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Cover: Lot 15 FRANCIS UPRITCHARD Untitled (Sloth Creature) $20,000 - $25,000 Back cover: Lot 4 MICHAEL PAREKOWHAI Untitled $2,000 - $3,000

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

Inside front: Lot 193 AN IMPORTANT SOLITAIRE DIAMOND OF 5.04CT Marquise Cut, G.I.A Certificate: Colour F, Clarity VS1. Estimate $185,000 - $225,000 Fine Jewellery & Watches, August 10, 6pm Refer pages 102 to 123 of this catalogue Inside back: Lot 13 JULIAN DASHPER Untitled (20”) $5,000 - $8,000





Tue 9 August 2011 – 6:30pm




FINE JEWELLERY & WATCHES Wed 10 August 2011 – 6:00pm

Thu 11 August 2011 – 6:00pm

VIEWING FROM WED 3 AUGUST 5:30PM EVENING PREVIEW Wednesday 3 August 5:30pm – 7:30pm Please join us to view the suite of sales and enjoy a glass of wine, thanks to Peregrine Winery, Central Otago.

BUYER’S PREMIUM A buyer’s premium of 12.5% will be charged on all items in the Important Paintings and Contemporary Art sale and the Fine Jewellery & Watches sale, and a buyer’s premium of 15% will be charged on all items in the Antiques & Modern Design sale. GST (15%) is payable on the buyer’s premium. LEFT: Lot 24 Colin McCahon Helensville 1971 $90,000 - $140,000


INTRODUCTION Webb’s winter season of sales commences with a selection of contemporary art and important paintings to be auctioned on Tuesday 9 August 2o11. The collection of contemporary works in the catalogue includes three pieces by London-based, New Zealand-born artist Francis Upritchard; this provides a rare opportunity for New Zealand collectors to acquire works from her acclaimed 2005 period (lots 15, 16 and 17). It was during this period that Upritchard made her Walters Prize winning exhibition Doomed, Doomed, All Doomed, and the works presented here relate closely to those included in this submission. Two of the works on offer were illustrated alongside the Walters Prize works in Upritchard’s first book, Human Problems. The auction also includes a work by contemporary Australian artist, Rose Nolan (lot 28); the revolutionary spirit of the red and white flags stands in contrast to the work’s personal and playful statement, Help Me To Do Things Differently. Tuia, by Shane Cotton from 2003 (lot 26), is the most significant and well-resolved work by Cotton to be presented at auction since Webb’s achieved a record price for the artist’s work with Lying in the Blackland in 2010. Prolific with Cotton’s language of motifs, Tuia offers a rich and layered dialogue. A number of signature works by New Zealand modernists are also included, such as an exquisite example of Don Binney’s ‘bird’ paintings with Tui Over The Anawhata (lot 27). Produced in 1964 and featuring a tui soaring above two kauri trees, it is a ‘classic’ work from this early period. Its smaller-than-usual format provides a rare opportunity to

4 4

acquire a key work at a modest price, when compared with more typical larger-format works. For those who enjoy the virtuoso polish and super-realist handling of Grahame Sydney, we present his masterpiece, Pig Root Pond, from 1993 (lot 31). This work was included in the artist’s major retrospective exhibition, which toured nationally from 1999 to 2011, and was selected to adorn the cover of the book published to accompany the exhibition. 19th and early 20th-century works in the catalogue include a rare composition by Charles Frederick Goldie entitled The Nest and dated 1937 (lot 39), which shows an intimate and sensitive subject: a figure of a young boy with a child on his back. Gottfried Lindauer’s portrait of Ihakara Tukumaru, c 1882 (lot 23), is the only known portrait by the artist of this important subject. A signatory of the Treaty of Waitangi, Tukumaru is remembered principally for his role as a seller of land to the Government, as a peacemaker during the 1860s and 1870s and as an early developer of the Foxton community. The quality of the work, its handling and composition and the importance of the subject combine to make this the most important work by Lindauer to be presented in recent history. Not since 2009, when Webb’s sold The Farmer’s Daughter has the market seen a work in oil by Frances Hodgkins presented at auction. Works in oil by Hodgkins are rarely available and are inherently more stable than are the works on paper. Gloxinia, c 1924 (lot 37), presents a Cubist-influenced composition and handling. Gifted to the artist’s

friend Jane Saunders, the work was originally exhibited in 1926. On the following night, Wednesday 10 August 2011, Webb’s presents a wonderful selection of jewellery and watches. Of extraordinary quality and clarity is a solitaire diamond of 5.04ct (lot 193), which is marquise cut and has a G.I.A. certificate listing colour of F and clarity VS1. With an estimate of $185,000 – $225,000, this stone represents exceptional investment buying. The Antiques and Modern Design sale to be held on 11 August 2011, will showcase high-quality pieces including a large collection of 19th-century English and French mahogany, oak and elm furniture and a large collection of Victorian wall and mantel clocks. A rare German polyphon music box will be of interest to specialist collectors and, for collectors of New Zealand studio pottery, we present a magnificent large-scale Len Castle ‘blossom branch’ pot with a luscious opalescent blue glaze. Of historical importance is the First World War Distinguished Flying Cross (DFC) (lot 300) awarded to Lieutenant Samuel Dawson, which will be sold along with a selection of other medals. Other highlights include an extensive selection of Chinese porcelain and export silver, Georgian silver tableware and, for fans of modernist ceramics, plenty of quality Poole pottery. Please come and enjoy the viewing and feel free to seek advice from myself or one of my colleagues in order to obtain a professional and well-informed view of current market conditions and comparative data on specific acquisitions. SOPHIE COUPLAND, DIRECTOR

37 Frances Hodgkins Gloxinia $200,000 - $250,000








“The tribal and Oceanic items at Webb’s have a particular appeal to me for their joyous otherworldliness, whilst Julian Dashper’s monochromatic reductivist pieces resonate with my own stylistic tendencies.” Jamie chose [1] the Julian Dashper, painting Untitled (20”) included in this catalogue (lot 13). [2] An African, Bamana Antelope Headdress and other African and Oceanic treasures also caught Jamie’s eye. You’ll have to


wait for these as the auction in which they are included takes place on 8 September. Jamie’s own designs [3] the Resident Flyover Table and [4] the Spar Floor Light are both available from Simon James Design and [5] the Tom Dixon Lean Table Light is in stock at ECC For more information on Jamie McLellan see


Webb’s is pleased to announce an exhibition of photographic work by Zhang Xianyong. Xianyong belongs to a new generation of young Chinese photographers who engage with both traditional Chinese story telling and western modes of representation. His works are a carefully staged tableau that

reflects on the rapid pace of China’s economic development and the radical cultural shift that it has bought about in Chinese society. Xianyong’s sprawling works are generally composed of a myriad of cultural reference juxtaposed visually against one another; they are aimed at shining a light on a modern

China that is torn between its past and its future. His work is humorous, confronting and conceptually pervasive. Zhang Xianyong works and lives in Shanghai. For further enquiries contact Sophie Coupland +64 9 529 5603


Presenting a seamless blend of exceptional art, design, science, fashion, romance, magic and mystery, PILOT is an award-winning premium magazine experience.


