.

$600 - $800

212 Two Easter Island Spear Heads

Flaked obsidian blades. Rapanui Island.

Provenence: Private Collection, New York. W75mm D45mm.

$500 - $700

198

213 Large Sepik Canoe Prow

Wooden carved prow with stylized crocodilian form to front extending to a raised beaked hook spine ridge and a carved abstracted bird from. Weathered gray patina. Similar example in the Basel Museum. L1240mm W360mm.

197

$1,500 - $2,500

Oceanic & african Art 55

214

215

216

214 Simbain Shield, Papua New Guinea

Superior example. Blackened shield carved with highly abstracted geometric face motifs. Bismarck Schrader Ranges. H1060mm W475mm.

$1,500 - $2,500

215 Rare Mengen Shield, Papua New Guinea

Delicate relief carving depicting two stylised faces (reversible).

Centre ridge providing excellent overall balance and weight.

Highly achieved work with weathered early patina, wood and pigment. New Britain Island. H1280mm W220mm.

$5,000 - $7,000

216 Superb Ramu River Shield

A stone carved shield of rectangular form, pierced on either side. The front decorated with an abstract classic triangularshaped face at the top between sets of stylised eye motifs.

It is rare to find an example with traditional pigments and split cane attached and still intact. Fine and varied encrusted patina overlaid by coloured pigments. L1150mm W530mm.

$2,000 - $4,000

217 Kwoma Pigskin Shield

A prestigious ovoid shaped shield made of wild boar hide, cane and wood as used by younger initiated men. Only the elder warriors were allowed to use the carved wooden shields. Kwoma People, Washkuk Hills, Middle Sepik, Papua New Guinea. H1400mm W570mm.

$1,500 - $2,000

218 Rare Solomon Islands War Shield 218

219

56

A rare and fine elliptically shaped fighting shield made of coiled pieces of cane bound with horizontal lashing. A loop handle of cane attached to the reverse side of the shield. Wicker fighting shields of this general type were once utilised in the New Georgia Islands, Santa Isabel, Guadalcanal and Florida Islands. 19th century. H835mm W266mm.

$3,000 - $4,000

217

219 Rare SALUMEI River Shield

Carved from a massive log. The large elliptical and convex form with symbolic designs carved in low relief. The central band of sunburst, circle and crescent motifs surrounded by concentric undulating lines with three bands of leaf-like forms framed at the perimeter by circles and triangles. Two vertical flanges carved at the reverse for the insertion of the rattan and braided fibre. The shield is coloured with layers of white, black, yellow and red mineral pigment showing wear. The Salumei River is a tributary of the Korosameri River. H1830mm W475mm.

223

$1,800 - $2,500

220 Solomon Island Shield

A rectangular bark shield encircled with a shaped wooden border.

Wood fibre bark. Dull patina. Santa Isabel Island, Solomon Islands.

L1290mm W200mm.

$500 - $700

221 A New Britain Shield

Composed of three planks joined vertically with strips of rattan.

Decoration consists of carved spirals with red and black pigments.

Coastal south western New Britain. L1200mm W250mm.

$700 - $1,000

222 Kukukuku Shield

Of ovoid form, with small vee-shaped peep-slit at top, two pierced holes at middle for a handle attachment. An overall rich warm black patina. Collected by a petroleum engineer 1960’s. L945mm W450mm.

$1,500 -$2,000

224

223 A Superb Papua New Guinea War Canoe Prow

A rare example of a large crocodile prow from a traditional war canoe, adorned with a deep, beautifully carved stylised crocodilian form with conus shell detailing. Wood, shell inlaid eyes. Sepik River region.

L1050mm W340mm.

$3,000 - $5,000

224 Massim Canoe Splashboard

The scrolling ornament carved in relief with a band of concentric circles to one side and heart-shaped motifs to the other. Two figures carved within pierced section at the top.

Massim People, Papua New Guinea. L735mm W 660mm.

$800 - $1,500

225 Papua New Guinea Abelam Male Figure

The standing figure with elongated face, long nose and lightly carved mouth. The arms rest on hips. Fine incised decoration to the stomach. All over black, red, white, ochre decoration to head and body. L865mm W110mm.

$500 - $1,000

226 Papua New Guinea Washkuk Female Figure - Nogwi

Standing with hands resting on hips. The oval shaped face with a domed forehead, round eyes and smiling mouth. The face painted with red and white ochre carved designs to chest area and stomach with traces of ochre to collar. L1260mm W200mm.

$300 - $600

227 Papua New Guinea Washkuk Female Figure - Nogwi

Standing with hands resting on hips. The oval shaped face with a domed forehead, round eyes and smiling mouth. The face painted with red paint and white ochre. Carved designs to chest area and stomach. L1000mm W140mm.

225

226

227

$300 - $600

Oceanic & african Art 57

58

Maori Art Hei toi whakairo He mana tangata Where there is artistic excellence There is human dignity.

Illustrated left: Lot 192 From the Zane Grey archive.

Maori women weaving ,negative $ 8,000 - $12,000

Oceanic & african Art 59 Oceanic & african Art 59

228 HE POUNAMU KANIORO Heavily Sawn Giant Pounamu Slab

A remarkable example of the scale of the labour undertaken by the early Maori master craftsman. Incomplete and representative of phase three of toki pou tangata adze production style. Front and back faces are flat and smoothly polished. A medium light pounamu. Pre European, Classic Period. L358mm W138mm. Y3333.

$2,800 - $3,800

229 HE POUNAMU KANIORO Heavily Sawn Giant Pounamu Slab

230 Large And Superb Maori Toki

In Toki Pou Tangata style. Incomplete with deep saw marks evident on one side. Representative of phase three of toki pou tangata production. Pre European, Classic Period. L312mm W103mm. Y7458.

Argillite toki of this scale had lineage of ceremonial and technical significance, embodying gods associated with the ancestral creators of the technical carpentry. The giant toki was used to undertake large societal projects such as the felling of giant Kauri and the building of migratory canoes.

Large type 1A (Duff) with rectangular cross section. Hammer pecked butt with remaining surface smoothed to a fine polish.

Cutting edge is slightly chipped otherwise in good condition.

Archaic Period 14th – 16th century. L390mm W91mm. Y6251.

$6,000 - $8,000

231 Large River Worn Toki

$2,000 - $3,000

Found in the river beds of Nelson. This impressive toki offers an unorthodox kinked neck reminiscent of early Eastern Polynesian and Hawaiian hafted adze, and it appears to have been hammer pecked. Archaic Period 14th – 16th century, black argillite. L320mm W57mm. Museum registered. Y14052.

$2000 - $3000

228

229

60

TOKI For early Maori, the toki (adze) was a critical tool that ensured survival. Applied to many arts such as the making of waka, whare and the application of the sacred moko, the toki evolved into regional types that for many collectors represent a quintessential Maori form. The very best toki enjoy sophisticated simplicity and are highly functional objects that are also extremely aesthetically pleasing. The gravitas of the toki was so deep that they feature in many of the ancient creation stories and were attributed names that became lineage markers for the relevant iwi.

Securing materials for early toki production was fraught with danger. Regional warfare and, at times, starkly hostile geography meant that significant risk was accepted in the acquisition of the required materials. This led, however, to significant and well-motivated trading and politicking to ensure supply of the more desirable materials such as pounamu. It is also significant that the specific mineral make-up of different materials has enabled the collector to ascribe regional origins to the toki.

The manufacturing of stone implements involved a number of processes: hammering – the smashing of boulders or large blocks of stone; sawing, which involved the application of sand and water together with a sawing motion to form a groove that formed a fault line (refer Lots 228 and 229); and bruising – the last step before grinding and polishing.

The polishing of the implement body was not driven by utilitarianism but rather for artistic measure. Although one cannot discount the extremely focused purpose of each type of toki, the geometry, distribution of weight and volume was also informed by an aesthetic driver.

This can certainly be seen in the Toki Poutangata (Lot 236) and the giant toki (Lot 230) which would have been created by master craftsmen. It is likely that both these examples would have been used for certain ceremonies pertaining to the felling of large trees required to create war canoes, stockade posts or other significant architectural elements.

230

231

Oceanic & african Art 61

239 233

236

235

238

232

237

234

236 Toki Pou Tangata - A Chiefly Ceremonial Nephrite Adze 232 Toki Pounamu

Finely finished adze with saw marks evident on both sides. Light nephrite, Pre European, Classic Period. L190mm W32mm. Y7415.

$1,200 - $1,500

233 Large Toki

Early form of South Island adze. Hammer pecked argillite of the gray veined type found in the northern Durville district. L294mm W63mm. Y14311.

$600 - $800

234 Large Pounamu Toki Pou Tangata

A fine adze from the Kaikoura district. Conical formed suspension hole indicates this adze would have been used for ceremonial and adornment purposes. Light inanga pounamu.

Pre European, Classic Period. L189mm W50mm. Y14314.

$800 - $1200

62

$600 - $800

$4,000 - $6,000

237 Toki Totoweka Inanga

Very rare blood vein (variegated) nephrite adze with hammer pecked butt. Refined form suggests high status.

Early form. L165mm W55mm. Museum registered.

$2,500 - $3,500

238 Toki

Of triangular form with pecked butt. The body terminating with a small cutting edge. Dark grey greywacke. Early form. L220mm W45mm. Y14303.

$500 - $700

239 Toki

235 Large Toki

Of triangular form with pecked butt, the body terminating into small cutting edge designed to maximise the adze’s cutting power. Greywacke. Early form. L220mm W40mm. Y14302.

Would have indicated the high status of the owner with the dark green nephrite having been shaped into a perfect orthodox form by a master craftsmen. Classic Period. 17th century. L240mm W95mm. Y09184.

Rare triangular form with pecked butt terminating into very fine cutting edge designed to maximise its effectiveness. Body of adze offers unusual convex surface with the end terminating with a pronounced lip. Light greywacke. Early form.

L270mm W38mm H540mm. Y14310.

$300 - $500

240 Toki Pounamu

Quadrangulated form tapering to a fine blade, slightly chipped.

Dark green nephrite. Classic Period. L80mm W60mm. Y14768.

$400 - $600

241 Toki

Pecked surface terminating to smooth cutting edge. Stone material shows orange veins through the bottom and lateral facings.

Shaped hafting neck apparent. L265mm W64mm. Y14767.

$500 - $700

242 Toki

Quadrangulated form tapering to a fine blade in good order. Body shows significant curvature suggesting adze was applied to canoe production.

Classic Period. L236mm W56mm. Museum registered. Y7460

$600 - $800

243 Large Toki

Large quadrangulated form tapering to chipped blade.

Note: Collector’s reference to Clarence River District. Dark greywacke. Early Form. L214mm W86mm. Y14311.

$400 - $600

244 Toki

Pecked haft. Smooth faces terminating into heavily shaped cutting edge. Greywacke. Classic Period. L170mm W54mm. Y7443.

$300 - $600

245 Toki

Pecked haft. Smooth faces terminating into cutting edge with small chip. Note: Collector’s reference to Cape Farewell. Early Form. L175mm W45mm. Y14304.

$300 - $400

246 Toki Pounamu

Untanged quadrangulated section. Butt rough. Steep bevelled cutting edge.

Dark green streaked nephrite. Classic Period. L122mm W62mm. Y09971.

$600 - $800

247 Toki

$150 -$250

Showing signs of sawing. Dark green and red streaked nephrite. Classic Period. L90mm W66mm. Y14313.

$150 - $250

249 Four Toki

Quadrangulated sections tapering into various bevelled cutting edges in variable condition. Various examples of argillite. Max L160mm W72mm. Y13110, Y13109 Y13184, Y13174.

$300 - $400

250 Seven Toki and Fragments

An assortment of stone tools including pre contact examples of small toki and stone flakes. Max L130mm W58mm.