Subscriptions from



To be held during the lead-up to the Rugby World Cup final, this event will enjoy unprecedented international marketing, placing Webb’s vintage motorcycle and car sales on the world stage. Webb’s will celebrate some of the finest machines available within

Australasia; already consigned is a range of important classic and vintage machines which have the potential to set further record prices. CONTACT Neil Campbell +64 21 875 966


MATERIAL CULTURES OCEANIC & AFRICAN ART THU 8 SEP 2011 – 6:30PM ENTRIES NOW INVITED Webb’s presents an outstanding and substantial selection of art and artefacts from Oceania and Africa. Maori and Pacific material has been consigned from significant international private collections including an important consignment from Hawaii. Showcasing the beautiful material cultures of the Oceanic region, this collection includes a superb hei tiki of rare chatoyant, luminous pounamu (illustrated) amongst other fine examples of Maori adornment, weaponary, rare fish hooks, ceremonial pieces and textiles. Presenting a wonderful opportunity to access material not previously seen on the New Zealand market, the catalogue will also include African art and artefacts released from the collection of prominent New York dealer Merton D. Simpson alongside vintage 19th and early 20th-century photography depicting Maori and Pacific cultures. Early hei tiki pounamu $12,000 - $15,000

CONTACT Jeff Hobbs PH +64 21 503 251 Neil Campbell PH +64 9 529 5607 | +64 21 875 966


IMPORTANT COMMISSION Webb’s values collections at the Museum of New Zealand Te Papa Tongarewa


This month, Webb’s was honoured to be contracted to value the prestigious Photography, History and Library collections of the Museum of New Zealand Te Papa Tongarewa.

Portrait of Rangitupu Take Take by W H T Partington Early 20th century. Silver gelatin print.

Webb’s would like to thank the curators and managers of the collections for their hospitality and support during this significant valuation project. Webb’s offers a comprehensive valuation service covering individual items, complete home contents, single owner collections, corporate and institutional collections. CONTACT Brian Wood PH +64 9 529 5609


When you enjoy a bottle of Peregrine or Saddleback you not only experience a taste of Central Otago, you also directly contribute towards the survival and recovery of our New Zealand’s endemic Falcons and Saddlebacks. Peregrine is a major sponsor of both the New Zealand Wingspan Trust and the Fiordland Conservation Trust, who are fully committed to the protection and survival of these rare and unique birds. We think this is something worth savouring. To order our wines and to find out more information on these projects – visit our website or call into our cellar door. Peregrine Wines, Kawarau Gorge Rd, Gibbston, Queenstown 12

SILKE RAETZE ELEGANT SURRENDER 3 AUGUST - 2 SEPTEMBER 2011 Free to choose (face), 2011 cross-stitch fabric with cottons 30.0 x 36.0 cm

44 Roslyn Gardens, Elizabeth Bay, NSW 2011 Australia Telephone +61 2 8353 3500


Nga Hau e Wha : East Wind 2010 1200 x 1600


e: m: +64 (0) 274 913 796 14


dining. Kauri Cliffs and Cape Kidnappers are

Bay of Islands, The Farm at Cape Kidnappers

home to two of the top golf courses in the

in Hawke’s Bay and Matakauri Lodge outside

world and Matakauri Lodge is on the doorstep

Queenstown in the South Island are three of

of Queenstown, New Zealand’s top centre

the world’s premier destinations for discerning

for adventure and outdoor pursuits as well as

travelers. Developed by New York financier

scenic beauty.

Julian Robertson and family, these award

Winter Ski rates at Matakauri from NZ$750 per

winning Relais & Châteaux lodges all offer

person per night plus GST, mid season rates

spacious suite accommodation and fabulous

from NZ$620 per person per night plus GST.

KAURI CLIFFS Tel +64 9 407 0010 email 6

CAPE KIDNAPPERS MATAKAURI Tel +64 6 875 1900 Tel +64 3 441 1008 email email IMPORTANT PAINTINGS and CONTEMPORARY ART 15

FINE & RARE WINE MON 1 AUG 2011 - 6:00PM The August auction will offer over 500 lots representing fine New Zealand, Australian, Bordeaux, Burgundy, Rhone, Italian and Champagne producers. A great opportunity to find bottles to fit every possible desire!


CONTACT Simon Ward +64 9 529 5600

ALFRED GREGORY FROM EVEREST TO BLACKPOOL “I PHOTOGRAPHED THE SILENCE ON EVEREST. IT IS NO LONGER THERE.” In 1953 Alfred Gregory was chief photographer with the triumphant team that took Edmund Hillary and Tenzing Norgay to the summit of Everest, taking spectacular photographs that record the human struggle to conquer the Himalaya and the once-pristine beauty of the world’s highest mountain. With epic landscapes, iconic imagery and a sense of breathtaking beauty, Alfred Gregory - from Everest to Blackpool captures those short-lived moments when ordinary people, objects and places become extraordinary.

Preview Thurs 1 Sept 2011, 5:30 - 7:30 Open Friday 2 – Sunday 10 Sept Mon – Fri 9:00am to 5:30pm Sat & Sun 11:00am to 3:00pm Webb’s, 18 Manukau Rd, Newmarket. Presented in partnership with




Evening Preview 5:30pm - 7:30pm

Thu 4 August

9:00am – 5:30pm

Fri 5 August

9:00am – 5:30pm

Sat 6 August

11:00am – 3:00pm

Sun 7 August

11:00am – 3:00pm

Mon 8 August

9:00am – 5:30pm

Tue 9 August

9:00am – 12:00pm

BUYER’S PREMIUM A buyer’s premium of 12.5% will be charged on all 16 Francis Upritchard Untitled (Baboon) $6,000 - $9,000

items in the Important Paintings and Contemporary Art section of this sale. GST (15%) is payable on the buyer’s premium only.








Neil Dawson



laser cut steel together with artists made traveling case, 23/35 title inscribed, signed and dated 2003 35mm diameter Provenance Commissioned by Webb’s to celebrate New Zealand sailing. $2,800 - $3,800


Chris Charteris

Pacific Cross

carved whalebone signed with artist’s initials and dated 2003 verso 210mm x 440mm Provenance Purchased from FHE Galleries, Auckland, 2007. $6,000 - $9,000


Julian Dashper

Study for Phili Shave acrylic on paper

title inscribed, signed and dated 1989 verso 400mm x 395mm $3,000 - $5,000


Saskia Leek

White Rabbit oil on canvas

signed and dated 2002 - 2006 verso 240mm x 190mm $1,800 - $2,400


Michael Parekowhai


cast bronze, unlimited edition, 1993 15mm x 90mm each approximately REFERENCE This work relates to Acts. (10: 34-38) “He went about doing good”, 1993, Auckland Art Gallery, Toi o Tāmaki. $2,000 - $3,000



Kathy Temin

I Don’t Know Myself felt on wooden stretcher 480mm x 450mm $3,000 - $4,000


Kathy Temin

Landscape Trees

synthetic fur, synthetic filling, cotton thread, wool and steel, wooden base title inscribed, signed and dated 2006 540mm x 200mm x 150mm $4,000 - $6,000



Peter Robinson


oilstick on paper signed and dated ‘93 750mm x 560mm $10,000 - $12,000




The Bosom of Abraham

The Bosom of Abraham

fluorescent light fitting and

fluorescent light fitting and

screenprinted vinyl, edition of 7

screenprinted vinyl, edition of 7



1310mm x 220mm x 70mm

1310mm x 220mm x 70mm

$6,000 - $8,000

$6,000 - $8,000

Michael Parekowhai


Michael Parekowhai


Bill Culbert

Red, Yellow and Blue found plastic bottles and fluorescent tube, 1995 290mm x 610mm Exhibited TOI TOI TOI: Three Generations of Artists from New Zealand, Museum Fridericianum Kassel, 23 January 5 April 1999. Auckland Art Gallery, Toi o Tト[aki, 21 May - 8 August 1999. Sue Crockford Gallery, c.1995. Illustrated Catalogue published for the exhibition TOI TOI TOI: Three Generations of Artists from New Zealand, Museum Fridericianum Kassel, Auckland Art Gallery, Toi o Tト[aki, 1999. cat. No. 97, p. 103. Bill Culbert: Making Light Work, Ian Wedde, Auckland University Press, 2009, p. 150 (p. 55, Bottle Combinations 82 - 07). $10,000 - $15,000



Fiona Pardington

Taranaki Heitiki with Mussel Shell Eyes, Okains Bay Māori and Colonial Museum 13 12

Liz Maw

Interstate Long Board screenprinted, 9 ply pintail deck with cut out handle in the tail with 77mm urethane wheels


Julian Dashper

Untitled (20”)

acrylic on linen title inscribed, signed and dated 1999 verso 510mm x 510mm

gelatin silver archival hand print 3/5 title inscribed and dated 2002 on label affixed verso 570mm x 450mm Provenance This image is included in the suite of Heitiki photographs gifted to the Musee

dated 2008

Note: A full signature and inscription is

du Quai Branly, Paris by the

1040mm x 275mm x 130mm

rare for Dashper’s work.

New Zealand Government.

$2,200 - $4,000

$5,000 - $8,000

$7,000 - $9,000


“It’s not really quite clear where these things

why human beings ascribe meaning

fingerprints.” 2 Much like Upritchard’s

come from or where they fit in. It’s rather like

to matter. Irrespective of whether

own objects, Fritsch’s jewellery

the way we remake our personal histories

commodity fetishism is motivated by

revaluates the traditional means by

according to our distorted memories.” –

superstition, monetary value or deeply

which objects are endowed value. While

Francis Upritchard 1

imbedded cultural practice, these works

they are made using precious materials,

highlight the invisible structures that

the human touch is of the greatest

of Upritchard’s practice of 2005. It

perpetuate it. Further, it could be said


was an exhibition made during this

that by breathing new significance into

period, the tentatively titled Doomed,

previously valueless objects, Upritchard,

of the finger to the end of the toe, are

Doomed, All Doomed, first exhibited at

in turn, seeks to advance the process

comparable with those of the human

Auckland’s Artspace, for which she won

further and influence the production of

body and, as such, its spatial presence

the prestigious Walters Prize. Prior to

cultural capital. The veritable influence

spurs the viewer to evaluate their own

this, Upritchard had also been a 2003

of Uprichard’s hand prompts us to find

physical capacity. Its elongated reach

nominee for the Beck’s Futures award

new beauty in the gentle, speckled

endows that work with a presence that

which is based in the United Kingdom.

gradient of Untitled (baboon), that would

misrepresents the true mass of its lean

In 2009, Upritchard was bestowed

otherwise be framed by the swift and

stature; the generous expanse of space

the further honour of being selected

dismissive movements of fashion, and a

surrounding the work acts almost like a

to represent New Zealand at the 2009

new symbolic significance in the form

halo, as if to suggest that this inanimate

Venice Biennale, where she mounted

of Untitled (bat), which previously would

body has significance far greater than

the exhibition Save Yourself at the

have been defined only by its use-value.

its own physical presence. Upritchard

These three works are representative

Fondazione Claudio Buziol. In addition

has noted that she has in fact never seen

to her extensive international exhibition

similar to the light-coloured sloth that

a real sloth, and explains: “I think of it

history, she has held residencies at:

was exhibited in Doomed, Doomed, All

more as a costume than an animal”.3 The

the Govett Brewster, New Plymouth;

Doomed and the two works are illustrated

rigor mortis of its protruding limbs and

Artspace, Sydney; Camden Arts Centre,

alongside one another in Upritchard’s

almost otherworldly presence, suggest

London; and Belem Contemporary Art

first major publication, Human Problems

that it is adopting the position of a fallen

Flux, Belem, Brazil.

(2006). The sloth’s starved hollow

species and that Upritchard may be

form is made from real fur, laid over

challenging her audience to reconsider

work has come to be made

a sculptural material that allows it to

the way in which they navigate the

predominantly from hand-formed

remain malleable. Its hands are made

world. Its haunting presence seeks to

modelling materials, during this early

from human gloves, over which the sloth

address the destructive effect of colonial

period she was actively engaged with

wears rings made by contemporary

imperialism on both cultural diversity

making works from both found objects

jeweller Karl Fritsch, with whom

and organic materials. While the works

Upritchard is a frequent collaborator and

are constructed from modern refuse,

co-exhibiter. Of his work, Upritchard

and the natural world. 1 Vogue magazine, October 2004, p. 115 2 Another Thing I wanted to Tell You by Francis

they present themselves as relics from

has said: “It’s like inverse alchemy. He

another time. Untitled (bat) and Untitled

uses precious materials and turns them

(baboon), particularly, ascribe new

into childish rough objects that look like

meaning to previously defunct objects.

they’ve come out of a candy machine.

They seek to question the reasons

They are so immediate you can see the

While in recent years Upritchard’s


Brown Sloth Creature is substantially

The sloth’s dimensions, from the tip

Upritchard, artist. Karl Fritsch, jewellery. Supplied by Salon 94, New York. Publication unknown.

3 Francis Upritchard, Francesca Gavin, I-D magazine, issue 252, march 2005, p. 88



Francis Upritchard

Brown Sloth Creature fur, rings and leather 2005

2100mm x 200mm x 100mm NOTE The rings worn by Brown Sloth Creature (2005) are by jewellery artist Karl Fritsch. Francis Uprtichard, Karl Fritsch and furniture designer Martino Gamper have an extensive collaboration history. Most recently, in 2011, they collaborated on Gesamtkunsthandwerk, GovettBrewster Art Gallery, New Plymouth; Hamish McKay Gallery, Wellington and in 2009 at Kate MacGarry, London. Exhibited Francis Upritchard, solo exhibition; Salon 94, New York, September November 2005 Illustrated Human Problems, Francis Upritchard with text by Hari Kunzru, Veenman Publishers/Kate MacGarry, 2007, pl. 46. Exhibition invitation, Salon 94, New York, 2005. $25,000 - $35,000



Untitled (Baboon)

Untitled (Bat)

ceramic and clay

cricket bat and clay



490mm x 190mm x 190mm

720mm x 110mm x 110mm

Francis Upritchard

Francis Upritchard



Kate MacGarry, London.

Kate MacGarry, London.

$6,000 - $9,000

Illustrated Human Problems, Francis Upritchard with text by Hari Kunzru, Veenman Publishers/Kate MacGarry, 2007, pl. 28. $5,000 - $7,000




Philip Trusttum

Garden Painting acrylic on board

signed with artist’s initials and dated ‘74 1445mm x 1220mm $15,000 - $20,000


Denise Kum


ethylene vinyl acetate, tint, dye and powder on six panels 2005 273mm x 1125mm overall (6 panels) $4,000 - $6,000


Julian Dashper

Anglican Church At Matauri Bay acrylic on paper title inscribed, signed and dated 1984 verso 780mm x 600mm $5,000 - $8,000



reflecting on the efficacy of the image

obvious that the work was missing and

in front of him: adding and subtracting

Apollinaire found himself to be the

Apollinaire At 21 From An Age When Art Seemed Much More Fun

detail so that there is simply enough

subject of suspicion. In a radical moment,

content to say what needs to be said.

he had once called for the Louvre to be

oil on perspex

Frizzell’s flat, generously daubed strokes

burnt down and, rather than assume that

signed and dated 1978

are ruled by a sense of agency. Rather

his words were an affront to established

610mm x 412mm

than communicated through delicate

artistic conventions, the authorities took


strokes, depth is described by the thinned

his statement at face value. During the

out, dappled enamel that mutes certain

investigation, Pablo Picasso was also

parts of the subject’s face. His depiction

implicated and arrested; however, both

1997, p. 32.

does not bow to any laws that govern its

men were later released. The work was

Dick Frizzell: The Painter, foreward by

composition, nor does it subscribe to any

missing for two years before the thief

Hamish Keith, Random House

particular school of aesthetic thought.

was caught. He had managed to steal

New Zealand, 2009, p. 61.