Y5815, Y2981, Y2965, Y2949, Y2969, Y5814, Y2958.

$200 - $300

An assortment of stone tools including pre contact patu fragment and toki. Various examples of greywacke. Max L145mm W62mm. Y13123, Y14312, Y13119, Y13117.

$250 - $350

252 Three Toki

One fine black argillite adze with two other greywacke examples with the following collector note: Needles, Onapua Bay. Max L118mm W30mm. Y14305, Y14306, Y14307.

$350 - $450

253 Five Toki

An assortment of stone adzes fashioned from various examples of greywacke and basalt. Max160mm W82mm.

Y13173, Y13169, Y13155, Y13124, Y13114.

$300 - $400

254 Four Toki

An assortment of stone adzes fashioned from various examples of greywacke and basalt. Max L140mm W51mm. Y5792, Y2975, Y2982, Y2946.

$150 - $250

255 Six Toki

An assortment of stone adzes fashioned from various examples of greywacke, basalt and argillite. Max L110mm W40mm. Y2966, Y5787, Y5815, Y5818, Y14769, Y2976.

$200 -$300

256 Four Toki

An assortment of stone adzes fashioned from various examples of greywacke and argillite. Max L150mm W48mm. Y13115, Y13170, Y13120, Y13175.

$350 - $400

257 Eight Toki

Pecked haft. Smooth faces terminating into softly bevelled cutting edge with fine chips. Dark greywacke. L138mm W37mm. Y07578.

248 Large Toki fragment

251 Mere Fragment and Three Toki

An assortment of stone adzes fashioned from various examples of greywacke and argillite. Max L162 W74mm. Y13171, Y13172, Y13168, Y13113, Y13122, Y13118, Y13121.

$450 - $550

258 Two Toki and a Putu Fragment

Fashioned from various examples of greywacke and argillite.

Max L150mm W50mm. Y13112, Y13189, Y12383.

$400 - $500

259 Three Toki

Fashioned from various examples of greywacke and argillite.

Max L145mm W50mm. Y2994, Y2978, Y2963.

$100 - $200

260 Early Maori Mortar And Pestle

Used to create a large variety of natural medicines. Fashioned from a grey stone. Both mortar and pestle show correct wear. L115mm W 97mm D56mm. Museum registered.

$250 - $450

Oceanic & african Art 63

263 264

262

261

266

268 265

270 269

267

261 Toki Pounamu

Of quadrangular form terminating with steep bevel.

Collector’s note: Edgecombe, Clarence. Dark green nephrite. Classic Period. L72mm W48mm. Y14315.

267 Rare Bone Kaka Poria - Bird Ring

$200 - 400

262 Toki Pounamu

Of quadrangular form terminating with steep three angled bevel. Collectors note: Undecipherable. Dark Green Nephrite. Classic Period. L78mm W49mm. Y14316.

$200 - $400

263 Assorted Toki and Stone Tool Fragments

Two black stone adzes, lime stone adze, cutting blade obsidian flake, lightly fashioned sinker. Collector’s note: Mussel Point, Onapua Bay. L70mm W35mm. Y14322, Y14319,Y14325, Y14318, Y14308.

$300 - $400

264 Three Toki Pounamu

Of various quadrangular forms terminating with steep bevels.

Collector’s Note: South Bay. Dark green and light cloudy nephrite. Max L56mm W36mm. Y14323, Y14320, Y14321.

$400 - $600

266 Bone Toggle

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Made from large bone, possibly marine ivory. Decorative notching evident at either end of toggle. Very fine and aged patina. L28mm W18mm.Y14208.

$200 - $300

Each offering hourglass incisions at suspension hole. One in oval form with collectors note: Mussell Point. Another in bird form and another in triangulated form. Nephrite. Max L 38mm W28mm. Y14324, Y14207.

$350 - $550

269 Three Tattooing Chisels

Uhi puru or uhi matarau used to insert pigment and made from fine Albatross bone. Max L53mm W12mm. Y14774, Y14773, Y14772

$400 - $600

270 Tattooing Pigment Pot

Fashioned from bone. Max L36mm W15mm. Y14210, Y14206.

$80 - $120

$450 - $650

268 Three Pounamu Adornments

265 Two Hook Fragments

A bird ring of triangulated triple raised notching and hourglass incision at suspension hole. Fashioned from bone, possibly marine ivory. Fine patina. Young kaka were easily captured and tamed. They were held captive by a small leg ring called a poria, which had a cord attached to prevent the bird flying off. Kaka poria (leg rings) could be quite ornate and were also worn as pendants. L33mm W25mm. Y14209.

Used in traditional Maori tattooing, this vessel would have held a mix of charcoal and water that would be applied with puru.

Grey stone. Refer also to lot 269. H30mm W37mm. Y09224.

$800 - $1,200

271 Kaka Poria Pounamu

A bird ring of early form with incisioned hourglass suspension hole with slightly bevelled leg hole. Nephrite. L31mm W27mm. Y14077.

$400 - $600

271

272

273

274

275

276

277

278

279

280

281

282

283

272 Pekapeka Adornment

In the form of a stylized pair of birds. Hourglass incisioned suspension hole. Pounamu. W45mm D28mm. Y13082.

$400 - $600

273 Pounamu Adornment

Fine needle form with drilled hourglass suspension hole. Nephrite. L65mm W5mm. Y14204.

Transitional style in ovoid form. Nephrite. L65mm W15mm. Y13505.

$400 - $600

275 Pounamu Adornment with Gold Clasp.

$300 - $400

Transitional style in ovoid angular bevel form. Incisioned hourglass suspension hole, Nephrite. Provenance: Eady Collection. Formerly on loan to the Auckland Museum. L62mm W12mm. Museum registered.

$400 - $600

Gauge section with worked scarves to each lateral side. Broken at poll then later drilled. Polished nephrite. L60mm W20mm. Y14148.

$100 - $200

278 Kuru Pounamu Ear Adornment

Long fine ovoid form. Drilled hourglass suspension hole for muka cord. The nephrite of tangiwai type. L101mm W13mm. Y14188.

$800 - $1,200

The stone, almost round in section, flecked throughout. Tapered at both ends. Worn and polished. Dark green nephrite. L60mm W10mm. Y10795.

$200 - $400

Transitional style in ovoid form. Nephrite. L65mm W10mm. Y14839.

282 Two Delicate Toki Pounamu

Long fine ovoid form. Drilled hourglass suspension hole for muka cord with bevelled shoulders. Nephrite. L85mm W12mm. Y4840.

$300 - $400

One toki almost round in section and tapered at both ends. The other in triangulated form. Worn and polished. Light green and dark green nephrite. Max L 57mm W15mm. Y14203, 14202.

$400 - $600

283 Fine Group of Pre Contact Adornments

277 Pounamu Adornment - Fragment

$800 - $1,200

281 A Fine Toki Pounamu

276 Kuru Pounamu Ear Adornment

Long fine ovoid form. Drilled hourglass suspension for muka cord. Nephrite. L134mm W17mm. Y14317.

280 Fine Kuru Pounamu Ear Adornment

$200 - $400

274 Pounamu Adornment with a Gold Suspension Ring

279 Large Pounamu Adornment

All with drilled hourglass suspension holes for muka cords. Bone, dark nephrite, shell. Max L31mm W17mm.

Y14168, Y14170, Y14234, Y14168, Y14167.

$800 - $1,200

284 Thirteen Assorted Toki and Stone AND Bone Tool Fragments

Including bird spear head, sinkers, adornments, adzes and chisels fashioned from various materials. Max L 112mm W80mm. Y14846, Y14848, Y14766,Y14844, Y14845,Y14842,Y1480, Y14849, Y14841, YY14843.

$450 - $750

Oceanic & african Art 65

285

286

287

288

289

290

291

290 Hei Tiki Pounamu

285 Hei Tiki Pounamu

In orthodox stance, with large head tilting to the right.

With drilled hourglass suspension hole for muka cord and evidence of second suspension hole being undertaken on the reverse. Worn upper quarter with tongue extended. Elbow and rib details evident but well worn. Nephrite, kawakawa type. Late 19th century. L72mm W39mm. Y14762.

$3,500 - $5,500

286 Hei Tiki Pounamu

In orthodox stance, with head tilting to the right. The drilled hourglass suspension hole for muka cord very worn. Worn upper quarter marginalising mouth. Both eyes well defined as are elbows which extend arms to rest on legs. Faint evidence of feet detailing.

Nephrite, kawakawa type. 19th century. L59mm W45mm. Y09845.

$6,000 - $9,000

$3,000 - $6,000

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A fine example. In orthodox stance, with ridged head tilting to the right and overpowering the body portion. Drilled hourglass suspension hole for muka cord extremely fine. Mouth and eyes well defined as are elbows which extend arms to rest on legs. Muscular ribs also well carved and evident. Fine notching to face, arms and legs. Scarfing on back. Nephrite, inanga type. 19th century. L70mm W35mm. Y14597.

$3,000 - $5,000

$4,000 - $6,000

A very interesting pendant in crude tiki form with toggle suspension hole. Overall form showing very worn patina. Age unknown. L54mm W33mm. Y14185.

$3,000 - $5,000

293 Hei Tiki Pounamu

In orthodox stance notched head tilting slightly to the right.

Teeth evident. Red sealing wax applied to eyes. Overall narrow form. Drilled hourglass suspension hole for muka cord. Nephrite. 20th century. L69mm W37mm. Y14186.

$2,000 - $3,000

294 Hei Tiki Pounamu

$12,000 - $18,000

289 Hei Tiki Pounamu

In orthodox stance with the notched head tilting slightly to the right and the teeth evident. Red sealing wax applied to eyes.

Overall narrow form. Drilled hourglass suspension hole for muka cord. Nephrite. 20th century. L86mm W56mm. Y14186.

292 Rare Stone Tiki

288 Hei Tiki Pounamu

A particularly fine example in orthodox stance, with ridged head tilting aggressively to the right. The drilled hourglass suspension hole for muka cord extremely worn. Mouth and eyes well defined as are elbows which extend arms to rest on legs. Muscular ribs also well carved. Nephrite, kawakawa type. 19th century. L73mm W52mm. Y13845.

$10,000 - $15,000

291 Taranaki Hei Tiki Pounamu

287 Hei Tiki Pounamu

A large example in orthodox stance, with centre ridged head tilting to the right. Drilled hourglass suspension hole for muka cord. Overall form suggests a previous life as an adze. Nephrite, kawakawa type. Late 19th century. L110mm W68mm. Y14596.

A particularly interesting example in orthodox stance with strongly ridged head tilting aggressively to the right with the body portion greater than the head. Large drilled hourglass suspension hole for substantial muka cord. Overall form worn and polished. Mouth and eyes well defined as are elbows which extend arms to rest on mascular legs. The head previously severed and repaired.

It is believed that the severance of the head of the enemy’s tiki was intended to further humiliate the defeated foe. A number of examples of beheaded tiki exist in Taranaki Museum. Nephrite, kawakawa type. Early 19th century. L113mm W70mm. Y13955.

In orthodox stance head tilting slightly to the right. Tongue evident. Red sealing wax applied to eyes. Overall narrow form. Drilled hourglass suspension hole for muka cord.

Nephrite. 20th century. L81mm W48mm. Y14599.

$1,000 - $1,500

295 Hei Tiki Pounamu

In orthodox stance head tilting slightly to the right. Tongue evident. Red sealing wax applied to eyes. Overall narrow form.

Drilled hourglass suspension hole for muka cord. Nephrite.

20th century. L68mm W42mm. Museum registered.

$800 - $1,200

292

296 Heru - Comb

An extremely fine example of weather bleached whale bone showing two manaia in classical form resting on the top edge of the comb. Eye detailing of one manaia has been weathered through. Body of comb physically porous. Surface also suggests sand worn. Twelve complete teeth finely incised. Slight curvature throughout body of the entire object. H182mm W101mm. Y14771.

$8,000 - $12,000

297 Rare Moa Bone Harpoon Head

Bone Harpoon head with a single barb. The appearance of a second barb accidental, due to careful levelling of the back to accommodate shaft. Hole hand drilled for reattachment. Six types have been recorded. Eldson Best, recognised expert and author on the subject describes this as ‘variety two’.

Found in Banks Peninsula 1957. Collector’s note: Taumuta 1957, Simmonds. Early Period. L146mm W30mm . Y14853.

$6,000 - $8,000

Oceanic & african Art 67

298 Extremely Rare Whale Tooth Rei Puta

Considered to be one of the rarest forms of Maori adornment the Rei Puta was a chiefly signifier worn by the ancestors of the Moa Hunter’s of Aotearoa. With its strong crocodilian reference the Rei Puta style can be traced back to eastern Polynesia and the first wave of ancient adventurers that landed in Aotearoa during the turn of the last millennium. In 1769 Captain Cook’s official artist, Sydney Parkinson, depicted a chief’s son named Te Kuukuu from the Bay of Islands wearing such a pendant. He also wears a Heru (refer example lot 296) of whalebone, an ear pendant (refer example lot 280) almost certainly of nephrite - and a woven flax cloak (refer example lot 300). Characteristically, the

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lower part of the pendant represents a face with relief carved eyes and nostrals. Rei Puta later declined in popularity, as men increasingly favoured the Hei Tiki, neck pendants in human form made from nephrite or bone. D.C. Starzecka (ed.), Maori Art and Culture, 2nd ed. London, The British Museum Press, 1998. Anne Salmond, Two Worlds: First Meetings Between Maori and Europeans 1642-1772, London, Viking, 1991. P. H. Buck (Te Rangi Hiroa), The Coming of the Maori, Wellington, Maori Purposes Fund Board, 1982.

H. D. Skinner, Notes on the ‘Rei-Puta’ Type of Pendant, Journal of the Polynesian So-2, 32, 1923, pp. 31-34. L96mm W38mm. Y14189.

$30,000 - $50,000

WEAVING The culmination of the weaver’s art was the making of the lineage cloaks which became powerful images of rangatiratanga. Distinguished by the quality of the materials and the fine work involved, the cloak exemplifies the beauty and power that the craft of Maori women brought to the culture. The wearing of such cloaks brings honour to the maker, the wearer and the occasion. Extending this area of art were the tools employed: of significance is Lot 299 which is a beautiful chest pendant fashioned from extremely rare yellow pounamu. A piece such as this signifies a high-ranking woman and master weaver, and also would have been used as a ceremonial flax scraper on the finest of raw materials.

The rain cloak (hieke) (Lot 300) with its dense covering of patterned thrums must also have been a highly prized item in early Maori life.

Relatively light and highly effective, such an item would have been used to endure the harsh elements. It was made from strips of unprocessed fibre which curled into natural ‘spouts’ to shed the rainwater and protect against the wind. Because of the extreme environments, fine examples of the hieke are very rare. It would have been this type of material that would have comforted the Maori adventurer as he ventured across the land in search of pounamu and political alignments.

The piupiu was and remains a popular design; a lesser-known form, however, is Lot 301, the extremely fine and complex rapaki.

Considered a precursor of the piupiu, the rapaki could be used both as a waist mat and as a prestigious shoulder cape. Although its general form relates to the piupiu, the complex method of construction with its fine muka backing and layered thrums indicate that the prime purpose of the object was not for waist decoration but for the provision of warmth and comfort for the highly ranked.

Korowai (fine flax cloaks) became the most prestigious form of customary dress from the time of early European settlement until the mid-19th century (refer Lot 305). However, the kiwi feather (kahu kiwi) cloak became more popular after that time and is today considered to be a display of rank (refer Lot 303). Towards the end of the 19th century, dyed European wools were also taken up with enthusiasm, reflecting the imaginative adaptability of the weavers (refer Lot 306).

299 Extremely Rare Yellow Pounamu Adornment

Both beautiful and powerful, this adornment would have signalled the mana and high rank of both the creator and the owner. Its fine elongated form is without doubt the work of a master craftsman. For ceremonial practice in the sacred production of the finest muka (flax fibre), the adornment would be applied to the making of the most complex and finest of chiefly cloaks used to forge political alliances and communicate rank and status. Conical incision suspension hole. Y5303.

$6,000 - $8,000

Oceanic & african Art 69

300

301

70

302

300 HIEKE - Rare Rain Cape

Double pair twining with two areas of tailored shaping.

Robust plaited finish at top edge. Exposed surface beautifully thatched with precise rows of dyed dark brown flax leaf and clutches of undyed light brown plant fibre in repeated abstract pattern. Pre contact. L1370mm W1270mm. Y08116.

$12,000 - $16,000

301 Rare Rapaki Cape

This prestigious shoulder cape with robust plaited shoulder border that muka kaupapa (with double pair twining) extends from 340mm.

Areas of tailored shaping evident. Top band extending approximately 950mm in length with red, blue and black woollen loops mostly missing. Evidence of brown feathers attached at some stage.

Double rolled thrums / cords in multiple layers give significant weight and warmth to this fine example. Warm rich aroma evident.

Late 19th - early 20th century. L660mm W1010mm. Y 8938.

$4,000 -$6,000

302 Kahu Kiwi - Kiwi Feather Cloak

Adorned with mature brown northern kiwi feathers in orthodox style, the side borders show a transitional style of white black and yellow looped dyed muka. Single kiwi feathers are attached on every second aho (weft). The muka kapapa is in good order and shows two areas of tailored shaping. 20th century. L820mm W1090mm. Y5772.

$25,000 - $45,000

303 Kahu Kiwi - Kiwi Feather Cloak

Adorned with mature brown kiwi feathers in orthodox style the top border offers kaka feathers. Single kiwi feathers are attached on every third aho (weft). The muka kapapa is in good order and shows single areas of tailored shaping. 19th century. L965mm W1121mm. Y14758.

303

$30,000 - $60,000

Oceanic & african Art 71

304 Korowai - Cloak

304

Double pair twining with two areas of tailored shaping. Crafted from dressed muka (flax fibre) and highlighted with orthodox double thrums of dyed black wool. Decorative elements are enhanced with contrasting woollen colour panels indicating a transitional style.

Provenance available. 20th century. L1240 W1350. Y4671.

$8,000 - $12,000

305 Korowai - Cloak

Double pair twining with two areas of tailored shaping. Crafted from dressed muka (flax fibre) and highlighted with orthodox double thrums of dyed black wool. 20th century.

Provenance: Zanesville Museum of Arts, USA. L1260 W1620. Y14591

$3,000 - $5,000

306 Korowai - Cloak

305

Double paired cloak with woollen borders. Early 20th century, transitional example of decorated korowai cloak. Double pair twining with two areas of tailored shaping. Lower border dressed with heavy woollen thrums. Shoulder line adorned with tightly woven black, red and white woollen thrums. Horizontal groups of fine line embroidery patterns. L1360mm W1420mm. Y13831.

$3,000 - $5,000

307 Korowai - Cloak

Transitional feather cape with taniko border (approximately 120mm) on lower edge. Kaupapa of double pair twining. Decorative woollen looping and braiding to top edge. Significant feather loss. Two plaited ties stitched the center of the side edges. 20th century. L740mm W1030mm. Y13834.

$2,000 - $3,000

308 Kahu Kiwi - Kiwi Feather Cloak 306

In child’s form with double paired twining with no additional tailoring.

Single kiwi feathers are attached on every forth aho (weft). Neck border is decorated with running loops of olive green woollen thread.

Ties extend out from closing edges. L460mm W520mm. Y13833.

$1,500 - $2,500

309 Two Piupiu - Skirts

The two piupiu of flax for an adult and a child have multiple decorative bands and borders of Taniko weaving. 20th century.

L660mm W1000mm, L470mm W1100mm. Museum registered.

$400 - $800

310 Fine Piupiu - Skirt

307

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A skirt made from mature Harakeke flax leaf tags. A complex taniko band decorates the top border. Two ties decorated by black parallel extend from closing edge. Body of skirt decorated with multiple Taniko bands. 20th century. L640mm W910mm. Y7488.

$400 - $600

311 312

313

316

314

318

317 315

311 Kete Muka - Flax Bag

A finely constructed muka bag with double pair twining, with a substantial fringe and separated warps in cross weaved patterns. A highly complex example in extremely good condition.

Provenance: Zanesville Museum of Art, USA. H330mm W4200. Y14587

$1,000 - $1,500

312 Kete Muka - Flax Bag

A robustly constructed muka bag with double pair twining, with a substantial fringe and separated warps in cross weaved pattern.

Unlined. Note: Collector’s information attached “Tea Cosy made by the Maoris at the Maori Pa, Lyttelton, New Zealand in 1904, Pres. By M. Wells 16.09.29”. H300mm W340mm. Y14750.

$1,000 - $,1500

315 A Kete Muka - Flax Bag

$1,000 - $1,500

314 Fine Kete Muka Kiwi - Flax and Kiwi Feather Bag

Extremely fine construction with single paired twining and complex decorative elements on both sides. Muka kaupapa is in good order.

Separate died warps in crossover patination.

Provenance: Zanesville Museum of Art, USA. H230mm W270mm. Y14589.

$1,800 - $2,400

317 Kete Muka Kiwi - Flax and Kiwi Feather Bag

Finely made Kiwi feather kete. Double pair twining with kiwi feathers attached on every second aho (weft). The muka kapapa is in good order. H230mm W220mm. Y5987.

$3,500 - $5,500

318 Kete Muka Kiwi - Flax and Kiwi Feather Bag with leather strap

A finely made kiwi feather kete. Double pair twining with single kiwi feathers attached on every second aho (weft). The muka kaupapa is in good order. Taniko tightly constructed, slightly faded. H200mm W280m. Y14586.

$2,000 - $3,000

$2,500 - $3,000

316 A Kete Muka - Flax Bag

313 Kete Muka - Flax Bag A modest muka bag with single pair twining and a substantial fringe.

The separated warps in cross weaved pattern across body. Plaited handles, one requires repair. Unlined. H230mm W280mm. Y14588.

The single pair twining and with decorative fingle on three borders.

Separated warps in cross over pattern. Unlined. Note: Very early, original Dominion Museum, Y121 tag still affixed. H170mm W300mm. Y121.

Construction from cotton based twine. Double pair construction with kiwi feathers attached on every second aho (weft).

Signs of kaka feathers. Leather shoulder strap attached.

Lined. Late 20th century. H190mm W240mm. Y14751.

$1,000 - $1,500

Oceanic & african Art 73

327

326

323 321

322

319

325

320

323 Muka Mallet - Flax Mallet 319 Patu Muka - An Extremely Rare And Fine Chatham Island Stone Pounder

A finely balanced stone pounder with slim lined oval sectioned body tapering into articulated handle (peck formed) then terminating into fine and sharply stepped concentric ridges. L230mm W70mm. Y09236.

$4,000 - $6,000

320 Patu Muka - Stone Flax Pounder

Very large stone flax pounder with circular cross section. Bulbous body extends to top notched handle. Surface is rough and pitted.

Possible face on butt. Andesite. L270mm W105mm. Y5761.

$1,200 - $1,500

321 Patu Muka - Stone Flax Pounder

A superbly balanced stone pounder with slim lined oval sectioned body with shoulder tapering into articulated handle terminating into softly stepped ovoid ridges. Greywacke. L260mm W90mm. Y4083.