While his chosen subject could not be

it by hiding in a broom closet until the

$20,000 - $25,000

more foreign, Frizzell is speaking the

museum had closed, after which time, he

language of the people. His treatment

simply took the picture off the wall and

testifies that his primary aim has always

walked out with it under his jacket.

Dick Frizzell

Dick Frizzell: Portrait of a Serious Artiste, essay by Allan Smith, GP Publications,

been to communicate with an audience. Guillaume Apollinaire – who died On first looking at Apollinaire at 21 from

in 1918 at the age of 38 – is a cultural

showcase of his own achievements

an age when art seemed much more fun,

figure best known for his influence on

but, rather, as a stand-in for European

it appears to be a painting that does

the development of modern French

influence or, more specifically, for the

not guard its intentions closely. In a

poetry and for his critiques of early 20th-

influence of European artistic practice

declaration of sorts, the work’s title

century art movements. He was born in

on the development of New Zealand art.

is affixed to its surface in exuberant

Rome to a Polish mother and a Swiss

Interpretations of overseas movements

cursive; the words are almost like

Italian father and later found his way

have shaped New Zealand’s cultural

a headline in the way that they are

to Paris. Here he immersed himself in

landscape and influenced artists from

encapsulated in the upper half of the

the artistic community of Montparnasse

Hodgkins to McCahon and, by picturing

image. While it was around the time of

where he fostered friendships with a

Apollinaire, Frizzell sought to debase

painting this work that Dick Frizzell

cast of avant-garde luminaries, from

this influence by giving it a slightly

revealed his penchant for theatrics

Picasso to Duchamp. While he was a

ridiculous human face. However, to

within the picture plane, the methods

practitioner in his own right, it was

an even greater extent, Apollinaire at

used here can be seen to be in line with

ultimately his written observations of

21 can also be seen to reflect the newly

the suggestive tactics that would define

others’ endeavours that would have the

established professional structure of the

his later works, beginning with the

greatest influence on the course of 20th-

New Zealand art world. In this work, we

landscapes of the late 1980s. Staring

century cultural production. It was his

see Frizzell casting his eye back to a time

out from underneath the words is the

writing that helped define the two groups

when contemporary artistic endeavours

portrait of a young man. His face shows

of painters that would become known as

were at odds with society: a time when

no sign of age; he has no features that

cubists and surrealists.

flamboyant rhetoric could land you on

tell of lived-through ordeal or lesson

Outside of his academic exploits,

the wrong side of the law. It is difficult to

learnt. Rather, he is defined only by

Apollinaire was famously arrested in

know whether Frizzell was condemning

his affectations: a bowler hat and a

1911 when the Mona Lisa was stolen from

the notion of having a ‘professional’

kempt moustache. Without any prior

the Musée du Louvre in Paris. When

approach to art-marking or if he was

knowledge of who he is, the only thing

the guards at the museum were first

revelling in the newfound joy of having

that can be said for sure is that he looks

made aware of the fact that the work

red dots on the wall.


was missing, they thought that it had


The well-heeled familiarity of the previously painted layers reveals an artist


In one respect, Apollinaire appears in this painting not so much as a

been taken away to be photographed. However, within a few hours, it became




Painted in 1969, Woman Dancing in White

gives them the appearance of strips of

is one of a series of works from the late

corrugated iron. Likewise, the figure’s

Woman Dancing in White

1960s by Richard Killeen that saw the

face, hands and body are simplified

oil on hardboard

artist exploring notions of New Zealand

down to mere signs of themselves

suburbia in conjunction with the rise of

while the greenery beyond the room is

mass consumerism and the beginnings

loosely brushed in. The overall feeling

of rapid and burgeoning technological

of the work is one of smooth polish and

progress. What was arguably at the

the painting largely comprises blocks

centre of Killeen’s interest was the

of unmodulated colour in a variety

connection between people and their

of bright, ostensibly primary colours.

possessions and the potential threat

The oversized armchairs possess an

of depersonalisation that could result

abstracted quality although they remain

from this uncharted territory. It is these

instantly recognisable. Killeen achieves

concerns that are latently apparent under

this duality through the manipulation of

the patina of paint that makes up Woman

scale and reduction of form, paring back

Dancing in White as the painting makes

all items to their bare essentials. Killeen’s

a judicious comment on the relationship

concern here is not with anatomical

between people and materiality, covertly

correctness or spatial illusionism, but

pointing to the possibility of humanity

with crafting a setting that is at once

being dominated by the desire for

familiar and strange due to its very lack

material possessions.

of specificity.

Richard Killeen

signed with artist’s initials and dated ‘69 685mm x 685mm Illustrated Stories We Tell Ourselves. The Paintings of Richard Killeen, Francis Pound, David Bateman and Auckland Art Gallery, Toi o Tāmaki, 1999, p. 51. $25,000 - $30,000

Clothed in a monochromatic white

In the same manner as its counterparts, Woman Dancing in Green

jumpsuit, the female figure’s sinuous and

and Woman Dancing in Blue, which were

lithe body is arched into a serpentine

painted in the same year, the present

pose as though she were completing an

painting, Woman Dancing in White,

aerobics routine in the private comfort of

features a generalised female figure

her own home. Assuming an expressive,

within a simple unadorned domestic

almost comic pose, Killeen’s ‘woman’

interior space. In all of these works,

appears to have been dropped into an

Killeen builds an environment from

oversized domestic environment from

commonplace items such as armchairs,

another time or planet. This facet

circular carpets, curtains and glass

of the futuristic is reinforced by her

windows, which is animated by a single

generalised features and this obviates

dancing female figure. Dwarfed by

the potential for the viewer to identify

the lounge-room furniture, the female

with her personally and is also apparent

figures in these paintings function

in Killeen’s choice of a standardised

as vehicles for Killeen’s investigation

title that describes only the basic subject

into concepts of sameness which is a

of the work. While the subject matter

result of mass production and which

appears to be innocuous and everyday,

can subsequently result in a loss of

the painting is nonetheless suffused

individuality and identity.

with intrigue due to Killeen’s ability to invest the work with a serious

In Woman Dancing in White, the abruptly cropped blue armchair invites

undercurrent, striking an harmonious

the spectator into the painting. Two

balance between formal aestheticism

patches of pale-blue curtain announce

and significant questions.