$1,200 - $1,500

322 Muka Mallet - Flax Mallet

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Used on fresh flax during the production of muka. Strong conical form. Handle showing worn patina. Circular cross section. L280mm W78mm. Y13192.

$200 - $400

Strong conical form. Oval cross section with flattened section from use. L290mm W65mm. Y13196.

$200 - $400

324 Muka Mallet - Flax Mallet

Particularly long ovoid form. Well weighted. L380mm W64mm. Y13190.

$200 - $400

325 Muka Mallet - Flax Mallet

Narrow ovoid form with damaged head. L330mm W54mm. Y11470.

$200 - $400

326 Muka Mallet - Flax Mallet

Strong conical form with curvature down entire body. Handle showing worn patina. Circular cross section. L320mm W64mm. Y8951.

$200 - $400

327 Muka Mallet - Flax Mallet

Square section body, circular sectioned handle. L35mm W60mm. Y13191.

$200 - $400

328 Patu Muka - Maori Stone Flax Pounder

Conical form. Circular cross section. Head is heavily chipped.

Patina paint damaged. L239mm W73mm. Y13194.

$200 - $400

329

330

331

332

333

334

335

338

339

334 Pa kahawai - Fishing Lure 329 Maori Stone Sinker

Orthodox form of oval cross section. Worked groove across length for attaching muka cord. Greywacke. L110mm W80mm . Y5777.

$200 - $400

Used to harvest deep sea fish such as Hapuka, Bass and Bluenose, these large form hooks were made from strongly knotted woods. Neck shows sign of worked lashing holds. Overall patina of weathered form. L164mm W105mm. Y14835.

$600 - $800

331 Pa kahawai - Fishing Lure

Highly productive trolling lure used to harvest Kahawai. Unusually long and subtlely curved wooden shank, dark paua shell ‘flashing’ inlay. Muka lashed bone hook, missing muka trace line. L123mm W13mm. Y14590.

$800 - $1,200

332 Pa kahawai - Fishing Lure

A trolling lure with a subtlely curved wooden shank , bright paua shell ‘flashing’ inlay, lashed hook to end, muka trace line requiring repair. L117mm W19mm. Y6270.

$800 - $1,200

333 Pa kahawai - Fishing Lure

Orthodox form light wooden shank dark paua ‘flashing’ inlay, lashed hook (barbed) to end with 550mm muka trace line. L118mm W18mm. Y09271.

$800 - $1,200

$800 - $1,200

335 Matau Bronze - Bronze Shark Hook

330 Beautiful Chatham Islands Matau - Wooden Fishhook

Orthodox form light wooden shank bright paua ‘flashing’ inlay, lashed hook (barbed) to end. L97mm W18mm. Y14187.

Superior example with triple barb. Robust muka spiced into very heavy trace line. Bronze nails from the early whaling boats were traded heavily with Maori. A seafarers kinship also encouraged the exchange of rope knowledge which the innovative Maori seafarers adopted. This form would have been used to target deep sea shark. Surface of hook shows signs that it was productive.

Contact period. Early 19th century. L455mm W72mm. Y14183.

$1,500 - $2,000

336 Maori Stone Sinker

Orthodox form of oval cross section. Worked groove across width for attaching muka cord. Collector’s notes attached referring to Peach Island. Greywacke. L150mm W85mm. Y14037.

$800 - $1,200

337 Whakapapa - Cloak Pin

Orthodox form with notching apparent. Fashioned from marine ivory. Old weathered patina. L71mm W4mm. Y14838.

$200 - $400

338 Whakapapa - Cloak Pin

Orthodox form fashioned from bone marine ivory. Suspension hole appears straight edged. Worn smooth patina. L86mm W8mm. Y14139.

$200 - $400

Oceanic & african Art 75

CARVING Carving is by far the most well-known and celebrated form of Maori art. According to the traditions of Ngati Porou of the East Coast, the art of wood carving came from Tangaroa, the sea god. Applied to practically all forms of utility, fine carving adds mana to both the form and function of the object. From weaponry to architectural elements, the gift of Tangaroa was, and remains, paramount.

The rare whalebone carver’s mallet (Ta Whakairo), illustrated opposite, provided the force necessary in carving. There are several specimens of these whalebone carver’s mallets in the Auckland Museum and Museum of New Zealand - Te Papa Tongarewa.

A number of masterworks are offered here both in traditional form such as the pre-contact, stone tool waka huia (refer Lot 341) and later complex transitional pieces, such as Tene Waitere’s waka huia (refer Lot 344). Waitere is widely recognised as one of our most influential innovative carvers of the early 20th century.

There are also a number of pieces linked to specific historical events such as the beautifully refined orator’s patu (Lot 357), which was reputedly found near the great Rua Kenana Hepeipa’s home; the masterfully carved patu (Lot 354); and a waka huia (Lot 341), that was gifted to Reverend Alfred Fairbrother for his work with the Tarawera people. Both of these men hold significant stories that cannot be told well enough here; however, it is safe to say the histories of these objects are informed by these stories.

339 Patu WHAKAIRO - Master Carver’s Whalebone Mallet

Extremely fine and rare master carver’s mallet made of whale

jawbone. Beautifully balanced with concave strike surface.

Soft shoulder lines narrow and terminate into masterfully

carved and finely detailed manaia head. Highly resolved. Rich

patina from age and use.

Provenance: Jukes Barrett Collection.19th century. L255mm W53mm.

Y14770.

$3,500 - $5,500

340 Te Ranui - Carved Palisade Warning Post

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Carved timber, offering humanistic head form, full facial moko with ‘wheka’ styled eyes. Starting from the inner corner of the eyes, the forehead rays express the Ngunga - or position in life. Double nose rauru spirals evident on the nose. The lower face field offers double koru spirals on either side of upper and lower cheek (note lower right hand side is worn). Upper lip is detailed with inward curved koru design. Chin also offers two symmetrical out curved koru spirals. Top surface offers deep water wells suggesting old age.

Strong determined expression. L280mm W153mm D136mm. Y14190.

$5,000 - $10,000

Oceanic & african Art 77

341 Pre Contact, FinEly Carved Waka Huia - Treasure Box

Stone tool carved with triple haehae lines framing bold double rarua spirals and finely graduating pakati (dog tooth notching) and tuara kuri (diamond notching) this remarkable waka huia is the work of an unknown master carver. The beautiful cocoon-shaped vessel is guarded by two tiki figures, one being a fully formed female with tongue extended and arms coming to rest powerfully on thighs and the other being a male head figure with fullly carved mouth and eyes which are dominated by a high forehead also carved across the ridge. The bottom section of the waka huia offers five highly achieved double rarua spirals, again with triple haehae lines. A central rib line connecting the two tiki is carved in triple haehae with strong pakati. The lid of the waka huia offers eight beautiful and intricately carved double rarua spirals with triple haehae lines the fine pakati and tuara kuri graduating notches. Fine suspension holes (in both square and hourglass shape) evident at either end with what appears to be remnants of muka fibre remaining.

Provenance: Gifted to Rev. Alfred Fairbrother, founder of the first Baptist Maori Mission in 1887, and key proponent of the temperance movement. Refer also the Rev. Alfred Fairbrother biography Dissolving Dreams 2004 by R.F Keam. L415mm W154mm. Y14592.

$40,000 - $60,000

342 Single Huia Feather

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The huia’s feathers were valued highly and exchanged for other valuable goods such as greenstone and shark teeth, or given as tokens of friendship and respect. Through this trade, the feathers reached the far north and the far south of New Zealand. They were stored in intricately carved waka huia, such as the one offered here. L190mm

$500 - $700

Oceanic & african Art 79

343 Superb and Important Maori Kumete

80

Delicate shallow cupped lid with fine interlocking rauru spirals and triple haehae lines and notching throughout. Handle presents mirrored tekoteko figures connected head to head and arching forward in acrobatic stance.

Body of vessel carved in full with complex rauru spirals, triple haehae and fine dog tooth notching. On both sides, tiki forms with tonges extended and hands clasped. The work is supported by two heavily carved highly figurative humanistic forms with full moko who gaze intensely outward.

Hands are cupped firmly over ears suggesting a defiant statement. Possibly East Coast c.1880 -1900.

Provenance: Private Collection, New York, USA. Y14593.

$25,000 - $45,000

Oceanic & african Art 81

344 Waka Huia ATTRIBUTED TO Tene Waitere c.1853 - 1931 A Ngati Tarawhai Carver, Te Aroha, Rotorua Of ovoid shape, full stylised human tiki figures flanking each end. The base with spiral carving and paua inlay, lid with facial detail to each side, the top with kowhaiwhai carved design. Early 20th century, pre 1912. L480mm W170mm H230mm. Y6598.

Tene Waitere was trained as a carver by Wero Taroi, a master carver of the highly influential Ngati Tarawhai school. Tene Waitere is thought to have worked on some of the last big carved canoes and established his reputation by working with Wero, Anaha Te Rahui and Neke Kapua. Waitere’s great mana as a carver can be measured by the houses he carved including: The House of Rauru, in Germany, Tiki-o-Tamamutu, Kearoa, Nuku-teapiapi and; Tuhoromatakaka, Uenuku-kopako, Tiki, at Ohinemutu. At times challenging, Waitere’s carving showed greater diversity than those of his contemporaries. Using Pakeha commissions to innovate and experiment, Waitere was able to extend his traditional practice beyond the orthodox by employing Western perspectives to produce highly naturalistic depictions and modern forms conceived to be housed specifically within Western architecture. This waka huia offers a number of influential styles such as the contemporary low relief carving on the top ridge and a strong modernist body which blends the kumeti shape with the traditional waka huia function to create a prestigious casket which enabled the work to be 82

presented within the European whare of the day. Its function as a treasure box is without question and the integrity of the carving is apparent. However, it does sit outside orthodox waka huia practice in many ways. Strong deep lines define its overall physical form. Elongated and heavy set, the piece offers substantial presence both in scale and precision. The lower body of the casket offers a tightly executed maui (spiral) pattern featuring a double spiral of haehae (vee line cuts) and pakati in which the two elements make up the central spiral that deflect outward at tangents that repeat across the body suggesting oceanic wave movement. At either end the standing tiki, reminiscent of tradition kumeti form, gives support to the casket ensuring the body of the casket does not come in contact with the same structure that the feet rest on. A strong horizontal line is provided by haehae and dog tooth notching (niho taniwha) which is embellished with decorative paua detailing. The upper form of the casket offers a rather traditional layout with a central tiki head guarded by a complex manaia form. However, the top ridge line is carved in light relief, in innovation that Waitere developed. Tene Waitere ceased to carve for Pakeha in about 1912, and after this his work became strictly orthodox.

Reference: Neich, Roger. ‘Waitere, Tene 1853/1854? - 1931’. Dictionary of New Zealand Biography, updated 22 June 2007 URL: www.dnzb.govt.nz.

Rauru: Tene Waitere, Maori Carving, Colonial History by Nicholas Thomas (Editor), Mark Adams (Photographer) 2010.

$18,000 - $25,000

345

345 Fine Carved Paepae - Achetectural Element

Openwork panel carved with five standing tiki with angled eyes and strong thighs, all flanked by manaia figures. This lintel is similar in style to one in the Auckland Museum by Haere Huka, of the Ngati Whakaue sub-group, Te Aroha, Rotarua, which is dated to the mid 19th century. The unusual surface of this example was likely caused by it being covered in pitch for protection against the elements and thence in a circumstance such as a fire, which would cause the characteristic heat blistering evident on the surface.

Provenance: Mark Lissauer, USA. L1100mm W150mm. Y14594.

$3,000 -$5000

346 Complete Pare - Doorway and Paepae - Doorway Lintel

Delineating internal and external space within the whare (meeting house) such elements were important devices to ensure the protocols associated with entry and exist of such spaces were physically defined. Central tiki figure fully carved with orthodox haehae design with notched dog tooth detailing throughout. Tongue extended, three digit hands clasped on stomach, flanked by pitau (double spiral) which is again flanked by tightly carved manaia in Maui form. Whakawai (supporting beams) offer three lineage figures standing on the shoulders of each with tongues extended and with three digit hands clasped on stomach.

Provenance: Purchased from Sotheby’s 1996; Lot 402. Sale No AU607. Y13600.

346

$20,000 - $25,000

347 Maori Architectural Element

With broad well balanced carving of horizontal tiki and manaia. L770mm W90mm. Y6714.

$2000 - $3000

347

Oceanic & african Art 83

348 Important Ceremonial Hoe - Paddle - ATTRIBUTED TO HAKOPA HEPERI (JACOB WILLIAM HEBERLEY), B1849 - 1906

349 Ceremonial Hoe - Paddle

84

A wooden paddle with a carved bird form manaia to top and mid section of shaft leading to a detailed fully carved blade with tiki figure and manaia to top side and openwork scrolled carving to back. Dark brown patina. L1320mm W100mm. Y6065.

$4,000 - $6,000

A wooden paddle masterfully carved in deep relief with concentric circles carved at top and base of handle leading to a carved shaft. Classic leaf shaped blade with allover carving. Front side carved with a strong humanistic manaia form seemingly clutching to mid-section of the paddle, with an all over mid brown patina.

Reference: Edge Partington, section 3, page 166, number 1. Hamilton Collection, Napier. Provenance: Private Collection, Wellington.

$10,000 - $15,000

350

352

351

350 Tekoteko Aro - Carved Ancestral Figure - Central Post of Meeting House

Dignified expression with neutral gaze. Moko indicates high ranking female, wife of ancestral leader. Muscular shoulders carved with double rauru in triple haehae form delineated with dog tooth notching. Hands resting openly on stomach. Strong legs turned inwards accentuated by triple haehae form delineated with dog tooth notching. Note: An important timber architectural element, the Poutokomanawa depicted celebrated ancestral leaders and supported the base of the centre post at the front of the meeting house. H605mm W195mm D95mm. Y7163.

352 Tekoteko - Carved Ancestral Figure

$10,000 - $15,000

351 Tekoteko - Carved Ancestral Figure

Fully detailed moko depicts high status of subject matter. Taiaha held in orthodox manner with tongue pointing to the earth. Mouth extended open.

Buttocks with double spiral in four line haehae formation. Strong legs bent in action stance. ‘Tama Hiki’ carved into left side of chest. Overall patina weathered red trade paint.

Provenance: Private Collection, Auckland. Note: Prestigious carved timber architectural element, the tekoteko signifies the people of the whare. H625mm W163mm D130mm. Y14094.

$6,000 - $10,000

Carved timber, fully detailed and finely depicted moko indicates high status of male subject. Strong chin and long head form suggests Ngapuhi (Northland) style. Tight kuru spiral on nose indicates subject was a significant orator. Hands rest on stomach. Piupiu hides removal of genitalia.

Buttocks with double rauru spirals in haehae style. Gifted to Neva Clarke McKenna, a historian from Northland, this tekoteko remained in her family home for over fifty years. Overall patina reflects housed environment.

Provenance: Collection of Neva Clarke McKenna. Private collection, Auckland. L620 W148mm D100mm. Y14595.

$8,000 - $12,000

353 Tiki Post

Large carved post, a water tanawai sitting upon a tiki figure, red painted surface. H1670mm W190mm D190mm.

$3000 - $5,000

Oceanic & african Art 85

354 Superb Wahaika - Wooden Short Hand Club

86

All over deep relief, one side offering triple ridge haehae with dog tooth notching extending into fish scale haehae form. Reverse side holds single rauru spiral made up of triple haehae lines contrasted with dog tooth notching.

Head of club offering fine intersecting haehae patterns and unorthodox notched dog tooth spiral. Rare avian figure to incurve with hands to torso inlaid with finely executed paua shell eyes. Humanistic tiki head to butt. Late 19th century.

Provenance: Gifted to Rev. Alfred Fairbrother, founder of the first Baptist Maori Mission in 1887, and key proponent of the temperance movement. Refer also the Rev. Alfred Fairbrother biography Dissolving Dreams 2004 by R.F Keam. L380mm W155mm D38mm. Y14579.

$15,000 - $20,000

355 Waihaika - Wooden Short Hand Club

An early form club with masterfully carved female figure to incurve with classical long form tiki head with wide open mouth bearing teeth and tongue. One hand clutching torso and other arching behind leg. Legs extending into upper shoulder of handle terminating into three digit clasp, leading to a finely defined manaia head butt. L380mm W150mm. Y14579.

$15,000 - $25,000

Oceanic & african Art 87

356 A Very Early Chatham Islands Patu - Hand Club

88

Extremely rare stone patu in classic Chatham Island abstract bird form. Flat oval section. Believed to be a possible precursor to the waihaika form in wood. Ethnologist H. D. Skinner describes it as porphyrio melantus (pukeko) form made from schist and probably used to kill seals. Archaic. L280mm W110mm. Y9234.

$20,000 - $30,000

357 Patu Paraoa - Whale Bone Hand Club

Delicate in proportion and finely balanced suggesting it was crafted for a great orator. Seven deep concentric lineage grooves at base of handle. Honey brown patina. Old label affixed inscribed ‘Whalebone Mere Kuato. Near Rua’s Home.’ Refer Rua Kenana Hepeipa 1869-1937, Maori prophet and land rights activist, founded a religious community at the foot of Maungapohatu, a mountain sacred to Tuhoe, Urewera region. Evidence to support provenance unavailable. L280mm W77mm. Y5813.

$15,000 - $20,000

Oceanic & african Art 89

358 Patu Paraoa - Whale Bone Hand Club

Orthodox form. Flat oval cross section. Concentric three lineage grooves to base of handle. Rough hourglass suspension hole.

Late 18th century. Provenance available upon request. Y14581.

$6,000 - $9,000

359 Prestigious Patu Paraoa - Whale Jaw Bone Hand Club

90

Exquisite example in extended ovoid form, sized to accommodate large physique. Well balanced blade extends downward through soft shouldered handle. Hourglass suspension hole. Base of handle with seven curved lineage lines finely carved. Late 18th century.

Provenance: Kennington Collection. Te Karaka Point, 1958, Marlborough. L378mm W100mm. Y14775.

$6,000 - $9,000

360 Patu Paraoa - Whale Jaw Bone Hand Club

With a flared bulbous blade tapering to a finely shaped handle with concentric ring to base of handle. The broad flat blade with gracefully rounded end and sloping sides, tapering to a short handle with pierced square aperture for a wrist thong. L333mm W105mm. Y953.

$6,000 - $9,000

362 Chiefly Mere Pounamu - Short Nephrite Hand Club 361 Fine Patu Onewa - Short Stone Hand Club

Long formed in classic style, emphasising the extended form and grace of the patu. The highly finished face is well balanced and terminates with a finely carved seven ridged lineage base in ovoid form. Incision for aperture incomplete. Blade broken and repaired to a high standard. Note: the object was found in two pieces, approximately 20 metres apart. It is thought that the master craftsman, while attempting to finish this piece snapped the blade then discarded the project in frustration.

Provenance: Found on the Day Farm. L410mm W94mm. Y13210.

$3,000 - $5,000

Fine example in orthodox form. Crafted from speckled kawakawa nephrite, the blade offers a beautiful translucent patina. Significant chip to leading edge of blade. Base of handle terminates with five lineage rings. Provenance available upon request. L375mm W100mm. Y13956.

$15,000 - $20,000

363 Patu - Short Wooden Hand Club

Early orthodox form with leading edge offering pincer. Inside curve accommodates manaia form. Square suspension hole.

Base of handle offers finely carved tiki face with strong detailing.

Dark rich patina, varnish applied. L390mm W110mm. Y11435.

$5,000 - $7,000

Oceanic & african Art 91

370

368 366 364

369

365

364 Mutu Kaka - Wooden Bird Perch Snare

367

Made from a single piece of wood, with strong figural carving to front lower portion and arching back terminating with stylised manaia. Early 19th century. Mokai (tamed birds) usually young kaka were easily captured and tamed. They were held captive by a small leg ring called a kaka poria (refer lot 271), which had a small cord attached to prevent the bird flying off. Mokai were made to call out to attract wild birds in the vicinity, who would come in great numbers upon hearing the cry of the captured bird. Mutu kaka were then used to capture birds as they alighted on the horizontal perch of the snare. Ref: tepapa.co.nz L315mm W39mm. Y5869.

368 Patu Onewa - Short Stone Hand Club

A fine stone club in orthodox form. Natural inclusion on one side of face. Base of handle delicately carved with three lineage ridge lines. Late 19th century. L310mm W84mm. Y6257.

$3,000 - $4,000

369 PatitI - Axe with Wale Bone Handle

$3,000 - $5,000

Very early Pakeha trade blade attached to whalebone handle. Extremely weathered Patina of age. Note: Post 1810 trade blades were stamped with the maker. Refer lot 370. L264mm W 115mm. Y14847.

$1,500 - $3,500

365 Wahaika - Short Wooden Hand Club

All over deep relief linear haehae carving to blade. Carved figure to incurve with hands to torso and paua shell inlaid eyes. Four concentric circles carved to butt. Late 19th century. L360mm W125mm. Y14580.

$1,500 - $2,500

366 Patu Onewa - Short Stone Hand Club

A fine stone club, smoothly finished with damage to head of blade. Hourglass hole terminating into base with three ridged butt. Late 19th century. L290mm L80mm. Y14583.

92

Orthodox form. A fine stone club, smoothly finished with hourglass suspension hole. Base of handle displaying three ridged lineage lines in ovoid formation. Late 19th century. L285mm W920mm. Y2632.

$4,000 - $6,000

Maori Land Wars (1845 -1872) steel trade axe. Blade stamped with John Reilly & Sons mark. Butt of wooden handle terminates with three linage ridges. Suspension hole straight edged. Note: Old Collection Number W682.

Provenance: Carter Collection. L300mm W150mm. Y14181.

$2,000 - $3,000

371 Patu

$4,000 - $6,000

367 Patu Onewa - Short Stone Hand Club

370 Patiti - Axe with Wooden Handle

Unorthodox angular form with manaia represented on incurve and haehae design on neck.

Provenance: Zanesville Museum Of Art, USA. L260mm 150mm. Y14581.

$800 - $1,200

372 Hoe Fragment

Swamp find. Taranaki district. Y14582.

$100 - $200

373 Fine Tewhatewha

Orthodox form with ‘axe’ head, stone tooled. Deep rich patina with kahu (hawk) feathers attached indicating the chiefly status as a weapon of command both on and off the battle field. Shaft decorated with heavily abstracted manaia extruding sharp terminating tongue. Early 19th century.

Provenance: Zanesville Museum of Art (USA). L1150mm. Y14578.

$4,000 - $6,000

Oceanic & african Art 93

374

375

376

377

378

TAIAHA A definitive martial art, the practice of Taiaha was paramount. Used in close quarter battle, the strike blade was fast and devastating.

On the opposing end (upoko) is a double side face with all seeing eyes. An extended tongue (arero) elaborately carved is used for stabbing the opponent and deflecting blows. The ata is often placed to the ear of the warrior who will listen to his weapon.

Note also that the display of the tongue is a ritualised challenge given by Maori warriors, and thus the form of the weapon is connected to one of its aggressive functions during combat.

376 Taiaha - Long Staff

Early orthodox form. Arched shaft with signs of deflected blows across leading edges which have been worn flat in areas. Terminates in angular style. Ate (tongue) is beautifully carved with slight non symmetrical appearance. Late 18th century. Provenance note: JW1097. L1365mm. Y14761.