the presence of invisible glass windows


and their reduced, simplified form



Gottfried Lindauer

Ihakara Tukumaru oil on canvas

signed and inscribed Ihakara Tukumaru... Te Awahou on stretcher and frame verso 850mm x 680mm Provenance This work is one of seventeen subjects that Lindauer was commissioned to paint at Marton in June 1882. The paintings were commissioned by Dr. Walter Buller who was presiding over a Land Court at Marton. Purchased by a descendant of Henry Edward Partridge (1848 - 1931) from George Walker Ltd, Auckland, 9 September 1963, lot 123. Henry Partridge was one of Gottfried Lindauer’s earliest clients, and grew to be his most dedicated patron. Their professional relationship lasted almost forty years. Partridge is now best remembered for having amassed a collection of over seventy paintings by Lindauer, later known as the Partridge Collection. The Partridge Collection was gifted by Henry Partridge to Auckland Art Gallery, Toi o Tāmaki, in 1915. Passed by descent to the current owner, Henry Partridge’s great granddaughter. Reference This work is listed in Gottfried Lindauer’s original list of commissions (unpublished) as a commission at Marton in 1882. Biographical information on Ihakara Tukumaru can be found at the Horowhenua Library Trust website: topics/show/72-ihakara-tukumaru Pioneers of Foxton: Book One, Margaret Spiers, p.1-2, Foxton Historical Society, 1988. Illustrated George Walker Ltd, auction catalogue, 9 September 1963, pl. 3. $120,000 - $160,000



Gottfried Lindauer

received an annual salary of £50. In

under their tutelage for six years, after

Ihakara Tukumaru

regards to the development of Foxton,

which he worked at a portrait-painting

Ikahara’s key sale of four acres of land

studio under Carl Hemmerlein before

A key figure in the history and heritage

to Mr T U Cook for £5 in 1857 resulted

establishing his own studio in Pilson

of Aotearoa New Zealand, Gottfried

in the construction of Foxton Primary

at the age of 25, where he specialised

Lindauer was responsible for preserving

School for local Pakeha settlers.

in painting local gentry. Lindauer

in paint a multitude of identities, both

arrived in New Zealand in 1874. Here,

Māori and Pakeha, from 19th-century

the organisation of the construction of

he continued to work as a portrait

New Zealand. This portrait of Ihakara

the first two houses of Christian worship

painter, with the majority of his work

Tukumaru (c 1813–1881) originated from

in the area with the first church being

being expressly commissioned. As such,

a suite of 17 works commissioned in

built at Te Awahou in 1850–1851, and

Lindauer’s works often commemorated

Marton in 1882 by Walter Buller, later

a second at Matakarapa in 1880. It is

key figures in society. Lindauer’s position

knighted Sir Walter Buller. Buller’s

important to note that while Ihakara was

was unique in that the experience and

publicly stated aim in commissioning

a principal figure in his community, he

training that he received during his

this body of work was to ‘illustrate fully

did not wear a moko, or full facial tattoo,

early career afforded him the ability to

the history, art, manners, and customs

a practice looked upon unfavourably by

imbue his subjects with an aristocratic

of the Māori race’ 1; however, Buller’s

the Christian establishment during this

air, capturing the mana and the wairua

motivation also rested in persuading

period. He also adopted the Christian

of the subject, like none other. Indeed, to

Lindauer to remain in New Zealand at a

name Ihakara, the Māori derivation

this day, his works are revered by Māori

time when he was thinking of returning

of the Hebrew name Issachar taken

as important records of their ancestors.

home. While he and his family did visit

from the Old Testament in the

his home country briefly before the

Book of Genesis.

outbreak of WWI, he remained living in

Painted in Marton, a central area of

Lindauer often painted from photographs taken by his frequent collaborator, Samuel Carnell of Napier.

the Rangitikei district of the Manawatu-

This work is painted from a Carte-de-

Whanganui region of the North Island,

Visite photograph, now held in the

member of the principal family of

the present portrait was completed in

collection of the Alexander Turnbull

Ngati Ngarongo. It was one of several

1882. A barely legible inscription by

library (see illustration). It was common

hapu (subtribes) of the powerful Ngati

Lindauer in pencil on the obverse of the

practice to commission a portrait

Raukawa tribe, whose ancestry is traced

painting reads Te Awahou, the Māori

posthumously of a deceased family

back to the migrants of the ‘Tainui’ canoe

name for Foxton, which pertinently

member or loved one in order to have an

and which Ihakara headed along with

refers back to the central role that

eternal visual record. In this capacity,

his relation Taikapurua.2 A central Māori

Ihakara played in the development of

the remarkable level of verisimilitude

figure in the early years of 19th-century

the area. His funeral, held in the old

that Lindauer was able to achieve was an

New Zealand colonialism, he signed the

Te Awahou Cemetery on 24 January

invaluable commodity.

Treaty of Waitangi under his juvenile

1881, attracted hundreds of mourners of

The works produced during the

name, Tahu Rangi. Ikahara is primarily

both of Māori and Pakeha descent. The

1880s are regarded as the artist’s most

remembered both for his position as

shops closed for the day and a procession

accomplished and this work carries the

a seller of land to the Government,

followed his body down the town’s main

hallmarks of Lindauer’s finest work.

particularly in the Foxton district, and

street to its final resting place.

His paintings consistently reward close

New Zealand until his death in 1926. Ihakara Tukumaru was an important

for his role as a peacemaker during


In addition, Ihakara is credited with

Lindauer was born in Germany in

inspection, as portraits such as the

the turbulent decades of the 1860s and

1839 and, at the age of 16, relocated

present one of Ihakara yield a plethora

1870s. In 1852, Ihakara was appointed

to Vienna to study his craft under

of information concerning dress, custom,

to the office of Native Assessor by the

the city’s two most eminent artists of

status and jewellery as well as offering

Government – a post that he held until

the time, Léopold Kupelwieser and

a unique personal likeness. The revered

his death in 1881 and for which he

Joseph von Fürich. He would remain

status of the sitter is communicated

through aspects of pose and dress. Most apparent in this regard are the two tail feathers from the now-extinct huia that are tucked into Ihakara’s hair. Regarded as a sacred (tapu) species, the huia held a privileged position in Māori culture, and the use of its feathers for adornment was reserved for only those figures of high standing. In his right hand, Ihakara clasps a kotiate, which was a prized weapon in battle but was also commonly used by Māori chiefs during the delivery of speeches: the prominent object highlights Ihakara’s military prowess as well as his leadership qualities, social prestige and, possibly, his oratory skill. In a similar manner to the wellknown New Zealand artist Charles Frederick Goldie, Lindauer is renowned for his mimetic technique, producing hyper-realistic works that are redolent with infinitesimal detailing and the current portrait of Ihakara Tukumaru is no exception. Ihakara Tukumaru is set against a plain, monochromatic ground and appears to come forward towards the viewer from the shadowed depths in a regal and dignified manner. Executed in half-length format and with the subject positioned square on to the viewer, the portrait is distinguished by an enticing quietude, which Lindauer manages to achieve through the soft, ambient lighting that bathes the sitter’s face and parts of his cloak. 1 The Māori Court at South Kensington’, Tuapeka Times, issue 1297, 3 November 1886, p 5 2 Information concerning the identity of Ihakara Tukumaru in relation to his gifting of a mission site at Kapahaka to the Presbyterian missionary James Duncan (1813–1907) can be found on the Dictionary of New Zealand Biography website: http://www.

Photographer unknown, Ihakara Tukumaru, Carte-de-Visite, albumen print from the G M Preston Collection, Alexander Turnbull Library, Wellington, New Zealand, ref. no. PA1-o-423-10-1

Thanks to Patrick Parsons for research assistance.





The first phase of Helensville works,

transcription of the world before him.

Colin McCahon

made in the same year McCahon moved

Deep oranges, reds and purples were

Helensville 1971

into his Muriwai studio, can be seen to

used to give depth to the geothermal

watercolour on stainbach paper

extend the formal concerns that were

and meteorological forces that flowed

first evident in McCahon’s Otago and

through and over the landscape.

Canterbury landscapes of the early 1950s.

While the landscapes of this format

In these works, rather than explore the

lack overt religious symbolism, they

topography of the regions, McCahon

do demonstrate McCahon’s profound

chose to focus solely on the physical

reverence for forces greater than himself.

signed and dated 1971 1008mm x 676mm Provenance Purchased from John Leech Gallery, passed by descent to the present owner. Exhibited McCahon Days and Nights’, Helensville; Poems of Kaipara Flats; Kaipara Flat Written; Necessary Protection, Dawsons Gallery, Dunedin, 30 July 13 August 1971. $90,000 - $140,000

attributes of the land. In a manner that

In comparison to other works that

recalled European modernism of the

he would paint during this year, the

early 20th century, these works were

colouration of the work at hand is a

more determined by the flow of the

fairly direct translation of the natural

artist’s hand than by the ebb and flow of

world’s physical appearance. However,

the hillside. The 1968 Helensville works

what make it particularly notable are the

stripped the landscape back to its bare

material qualities of its painted surface.

essentials: ground and sky. Only their

While many of the works completed

naturalistic colouration – a deep green

in this period are typified by a sparse

for the lower half of the picture plane

use of paint, Helensville 1971 has been

and a warm white above – indicated that

meticulously developed into a resonant

they described the natural world.

field of opaque tone from composite

The second phase of the Helensville

layers of watercolour. Furthermore, in

In 1968, a significant shift occurred in

series, to which the work at hand

contrast to the formidable and singularly

McCahon’s life when he moved from

belongs, was completed in the same year

identifiable brush strokes found

working at his family home, in the

as was the Kaipara Flat series. While

elsewhere in this period, in Helensville

Auckland suburb of Grey Lynn, to a

these are two distinct bodies of works, all

1971, individual strokes can be seen only

purpose-built studio in the small, west

of the landscapes that McCahon painted

in the areas around the edges where

coast community of Muriwai. For the

during 1971 share certain similarities.

the paint coverage is slightly pared

first time in his life, McCahon had a

In these works, we see the artist return

back. Rather than operating in a purely

large, dedicated space, away from urban

to exploring the landscape’s potential

pictorial realm, this iteration of the

pressures, where he could focus solely on

to serve as a structural device. In the

Helensville series has a glowing presence

his artistic practice. The eight years that

Helensville works of 1968, it was only a

that can truly be felt. McCahon’s ability

he would spend working from this studio

change of colour that described where

to constitute such a surface using a

would later become recognised as being

the land ended and the sky began.

medium that consists solely of pigment

among the most productive of years of

However, in the later landscapes,

and no opaque matter demonstrates a

his career.

McCahon depicted the horizon with

remarkable fortitude. His liberal and

dense areas of colour, treating it as an

unorthodox use of the watercolour

contextualised against three different

entity that had its own symbolic value

medium was somewhat emblematic of

series of paintings that McCahon

irrespective of the land mass below and

the approach that would define his work

completed whilst working from his

the sky above. Throughout the year of

from here onwards: where markings

Muriwai studio: the Helensville paintings

1971, the colours which McCahon used

were arrived at rather than simply

of 1968, the Helensville paintings of 1971

to give body to the land and sky deviated

laid down.

and the Kaipara Flat paintings of 1971.

further and further from being a literal


The work at hand is best



The Marilyn image is arguably Warhol’s

series is unified by the artist’s treatment

best-known legacy. The image is based

of the photographic imagery. Bleached


on a film still used for the promotion of

out, non-specific and high in contrast,

seriograph on archival stock, 238/250

the 1953 film Niagara, starring Marilyn

the Warhol look is the product of an

Monroe, and has been utilised as the

arbitrary use of a technical process as

basis for both monoprints and serigraphs

much as it is the result of distinguished

by the artist. This particular serigraph

conceptual consideration. Warhol’s

is from the original portfolio published

images were generally taken from

by Warhol’s own Factory Additions.

small-format print media and blown

The portfolio consists of ten different

up before they were put onto screens,

colourways, each printed in an edition of

making obvious the lack of detail present

250 with 26 artist proofs, each of which is

in the source material. Furthermore, the

annotated with a letter from A to Z. The

images were transferred to screens using

artist signed each print in pencil on the

a photographic method that can translate

verso side with either his full signature

the image only as negative and positive

or only initials; the print offered in

areas, neglecting both colour and tonal

this sale is signed with the artist’s full


Andy Warhol

signed with artist’s full name in pencil and stamped edition number ‘238/250’ in ink verso 910mm x 910mm Provenance Purchased by current owner c.1972. Reference From an edition of 250. 26 artist’s proofs lettered A - Z, signed in pencil and numbered with rubber stamp on verso. Printed in 1967 by Aetna Silkscreen Products, Inc. / Du-Art Displays, New York. Published by Factory Additions, New York. Illustrated

signature. The edition number is also stamped on the reverse. Warhol made portraiture throughout

of an abstractionist – a practitioner

Full portfolio illustrated in Andy Warhol

his career. A great number of the artist’s

like Frank Stella serves as a useful

Prints: A Catalogue Raisonné, edited by

endeavours, differing in both scope

point of reference – in that he used

Frayda Feldman and Jorg Schellmann,

and trajectory, engaged with the tropes

the photographic image simply as

published by Ronald Feldman Fine Arts

and conventions of the tradition. These

a constraint within which to work.

Inc., Editions Schellmann and Abbeville

include but are not limited to: his screen

However, this is not to say that the

Press, 1985, p. 39.

test films, his studio-based photographic

figurative content of the works does not

$60,000 - $80,000

portraits and his role as founder and

matter. Even though the colouration

publisher of Interview magazine. The

of Marilyn is far from naturalistic, the

Marilyn works are best contextualised

simple, reduced outlines can still clearly

alongside a series of works that the artist

be seen to depict the face of Marilyn

began in the early 1960s and continued

Monroe. With his Marilyn works and

to make until his death in 1987 (some

others like it, Warhol took information

of which were famously left completed

that was freely available and repackaged

but unsigned). The starting points for

it. Rather than explore the features that

these works were images of celebrities

made each of his subjects unique, the

appropriated from mass media sources;

same formulaic treatment was used each

as well as Marilyn Monroe, Warhol

time. Warhol’s production line approach

initially used images of figures such

to image-making presented his subjects

as Elvis Presley and Jackie Kennedy

not as individuals but rather, as products.

and later Mao Zedong, Muhammad

In a manner that was analogous to the

Ali and even himself. While the way in

way in which these figures had become

which the artist applied colour evolved

well known through repeated exposure

through the years – the early prints, such

in the media, at the hand of Warhol,

as the Marilyn works, are typified by

they were quite literally the result of a

large, solid blocks of colour whereas the

manufacturing process.

placement of colour in the later works


follows a more expressive model – the


Certain commentators have compared Warhol’s image-making process to that



Shane Cotton


acrylic on two stretched canvas panels signed and dated 2003 1440mm x 2800mm Exhibited Shane Cotton Survey 1993 - 2003, City Gallery, Wellington, 13 July 19 October 2003. Auckland Art Gallery, 29 May 8 August 2004. Illustrated Catalogue published for the exhibition Shane Cotton Survey 1993 - 2003, City Gallery, Wellington, 2004, p. 125 and 128. The National Business Review. 2 July 2004, p. 54. $120,000 - $160,000