$1,200 - $1,500

Interesting angular style in orthodox form. Sealing wax inset eyes. Collector’s notes affixed: Purchased Van Praag auction, Masterton Hall Estate, Nov. 1959. L1200mm. Y14576.

$1,500 - $2,000

379 Taiaha - Long Staff

$1,200 - $1,500

94

Early orthodox form. Double haehae detailing in forehead and lip. Eyes in relief. Mouth offers four teeth. Tongue is carved in open minimal style. Small strike blade terminates with soft angular tip. Rich brown patina.19th century. L1220. Y5825.

378 Taiaha - Long Staff

$1,200 - $1,500

375 Taiaha - Long Staff

$1,500 - $2,500

377 Taiaha - Long Staff

374 Taiaha - Long Staff

Softly carved offering swept back forehead with recessed paua eyes (missing). Minimal nose. Lip is notched. Tongue is tightly executed and terminates into angular tip. The strike blade is finely balanced and completed with round form tip and a rich brown patina. Reference: Pacific encounters, Steven Hooper, 2006. L1460mm. Y4114.

Exceptional finely carved head offering very elaborate swept back forehead with recessed paua eyes. Strongly carved nose with upper lip offering dog tooth notching. Tongue is beautifully executed and terminates with rounded tip. Large strike blade is finely balanced and completed with broad round form tip. Rich red brown patina.

Provenance: Zanesville Museum of Art, USA. L1580mm. Y14577.

Early example in strict orthodox form. Short forehead, one set of eyes with carved recess to accommodate paua, the other set uncarved. Tongue beautifully carved with elaborate triple haehae lines and dog tooth notching. Late 18th century. L1423. Y14301.

$1,200 - $1,500

379

384

385

387

380

381

388

382

384 Hoe - Wooden Paddle

380 Carved Architectural Element

Carved timber lintel fragment with three standing figures with hands in various positions on stomach. Raurau (spiral) design on one side.

Significant insect damage evident. 19th century. L760mm W88mm. Y6714.

Dominant tiki face heavily carved in double and triple haehae and notched dog tooth style. Manaia figures heavily abstracted.

Late 19th century. L1300mm W310mm. Y6037.

Very old carved timber lintel piece with ancestral figures standing upon one another. Male and female figures apparent. Complex intertwining carving. Old note attached referring to ‘Lake Rotorua, NZ’. 18th century. L680mm W66mm. Y10517.

$3,000 - $4,000

383 Hoe - Wooden Paddle

Child’s form with soft shoulders extending into narrow blade.

Dry patina. 18th century. L1020mm W77mm. Y13198.

$300 - $500

Beautiful example in strict orthodox form. Blade with fine concave surface to increase blades power. 19th century.

Rich brown patina. L1430mm W127mm. Y14764.

$800 - $1,200

386 Hoe - Wooden Paddle

$2,000 - $3,000

382 Carved Architectural Element

$250 - $500

385 Hoe - Wooden Paddle

$2,500 - $3,500

381 Carved Architectural Element

Representing incomplete manufacturing stage.

L1320mm W180mm. Y13200.

Beautiful example in strict orthodox form. Blade incised with the word ‘MAMA’ in missionary style script. 19th century.

Rich brown patina. L1420mm W125mm. Y13200.

$800 - $1,200

387 Maori Carved Hollis and Sons Double Barrel ShotGun

Horizontally opposed barrels. Butt decorated with male and female tiki forms with intertwining haehae. c.1880. L1100m.

$2,000 - $4,000

388 Maori Carved 22 Calibre Remington Bolt Action Rifle

Abstract head carved into butt of rifle extending into haehae style throughout with paua decorations. c. 1920. L1100m.

$2,000 - $4,000

Oceanic & african Art 95

389 Whalebone Bird Spear

Heavily barbed with base offering heavily abstracted manaia face. Incised hole in hourglass shape. In Whaganui Style. Late 19th century. L268mm W15mm. Y14837.

$600 - $900

390 Maori Carved Walking Stick

Carved from Rimu with Koputa (Albatross) detail leading the handle. Body of the stick offers repeated ancestral figures. 20th century. Provenance: Zanesville Museum of Art. L888mm.

$400 - $600

391 TOKOTOKO

Finely carved triple lined haehae and dog tooth notching in complex interlocking patterns. Manaia in mid section. Handle guarded by tiki figure with hands in mouth indicating a right to speak on the marae.

20th century. L845mm. Y14054.

$800 - $1,200

392 Maori Carved Walking Stick

Showing innovative carving style terminating into fine shaft. 20th century. L800mm.

$800 - $1,200

393 TOKOTOKO

Softly carved complex interlocking triple haehae style with dog tooth notching throughout. Three finely carved and highly detailed manaia with diamond formed paua inlay eyes. Well balanced with deep rich patina.

19th century. L880mm. Y14053.

$800 - $1,200

394 Maori Carved Walking Stick

Showing innovative carving style terminating into heavily worked tip.

20th century. L920mm.

$200 - $400

395 Maori Walking Stick with Solomon Island Influence

During the 1940’s many Maori were stationed in the pacific war arena. Applied art styles were exchanged. This example combines the snake totem of the Solomon Islands with triple haehae and dog tooth notching. The initials ‘J.R’ are represented with mother of pearl shell. The handle terminates with naturalistic depiction of human figure with mother of pearl shell eyes. Late 20th century. L970mm.

391

393

389

$800 - $900

396 Koruru - Gable Mask

Of square form, with a large mouth carved in a figure eight design with a

protruding tongue, inlaid shell eyes (one missing). Overhanging brow,

highly decorated on the surface with varied haehae motif and fine notching.

Exceptionally fine dark encrusted patina. Early 19th century. L1642mm

W156mm. Y14760. $1,000 - $1,500

397 CARVED FINIAL Fragment

In heavily abstracted manaia form with rare three pronged detailing.

L277mm W98mm. Y4039.

$1,300 - $1,500

398 Heru - Carved Wooden Comb

96

Each side softly carved. Used as a comb and also hair decoration covered in incised traditional spiral designs, rich mid brown patina. Some damage evident. c.19th century. L259mm W61mm. Y10971.

$1,500 - $2,000

398

397

399 New Zealand Fern Book

New Zealand Ferns mounted by Eric Craig c1890s. Modern rebacking, quarter leather. Decorative carved kauri boards. French polished, bevelled edges. Moire EPs. Vertical split to upper board. Page extremities browned, extremities chipped. Some losses to arrangements. 60 heavy cardboard leaves hinged in linen. Latin labels mounted with a few handwritten.

Craig’s binding label mounted, & his stamp with decorative border on first page. Each fern frond springs from a base of bright green mosses or small portions of other ferns added as decoration – the scientific plant name only applies to the central frond. Craig created a ‘Fern Depot’ in Princes Street, Auckland, which became known as ‘Eric Craig’s Fern and Curiosity Shop’. AF. Fair to good condition. H460mm W300mm.

399

400

$3,500 - $4,500

400 Hamilton, Augustus Maori Art. The Art and Workmanship of the Maori Race in New Zealand. Parts I – V.

New Zealand Institute, Dunedin 1896+. 26cm x 32cm. Various pagination.

Illus, ports, plates (incl col). Quarter bound, navy boards. Gilt titling and decorations to spine. Leather worn, corners and spine edges exposed to boards. Large water stain to back board. Marbled EPs. Binding loose.

Divided into the following parts: Maori Canoes, Habitations of New Zealanders, Maori Weapons, Maori Dress and Maori Social Life. Also included with each section is a glossary of Maori words. This work

by Hamilton was first issued in five parts, paged continuously. Title pages for the various sections have been omitted from this copy.

402

$1,000 - $1,500

401 Gun Club Belt Buckle

Fashioned from silver the face is finely engraved with floral motifs on border. Two chiefly taiaha adorn the front section which is centred by two finely depicted target rifles. 20th century. W195mm D67mm.

$800 - $1,000

402 Pair of Scrimshaw Powder Horns by Major Gustavus Ferdinand von Tempsky 1828 - 1868

Made from bullock horns. Beautifully engraved in scrimshaw style depicting three female figures in period dress and a group of Maori warriors in haka stance. Tip of horns removable. Unsigned. This pair is illustrated in the definitive publication: G. F Von Tempsky - Artist and Adventurer, by Rose Young, Heather Curnow and Michael King.

Note: This publication accompanies this lot. L420mm W97mm.

$15,000 - $25,000

403 A Collection of 35 Glass Plate Negatives by Harold Sylvester Church

Including various images of Maori engaged in traditional and other activities. Collection features a composite image with Maori subjects in cartoonish poses flying a Heath Robinson style vehicle. Another of Maori women riding a dragonfly. Maori subject matter also includes: a marae gathering (painted whare depicted), a woman being fitted with roller skates, two women playing golf with makeshift clubs, a dwelling with the name plate ‘Hotal Cicil’, a line of boys performing a haka or similar, a group playing cards, washday and romantic bathing scenes etc. Also various scenic images, portrait of a Pakeha woman under an arbor, anglers with catch etc. Two booklets of select positive images included. Also a xeroxed note reading: ‘Harold Sylvester Church / Born 18__ / Died 1945 / Fought in the Great War / Wounded honourably discharged 28/2/1919 / Was a photographer for NZ Herald / Friend of Trevor Lloyd’. Negatives generally in good condition.

$1,200 - $1,500

396

404 Taxidermy Kiwi Specimen

North Island species. In good condition. H250mm.

$1,000 - $1,500

405 Taxidermy Huia Specimen

Extremely rare taxidermy example of the now extinct Huia. Some insect damage evident.

$6,000 - $8,000

Oceanic & african Art 97

411

405 407 404

406

409

410

408

406 Pair of Kauri Gum Busts

H156mm

$400 - $600

407 Large Kauri Bust of Wahine

Wearing prestigious cloak and offering a fine rendition of orthodox moko. Warm engaged expression. Mounted on period turned wooden base. Some restoration apparent. H470mm W340mm.

$8,000 - $10,000

408 Pair of Small Kauri Gum Busts

Male and female. H78mm W50mm.

$400 - $600

414 Kauri Gum Male Bust

415 wooden Gavel

$4,000 - $6,000

410 Two Pitcairn Island Chalices

In traditional form.

$300 - $500

411 Large Pitcairn Island Chalice

In traditional form stamped on base ‘Made by Elwyn Christian. H290mm.

$300 - $400

412 Pitcairn Island Basket

98

$300 - $500

Depicting New Zealand landscape. Late 19th early 20th century. L160mm W60mm.

$400 - $600

Maori songs, in mint condition.

$250 - $450

419 Carved Gourd with Maori Motif

Finely carved koru style interlocking. 20th century. H220mm W155mm.

$2,000 - $3,000

420 Magnificent Kauri Gum Bust

$500 - $700

$100 - $200

Maori whaler’s folk art, intricately carved. H160mm W44mm.

418 Set of twelve Vintage Records

In traditional form, stamped on base ‘Made by Elwyn Christian.

H40mm.

$150 - $350

417 Naïve Art painted Mussel Shell

413 Kauri Gum Kiwi

Carved in Maori folk art style. L210mm.

416 Whalebone Tiki Figure

409 Pair of Kauri Gum Busts Male and female. With some damage. H180mm W200mm.

H240mm

$400 - $600

Of a Maori woman and child. The woman offers a fine rendition of orthodox moko and wears a prestigious Korowai clock with double pare thrums.

Both child and mother offer open content expressions. Provenance: Commissioned by Max Paykel, c.1900. Note: The male partner to this wonderful commission now resides in the Kauri Museum, Northland.

Please note this piece may not be exported. H510mm W550mm.