Running across two canvases and

and hawk, many of which are etched

consumerism and consumption, which

offering a complex conglomeration of

out in his characteristic palette of red,

in Tuia is reinforced by the appearance

signs, symbols and both pictorial and

orange and pink along with tinges of

of a ghost-like automobile in the top

literary fragments, Shane Cotton’s

green. Both the colour choice and the

right-hand corner that Cotton further

Tuia from 2003 is a veritable feast of

pictorial motifs are ubiquitous in Cotton’s

identifies as a “GT 866”.

insinuation, information and allusion.

work of the early 2000s. In Tuia, the

As is common with Cotton’s work of this

several bull’s-eye rings are overlaid with

comprise Tuia is neatly subdivided into

period, the background plane is a flat

individual letters or native birds while

eight smaller squares by the addition of

impenetrable sea of black, against which

the heads and skulls are adorned in

a thin red-and-white cruciform. Little

colours blaze and meanings elide. The

vibrant almost gaudy hues. The use of

block letters run along either side of the

expansive painting is dotted with the

the bull’s-eye motif links Cotton’s work to

horizontal axis, spelling out poetic slivers

hallmark signs of Cotton’s idiosyncratic

American and New Zealand modernist

such as “over creeping water”, “up the

language in the numerous bull’s-eye

art traditions: most obviously, the work of

Kawakawa” and “Taniwha from Heaven”,

motifs, skulls and Māori shrunken

Jasper Johns and Julian Dashper. This

which are accompanied by miniature

heads (mokomokai) and several native

use of bright colour and the references

mountain landscapes and blocks of

New Zealand birds including the fantail

to pop art incorporate notions of

colour. Geographical locations in

Each of the two canvases that

New Zealand such as Omapere

Māori mythology or the artist’s own

of some of the most potent polemics in

and Hokianga are spelt out alongside

line of personal inquiry and thought

contemporary culture as he continues to

mythological creatures like the

are sprinkled across the painting. The

draw questions, perhaps in this instance

taniwha. While patches of colour and

bottom left-hand corner yields two

about historical religious colonisation

the placement of words and letters are

devilish creatures who converse about

in New Zealand, but to provide no

effectively used throughout the inky

empty promises, the revolutions of the

prescriptive answers.

black terrain to balance the work,

globe, lengths of time and the existence

Cotton further unifies the expansive

of juries or judgement. Cotton’s reference

and adumbrated possibilities, Tuia is a

diptych through the use of vibrant white

to “peculiar privileges” may be related to

succinct example of Cotton’s adroitness

segments that blaze and pulsate across

the promises that Pakeha offered Māori

in crafting piquant juxtapositions in both

the canvas as though these pieces were

so that vast expanses of sacred land were

words and images. Within a decorative

lit with electric light or alternatively,

traded for material possessions that were

yet dynamic and highly personalised

illuminated by the celestial light of

comparatively trivial and superfluous.

aesthetic, Cotton probes and questions,

the heavens.

This section also sees the words “God”

leaving the ends open for various lines of

In a manner typical of Cotton, potent

and “Satan” being overlaid and conjoined

interpretation by the spectator.

words and passages taken from the Bible,

so that Cotton is, in effect, conflating two


Offering a tantalising web of fractured



Don Binney

Looking at a painting in a catalogue or online is never the same as seeing

In the ‘classic’ Binney paintings, there

Tui Over The Anawhata

it in real life. It is not only that the

is much that is quintessentially New

oil on board

dimensions are often a surprise (even

Zealand: agapanthus, black sand dunes,

when listed, the impact of a work’s

buildings which Francis Pound refers

size can be difficult to imagine) but the

to as colonial gothic, the wildness of the

surface texture and vibrancy of the

West Coast, and the dense green of the

paint is almost impossible to know in

New Zealand bush. They are landscapes,

reproduction. This is especially so of

as both Damian Skinner and Hamish

Don Binney’s paintings. You need to be

Keith have noted, that hark back to the

standing in front of the work to really

clear outlines and interest in structural

take in the intensity of the colours, the

forms of early New Zealand painters

juxtapositions of smooth planes of sky

like John Kinder and Alfred Sharpe. In

with the dense impasto of foliage, and the

the crispness of their outlines and use

way this variation in paint absorbs and

of vibrant colour, they are also works

reflects light. You could say that in many

that sit alongside those of Rita Angus

ways it is paint which has been one of

and Michael Smither. In the mid-to-late

Binney’s most keenly observed subjects.

1960s, Binney, although barely out of art

signed, dated ‘66 and inscribed Te Henga; title inscribed verso 910mm x 400mm Provenance Purchased by the current owners from Barry Lett Gallery, Auckland, 1966, listed ‘not for sale’ as it had been selected for inclusion in an exhibition in Japan. The work was subsequently withheld from the Japanese exhibition and released for sale to the current owner. Exhibited Barry Lett Gallery, Auckland, 1966. $110,000 - $160,000

The application of paint in this work is exquisite. It shows the consummate skill of the artist’s technique in the liquid



school, was one of the leading painters of the period. He painted extraordinarily peaceful

sheen of the black-on-black of the tui’s

images: perhaps, in part, because his

breast and wings and, beyond that, the

works are empty of people and therefore

smooth clarity of a duck-egg-blue sky

devoid of any of the bluster of life. Or

and grey ridge of the hill in the distance.

perhaps it is because this was a series

As in much of Binney’s best work, it is

begun at a time when New Zealand

landscape rendered as sweeping curves

seemed more innocent – before the

with the details of plant and bird life in

upheavals caused by the Springbok tour

rich textures of tactile paint, and the flow

and the sinking of the Rainbow Warrior.

of a wing echoing that of the landscape

Now, when you look at this work, it takes

below and beyond.

you back to that moment in our history

In the 1960s, birds were ubiquitous

when what seemed to matter most was

in Binney’s work. Their presence is the

the conservation of the landscape. They

result of a lifelong interest in ornithology

are, in a sense, like a salve to the spirit:

and bird watching. Although they fit

works that make you feel the calm of

seamlessly into the landscape, there is

clear, blue skies and the simplicity and

a sense of an imbalance in scale with

peacefulness of watching a bird soar

the birds appearing larger than life.

across the horizon. But you need to see

It is a disparity in perspective that

the painting in real life to enjoy that

Binney once attributed to always having

peacefulness and the enchantment of the

watched the birds through binoculars,

painted surface.

the indispensable hand tool of all

Kriselle Baker



Rose Nolan

Help Me To Do Things Differently flag pendants, oil paint, hessian and

words starts to emerge. They address the

in the way in which an impersonal

viewer directly and seem to elicit action

material has been crafted into a personal

on their part.

address, albeit tinged with a degree of

The phrase would not be out of place in a self-help book and, if repeated, it

favours presents itself like a calling card

signed with initials and dated

could take on the form of a mantra.

for revolution, her treatment questions

2001 verso

Intentionally made for an audience, it

the effectiveness of mass social action.

1020mm x 1300mm

speaks of personal renewal and yet it

Rather than promote civil disturbance,


does not speak to anyone in particular.