$25,000 - $35,000

420

421

421 Extraordinary Marquetry Table By William Cotterell

Inspired by the Sam Stuart portrait of Tamati Waka Nene, the famous Ngapuhi chieftain and friendly ally of the British who undertook to protect the settlers against Hone Heke. Raising a force to punish Heke and his fighting general Kawiti, Waka Nene pursued them until they were compelled to retire. This extraordinary table captures the strength of Waka Nene in the landscape of New Zealand. Freshly returned from David Hordern’s restoration studios in London in 1990, William Cottrell undertook the challenge of creating a marquetry table of equal quality to those made by masters of 19th century European cabinetmaking. Satisfied, and unlikely to ever repeat this feat, William Cottrell devoted himself to the area of New Zealand colonial furniture and eventually wrote his authoritative text, Furniture of the New Zealand Colonial Era. D700mm H780mm.

$8,000 - $16,000

422 The Morton Collection of Zane Grey ARCHIVE

A collection of approximately 260 original Kodak negatives (glass and plastic) depicting Cyril Morton’s adventures with Zane Grey together with signed first edition’s of Zane Grey publications including the magnificent ‘Tales of the Angler’s Eldorado New Zealand’ by Zane Grey. Harper & Brothers, New York 1926. Dedications in print include: ‘To Cyril Montague Morton, cinematographer extraordinare, who braved the rough seas, day after day, week after week, always on deck with his motion-picture camera, always ready with his cheery call – “When do we eat? When do we eat? When do we eat?”’. Cyril Morton was one of New Zealand’s great photographers and film directors (refer also ‘Amakura’). Engaged in the early 1920’s by the New Zealand Government’s Publicity Department (aka the Tin Shed), Morton was assigned to Zane Grey in 1926 to document Zane Grey’s time in New Zealand, Morton captured some of the most iconic game fishing imagery ever to be taken. Morton was also responsible for ensuring that Maori culture was depicted as accurately as possible for social education materials of the day. This archival material is meticulously catalogued in Cyril Morton’s hand and offers a unique insight into early 20th century New Zealand and Zane Grey’s time in New Zealand.

$8,000 - $12,000

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African Art

Illustrated left: OTTO LANG 1950, A Kuba man in elaborate costume performs a dance. He wears a mask that represents a spirit, either Bwoom or Ngady Amwaash. The Kuba tribe lived between the Sankuru and Lulua Rivers in the Belgian Congo, which later became Zaire.

African art constitutes one of the most diverse legacies on earth. Despite this diversity, there are some unifying artistic themes to be noted when considering the totality of the visual culture from the continent of Africa. African art reflects a significant interest in the human form with the figure being the primary subject matter. Symbolising the living or the dead, the human form can also extend into the anthropomorphic representation of a god or have other votive functions. Another common theme is the morphemic interpretation of human and animal forms.

African art practice favours abstraction with a broad interpretation of the figure, and a sophisticated understanding of sculpture. Three-dimensional artworks and textiles dominate African art.

There is an enormous variety of masks used in Africa for masquerades that form part of religious ceremonies enacted in order to make contact with spirits and ancestors. The masks are usually carved with extraordinary skill and variety by artists, each of whom will usually have received their training as an apprentice to a master carver – frequently it is a tradition that has been passed down within a family through many generations. Such an artist holds a respected position in tribal society because of the work that he/she creates, embodying not only complex craft techniques but also spiritual/social and symbolic knowledge. African masks are considered to be amongst the finest creations in the art world. Masking ceremonies in Africa have great cultural and traditional significance. During celebrations, initiations, crop harvesting, war preparation, peace and troubled times, African masks are worn by chosen or initiated dancers. They can be worn in three different ways: vertically, covering the face; as a helmet, encasing the entire head; and as a crest resting upon the wearer’s head, which was commonly covered by woven material as part of the disguise. African masks often represent spirits and it is strongly believed that the spirit of the ancestors possesses the wearer of the mask.

Ritual ceremonies generally depict deities, spirits of ancestors, mythological beings, good and/or evil, the dead, animal spirits and other beings believed to have power over humanity.

Oceanic & african Art 101 Oceanic & african Art 101

423 Bamileke Male Figure

Firmly seated on a circular stool, holding a precious egg in left hand, the face orthodox with powerful carved teeth in the open mouth with lower jaw framed with well balanced beard. Strong open forehead extending into triangulated domed cap; carved ring about waist with muscular back and shoulder lines protruding. The importance of the ancestor is masterfully rendered by the asymmetry of the pose and the distortion of neck shoulder line and protruding abdomen. Power is expressed clearly by each facial feature; almond shaped eyes bulging, with teeth exposed. The Bamileke recognise a supreme god (Si), but they more commonly pay homage to their ancestors. Most Bamileke statues represent the chief (Fon).

Provenance: Private Collection, New Zealand.

H710mm W70mm.

$20,000 - $30,000

424 EXQUISITE DAN MASK Serene expression, heavily lidded eyes above a broad nose and delicate mouth reflect the work of a prestigious master carver.

Fine smooth, shiny black patina. Of all African masks, those by the Dan people are the most distinguishable and highly soughtafter, with their minimal but expressively carved features, smooth modulations of facial planes and sleek polished black or dark brown surfaces. The female Dan mask is an idealised form of beauty and grace.

Provenance: Formerly in the collection of Dr Frank Elliott, New York. H268mm W171mm. $4,000 - $6,000 102

Oceanic & african Art 103

425 Classical Luba ‘Kifwebe’ Mask and Costume Remnants

Of abstract orthodox form offering tapering flat frontal plane with a protruding rectangular section of mouth (with bone breather pipe evident from internal perspective) beneath an arching raised medial ridge for the nose, and framed by slit arching eyes on a hemispherical crown. The whole decorated in formal repeating stone tooled incised parallel lines arching with continuous contours of the mask. Pierced around the entire back (relief carved and some suspension holes shifted due to wear) for attachment. Woven fibre costume attached including arms and a turret with attached feathers. Patina of age, white and black pigments. Democratic Republic of the Congo.

Provenance: Acquired by current owner through Sotheby’s. H460mm W300 D260mm.

$15,000 - $20,000 104

426

427

426 Dan Mask

Round open eyes and a fine strong nose above falling diamond shaped mouth. Overall fine angular volumes. Variable patina and original trade fibre headdress still in place.

Provenance: Private Collection, New York. H250mm W150mm.

$1,500 - $2,000

427 Fine Dan Mask

The face carved in fine angular volumes. Round open eyes and a fine sharp nose above a diamond shaped mouth. Black smooth patina and original vegetable fibre headdress still in place.

Provenance: Private collection, New York. H230mm W145mm.

$3,000 - $5,000

428 Exceptional MALI Dogon Mask

Heavily abstracted form in monkey totem. Hollowed dome-like form, the flat jaw supporting a broad mouth beneath a sloping facial plane comprised of three vertical ribs framing the inset pierced eyes. Two holes at the cheeks for the insertion of a bitestick beneath c-shaped ears on the sides. Exceptionally fine and encrusted reddish brown patina. H310mm W135mm D18mm.

$4,000 - $6,000

428

Oceanic & african Art 105

429

430

429 Important Guro Mask

Of hollowed orthodox triangular form; open mouth beneath the naturalistic nose and crescent shaped eyes, the whole surmounted by dramatically arching horns and central finial; varied surface with white red and black pigment. Aged patina. Ivory Coast. H1040mm W410mm.

$8,000 - $12,000

430 Bedu Mask

A plank-like mask of large proportions with a triangulated face with three pierced square holes in the middle modulating face.

A central column with two ears, leading to a large incomplete circular form. Encrusted surface with white red and black painting.

Some area of loss. Ivory Coast. L1810mm W720mm.

$3,000 - $4,000

431 Chamba Figure A superbly carved seated figure of a man holding a container with a white chalk pigment inside. An all over heavily encrusted patina and traces of various pigments. Hardwood. Cameroon-Nigeria.

Provenance: Dr Charles Serman, Paris. L 315mm W90mm.

 $3,000 - $4,000

432 Mbole Ancestral Figure

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A superb male ancestor figure of abstract cubist form with a hexagonal shaped head, inset face, pin hole eyes and small slit mouth. Long triangulated nose leading to an arched body with angled arms resting on hips, slightly bent legs and squared feet. Rich encrusted patina with traces of red and white pigment to face and torso.

Provenance: George Letoski, Michael Rhodes, New York. L215mm W65mm.

$5,000 - $6,000

431

432

433

438

433 Benalulu Ancestral Figure

Finely proportioned holding pot of white pigment in left arm. Head finely notched extending into heightened adornment. Legs of short muscular form.

Dark brown patina.

Provenance: Christensen Collection. CC40964 H150mm W28mm.

$1,200 - $1,500

434 A Luba Prestige Staff

$2,000 - $3,000

Standing on a base with a distinct forward-projecting head with broad mouth and classical bulging oval eyes encircled by finely incised lids and the head with elaborate upswept coiffure. Fine encrusted deep brown patina with areas of red cam wood powder. H310mm.

$600 - $800

436 A Large Fine Kuba Cloth

Natural fibre cloth decorated with abstract over sewn formations.

Provenance: Private collection, New York. L4500mm W830mm.

$800 - $1,200

437 Four African Whisks

With a variety of handles and trade bead decorations.

Provenance: Zanesville Museum of Art, USA. Max L740mm.

$400 - $600

438 Chokwe Mask

439

Mwana pwo, of deeply hollowed triangular form, female face with an open mouth displaying teeth; scarification to checks and chin and forehead. Rich dark, varied reddish-brown patina with residue. Finely carved in classic form. Zambia / Congo / Angola.

Provenance: Private Collection, New York. L220mm W140mm.

$5,000 - $7,000

434

448

439 Pair of Ibeji Figures

Possibly Ketu or Abeokuta style, a male and a female each standing on a square base of similar diminutive form. The male wearing a cap-like coiffure, the female with plaited rows. Reddish brown patina overall with areas of cam wood powder. H200mm.

$2,000 - $3,000

440 Pair of Ibeji Figures

A triangulated projection with interlocking geometric design rising from the head of a female figure with arms resting on chest, scarification to stomach.

The figure stands atop a handle with blackened variated patina. Congo.

Provenance: Private collection, New York. L605mm W65mm.

435 Standing Ibeji Figure

440

Each standing on a circular base, with hands held to the hips, with distinct forward-projecting heads, broad mouths and classical bulging oval eyes encircled by finely incised lids, and wearing elaborate upswept coiffures; fine encrusted deep brown patina with areas of red cam wood powder, and indigo on the coiffures. Provenance: Private collection, New York. H260mm.

$2,000 - $3,000

441 Fine Chiefly Kamba Staff

A superb and rare example of a chieftain’s prestige staff. Circular head leading to a turned shaft made from hardwood, overlaid with abstract human and animal forms made from beaten brass; iron lance to end.

Kenya. 19th century. Provenance: Private Collection, New York. L1370mm

$1,000 - $2,000

442 Colonial Figure With Gun Political folk art depiction of indigenous land protector with gun. H210mm W55mm.

$1,000 - $2,000

443 Tumbuan Mask Finely constructed with bird Totem. Provenance: Frank Boltaro, Melborne H590mm W950mm.

$600 - $800

444 Fine Shona Axe A long straight shaft with bulbous top holding an angled metal blade with incised chevron and dot motifs with a pierced hole in back of blade.

Southern Africa. Provenance: Purchased by the current owner from Sotheby’s Australia L600mm.

$500 - $700

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445 Fine Hemba Figure

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Fine wooden ancestral figure of delicate proportions expressing strength and beauty. Heavily defined calf muscles and thighs extend into back proportions which meet and create central muscle line leading up to broad articulated shoulders. An elongated neck signaling status and beauty support a finely carved face with a strong gaze in orthodox form – broadly set almond shaped eyes, well-defined mouth framed by subtle jaw line. Nose extending into graceful brow. Ceremonial headdress extends the figures height.

The Hemba revere their ancestors, believing in their reincarnation.

You will find as much male as female statuary, reflecting their dual system of lineage descent, in which an individual belongs to both paternal and maternal clans. H155mm W56mm.

Provenance: Private Collection, New Zealand.

$10,000 -$15,000

446 Kwere Stick - Medicine Stick

Finely carved male figure protruding from a horn wrapped in leather which contains magical substances of wood, metal, beads, horn, fur and fetish material. Kwere Tanzania.

Provenance: James Stevenson collection, New York. H589mm.

$800 - $1,200

447 Superb Dan Mask Abstracted angular form expressing strength. Mouth extended open with singular tusk remaining. Forehead arching forward with centre ridge. Leather detailing on both middle quarter of face and lower jaw. Woven cane attached to top of brow. Fibre attached to top lip. Aged patina.

Provenance: Christensen Fund Collection cc40890, as dispersed by Sotheby’s 1996. Private Collection, New Zealand. H220mm 125mm.

447

$4,000 - $6,000

453

448 Tikar Figure

A wooden figure with stylised elongated face, large c-shaped ears, fine naturalistic nose and pin eyes, above a long body with scarification to torso arms resting gently to stomach, long slightly bent legs standing on ovoid base.

Provenance: James Stevenson collection, New York. L570mm W65mm.

$2,000 - $3,000

449 Massai Shield

A traditional ovoid shaped hide shield with wooden pole to back, red and white pigment painted. Kenya. H1100mm W490mm.

$800 - $1,200

450 Massai Shield An early example of its type with more recent polychromed finish in guerrilla type camouflage colours. Traditional paint composition, wood, hide. H1000mm W650mm.

$800 - $1,200

454

455

451 Fine Ethiopian Hide Shield

Of circular form, ridged hide punctured four times in centre for attachment of leather loop handle to the reverse. Face with raised central ridge flanked by moulded radiating ribs and bosses. Arussi southern central Ethiopia.

Provenance: Purchased by the current owner from Sotheby’s Australia.

W700mm.

454 Baule Mask

Aggressively carved baboon totem mask. Dry steel tooled patina.

L330mm W200mm.

$500 - $1,000

$800 - $1,200

455 Teke Helmet Mask 452 Fine Congolese Woven Shield

A tightly woven shield using a basketry weaving technique and tied to a wooden frame with an attached wooden handle at back. A painted design to front. Democratic Republic of the Congo, North Western (Ubangi) region, Ngombe (Bakoi, Makoyi). L1320mm W440mm.

$800 - $1,200

$1,500 - $2,000

$800 - $1,200

456 Batak Wooden Architectural Element

453 Yaure Mask The masks of the Yaure represent human faces often supplemented by animal attributes. In classic form with elongated face with a protruding mouth and pierced semi-circular eyes set under a high forehead extensively carved with geometric motifs. Ears in attentive stance. Highly refined nose.

Horns (some damage) complete form of the mask. The outline of the mask is characteristically surrounded by a relief serrated edge. Ivory Coast.

Provenance: Private Collection, New Zealand. H265mm W160mm.

Elongated face accentuates bulbous eye cavities and defined hair line. Old trade cloth attached to back. Red and white pigment evident throughout very old patina. H580mm W240mm.

A side beam (pandingdingan). With a head of a singa on the front extending into the monsters body in the form of a snake (naga). Northern Sumatra. L720mm W250mm D300mm.

$800 - $1,200

457 Fine Dayak Baby Carrier

Carved from a single piece of wood and covered in deep carving with a central male figure with shell inlaid eyes, flanked by two mythical dragons. Dark black patina. L395mm W390mm.

$800 - $1,200

Oceanic & african Art 109

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.

2. Reserves. All lots are sold subject to the right of the seller or her/ 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. Buyer’s Premium. The purchaser accepts that in addition to the hammer or selling price Webb’s will apply a buyer’s premium of 15% for sales of Oceanic & African Art (unless otherwise stated), together with GST on such premiums.

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 cheque or Eftpos. Personal and private cheques will be accepted but must be cleared before goods will be released. Credit cards are not accepted.

6. Lots sold as Viewed. All lots are sold as viewed and with all erros in description, faults and imperfections whether visible or not.

Neither Webb’s nor its vendor are responsible for errors in description or for the genuineness or authenticity of any lot or for any fault or defect in it. No warranty whatsoever is made. 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.

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.

8. Collection. Purchases are to be taken away at the buyer’s expense immediately after the sale except where a cheque remains uncleared. If this is not done Webb’s will not be responsible if the lot is lost, stolen, damaged or destroyed.

Any items not collected within seven days of the auction may be subject to a storage and insurance fee. A receipted invoice must be produced prior to removal of any lot.

9. Licences. Buyers who purchase an item which falls within the provisions of the Protected Objects Act 1975 or the Arms Act 1958 cannot take possession of that item until they have shown to Webb’s a license under the appropriate Act. 10. Failure to make Payment. If a purchaser fails either to pay for or take away any lot, Webb’s shall without further notice to the purchaser, at its absolute discretion and without prejudice to any other rights or remedies it may have, be entitled to exercise one or more of 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.

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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 its vendor.

Webb’s shall be entitled to a possessory lien on any property of the purchaser for any purpose while any monies remain 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 is 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.

11. Bidders deemed Principals. All bidders shall be held personally and solely liable for all obligations arising from any bid, including both ‘telephone’ and ‘absentee’ bids. Any person wishing to bid as agent for a third party must obtain written authority to do so from Webb’s prior to bidding.

12. ‘Subject Bids’. Where the highest bid is below the reserve and the auctioneer declares a sale to be ‘subject to vendor’s consent’ or words to that effect, the highest bid remains binding upon the bidder until the vendor accepts or rejects it. If the bid is accepted there is a contractual obligation upon the bidder to pay for the lot.

13. SALES POST AUCTION OR BY PRIVATE TREATY. The above conditions shall apply to all buyers of goods from Webb’s irrespective of the circumstances under which the sale is negotiated.

14. condition of Items. 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 six. Webb’s are pleased to provide intending buyers with condition reports on any lots.

A guide for buyers Webb’s have set out the following information for the benefit of first time buyers and those who are unfamiliar with auction procedures.

Important: Please refer to full Conditions of Sale for Buyers printed on the reverse of this page and displayed in the saleroom.

Registration: All intending buyers must complete a bidding form available from the reception desk.

1. Floor Bidders Ensure that you have registered and obtained a buyer number before bidding on the lot or lots you have chosen.

Be aware that a buyer’s premium of 15%, plus GST on such premium, is payable by all buyers in addition to the hammer price. Please make sure that you are aware of the amount of the buyer’s premium. Make your bids clear, preferably by holding up your buyer number card. If you make a mistake (for example, the auctioneer takes a bid from you at a higher level than you intend, or you realise that you have bid on the wrong lot), call out to the auctioneer immediately so that the bidding can be adjusted. Waiting until after the hammer falls is too late. If your bid is the highest and the lot is knocked down to you then you have entered a binding obligation to pay for that lot.

5. Absentee Bids Webb’s will endeavour to ensure that your bidding instructions are executed but accept no responsibility or liability for failure to do so.

Lots will be bought as favourably as is allowed by bidding in the sale room and any reserve imposed by the vendor. Please note that Webb’s cannot guarantee that another bidder will not be successful at your limit if in the course of competitive bidding someone else bids your limit first.

Absentee bids are accepted by written instruction which can be sent by fax (e-mailed absentee bids are not accepted) up to l hour before the commencement of the sale.

Absentee bids will be executed on the following basis: If your bid limit is equal to or above a reserve the auctioneer may open the bidding at reserve on your behalf and will bid thereafter only in response to competition for the lot.If your bid limit is below a reserve the auctioneer may open the bidding at your limit and if there are no further bids in the room may sell to you “subject to vendor’s consent”.

In the absence of a reserve the auctioneer may exercise your bid in advance of any opening bid or may open the bidding on your behalf at the auctioneers estimate at the auctioneer’s sole discretion.

2. Antiquities Act 1975

6. Telephone Bids

Maori artifacts included in this catalogue have been registered under the terms of the Antiquities Act 1975 and subsequent amendments. The definition of antiquities includes artifacts which are objects relating to Maori history, art, culture, traditions or economy which are more than 50 years old.

Webb’s will telephone the number you have given several minutes before the lot you have requested comes up for sale. If your phone is engaged or we are unable to make contact the auction will proceed without your bidding.

The registered items may only be purchased by a registered collector.

Application forms for registration as a collector are available upon request.

You may purchase in advance of obtaining a Certificate of Registration however you will be required to pay for the purchases and Webb’s will store them until the Certificate is granted and presented. Delivery will not be made until the procedure is complete.

3. The Moveable Cultural Heritage of New Zealand Under the Antiquities Act the moveable cultural heritage of New Zealand comprises: those objects, including Maori cultural heritage objects, that are of importance to New Zealand, for aesthetic, archeological, architectural, artistic, cultural, historical, literary, scientific, spiritual or technological reasons.

Buyers should note that all registered items in this sale will fall under the jurisdiction of this Act and no registered Maori artifact may leave the country.

It is the buyer’s responsibility to inform themselves with respect to the Antiquities Act and how it may affect their ability to purchase or export any item. For full information on this Act view http://www.mch.govt.nz/ protected-objects/index.html 4. Sales Subject to Vendor’s Consent Where your bid is the highest but still below the reserve the auctioneer may declare you to be the “buyer subject to Vendor’s consent”. This means that your bid is held as binding and will be communicated to the Vendor at the earliest opportunity. If the vendor accepts then there is a contractual obligation for you to pay for the lot. If the vendor does not accept you are released from any obligation however you will have first right to negotiate with the vendor through Webb’s until an agreement is reached and Webb’s will not present other offers to the vendor until your negotiations are ended.

The same conditions as outlined previously apply to telephone bidders.

Our staff will ask you to hold when we have made contact. They will then tell you that your lot is about to come up. The bids will be relayed to you and you can enter the bidding at any time by making your call.

Please note that the bidding at many auctions can be fast and furious.

The auctioneer will not favour a phone bidder over and above buyers who are attending the auction by giving them more time to bid. You will need to establish your limit and make sure that you bid clearly and promptly.

7. Pre-Sale Estimates Estimates printed in the catalogue or given verbally are intended as a guide only and can be subject to revision nearer to the time of a sale. Webb’s staff are available during pre-sale viewing times and by appointment to assist prospective bidders with estimates and any aspect of the auction procedure.

8. Condition Reports Webb’s staff will provide condition reports for out of Auckland buyers.

However, please note that clause six of the Conditions of Sale for Buyers will still apply despite the obtaining of a condition report.

9. 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 cheque or Eftpos. Personal and private cheques will be accepted but must be cleared before removal of goods. Credit cards are not accepted.

10. Packing and Freight After payment has been made in full, Webb’s will, as a service to buyers arrange to have pieces packed, insured and shipped at your request and expense. Unless otherwise requested packing and freight services will be provided by Pack and Send, 27 Beach Road, Auckland. Phone +64 (09) 909 9099. Fax +64 (09) 909 9098. Email aucklandcity@packsend.co.nz.

Catalogue information 111

Bidding Slip For absentee bidders on lots in sale 310 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 sale of Oceanic & African Art, a buyer’s 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 bid*

MR MRS MISS MS (PLEASE CIRCLE) first name

surname/company

home phone

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.

SIGNED

18 Manukau Rd Newmarket | PO Box 99251 Auckland 1149 New Zealand Ph: 09 524 6804 / Fax: 09 524 7048 | auctions@webbs.co.nz / www.webbs.co.nz 112

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