Nolan is advocating that even small

On the one hand, the artist’s words,

actions can have an immense,

with their matter-of-fact directness, are

positive effect.

trying to align themselves with every


Another work from this series, Help Me To Say More (red on white version), is in the Chartwell Collection, Auckland Art Gallery, Toi o Tāmaki. $15,000 - $25,000

other empty statement polluting the world – throwaway political rhetoric on talkback radio, billboard advertising and unsolicited flyers – things you normally

Rose Nolan’s practice is typified by the

wouldn’t look at twice. However, with a

working constraints that she places on

careful choice of words, she hopes to cut

herself. Generally speaking, her work is

through this cacophony and make some

text based and her output often presents

sort of meaningful connection.

itself in the form of flat surfaces, both


futility. While the saturated red that she


The material qualities of her works


Colin McCahon


oil on hardboard title inscribed, signed and dated December ‘64 verso. Original collection label and Moller’s Gallery label

flaccid and rigid in nature, adorned with

carry a great deal of weight too. Her most

words and passages. The text is always

effective works utilise materials that are

sans serif and in capitals, and the colours

generally used to communicate with

are always the same: red and white. The

many people at once: things like banners,

statement – Help me to do things differently

sandwich boards and, in this case, jute

– is typical of her work. Embodied in

canvas, which is durable and reasonably

the form of flags that would be at home

inexpensive by the metre. Its heavy

at a sporting event or election rally, the

weave is unmistakable and, as is evident

phrase presents itself as an imperative

when the viewer looks closely at the

and it is not until the second or third

work, the artist’s hand-stitching is visible

number cm000493.

reading that the true inflection of the

too. There is a certain sentimentality

$50,000 - $70,000

affixed verso 600mm x 400mm Provenance Formerly in the collection of Dr W. H. Pearson, English Department, University of Auckland. Reference Colin McCahon database reference




Philip Clairmont

Although undated, Helter-Skelter belongs

palette is acidic – full of lemon yellow,

stylistically to Philip Clairmont’s

viridian green, a psychedelic purple and

Helter Skelter

important early period in Christchurch,

various corrosive highlights of blinding

acrylic on two jute canvas sections and

after he left art school in 1970. He was

brightness. In 1975, he said: “Avoid

married with a very young daughter

natural colours – those that imitate

and spent a lot of time at home minding

nature are always harmonic.” His art

her in various flats in old houses with

came out of the 1960s’ hippie culture

elaborate fireplaces, staircases and

with its rejection of materialism, the

sash windows. His was a domestic

pursuit of wealth for its own sake and

environment – even if it was not one that

social respectability. He often painted at

conformed to typical conventions of the

night by a naked light bulb, revved up

period. Somewhat unusually for a male

to the music of Bob Dylan and his hero

painter, he drew his subject matter from

Jimi Hendrix. He added drugs and drink

this domestic sphere where he painted

to the lifestyle noting: “At that time, I

in the midst of passive objects like old

was using a lot of odds and sods. When

couches, tables and wooden chairs. The

I was smashed, I would see things that

main motif in Helter-Skelter is a wooden

reinforced what I was putting in my

chair set in a chaotic, untidy room

paintings. It was a way of trying to get

upon a rumpled, patterned rug – one

close to it.”

collage on board c.1972 - 1974 2150mm x 950mm $40,000 - $50,000

Among his many visual sources was

of a number of chair paintings made in the early 1970s. Of the attraction of

American psychedelic art, as seen on

such things, Clairmont wrote in 1970:

vinyl record covers, with heightened

“A room contains within its four walls

colour effects involving haloing of

residue of human thoughts, actions and

objects with light, spatial disruption

emotions, a visual catalyst of memories

and a surrealist freedom of association

and associations, past and present.”

and metamorphosis of forms. In

He believed that commonplace objects

Helter-Skelter, we find several little

could become significant if transformed

eye-like holes seemingly looking at us,

by the painting process. He once wrote:

a body-less, staring face with glazed

“I need an image, a starting point for

eyes and what appears to be a severed

my paintings... I like to start with a

foot nailed to the floor with a knife.

subject – whether it’s a chair, a fireplace,

There are various hidden and partly

a staircase – and then transform it.”

revealed meanings, including the word

His was a self-confessed expressionist

Helter-Skelter itself, integrated into the

approach. He said: “I found the whole

rich visual tapestry – the final letters

expressionist thing came closest to the

‘er’ of the title are visible at the lower

core of the matter. If I paint a chair,

centre. Helter-Skelter means ‘disorderly

my reaction to it and how I feel about

haste or confusion’ – qualities magically

it becomes the thing. So, in a way, each

embodied in this remarkable image. The

painting is a self-portrait.”

word helter-skelter is usually an adverb describing how something is done rather

Using a rough hessian support for his painting with a visible join near the

than what it is – and that fits perfectly

middle, Clairmont builds up an agitated,

with the quick intuitive way the picture

flickering surface of colour and pattern

has been made and the feeling it gives of

that moves up and around the picture

process rather than resolution.

surface rather than into depth. His




Painted in 1993, Grahame Sydney’s

definitively naming the site and thereby

Pig Root Pond greets the viewer

anchoring it to a sense of place and

Pig Root Pond

with a crepuscular landscape that is

consolidating a specific identity. The use

oil on linen

characterised overall by a spectacular

of cropped edges gives the impression

stillness. As with the best of Sydney’s

that only a small snapshot of a larger

paintings, Pig Root Pond is completed

reality is being shown and that the

with a high degree of polish and a

landscape and water continue in their

virtuoso handling of paint to produce

paired existence and extend well beyond

a photographic veracity that belies any

the parameters of the physical canvas.

Grahame Sydney

signed and dated 1993 1066mm x 1066mm Exhibited Regions of the Heart: A Grahame Sydney Retrospective, Dunedin Public Art Gallery, 1999. The Art of Graham Sydney, Auckland Art Gallery, 1 June - 26 August 2001. Illustrated The Art of Grahame Sydney, Longacre Press, 2000. Illustrated on cover and on p. 109 (pl. 86). $80,000 - $100,000

presence of the artist or his brush. In terms of composition, Pig Root Pond is minimal and features only a thin,

the foreground of the work is pristine

linear slice of land that stretches across

and unsullied with not even a ripple or

the lower third of the painting, leaving

shadow marring its glassy surface and

the majority of the pictorial space to the

is punctuated only by the reflections of

chromatic subtleties of pond and sky.

the pencil-thin post and the small, barely

That Sydney is able to create a powerful

perceptible fragments of foliage that

and arresting image in the absence of

creep along the water’s fringe. Sydney’s

traditional subject matter is testament

decision to transcribe a relatively empty

to his painterly talent. In this regard,

segment of landscape onto the linen

Pig Root Pond functions as an exercise

canvas allows the viewer the luxury

in the painter’s ability to capture and

of being able to move through an

translate the ostensibly transient quality

impressively nuanced array of mauve

of the atmosphere at dawn into the

and refulgent yellow hues. Despite the

pictorial realm wherein an aurora sky is

unblemished perfection of the scene, the

seen edging up slowly from behind the

painting steers clear of the saccharine

shadowed landscape and dispelling the

by avoiding any obvious aspects of the


picturesque and also by the quality of

The austerity of the piece and the

the dawn light, which bestows an aura

complete lack of any indication of

of poignant and elegiac poeticism to

human presence, lends the work an

the work. What Sydney offers to the

eerie yet beguiling quality. This absence

spectator is a clean, crisp and seemingly

of population, of any sign of industry

objective representation of an untouched

or development permits the work a

rural idyll.

high level of tranquillity which is then


Extending the vein of immaculate serenity, the body of water that lies in

It is fitting that Pig Root Pond was

reinforced by the monumental stillness

chosen to grace the cover of the book

of the scene, appearing as it does to

dedicated to the art of Grahame Sydney

be without even a breath of wind.

as, in its clean precision, its calming

Simultaneously, the dearth of defining

quietude and its precise handling of

landmarks or recognisable features

paint, it stands as a characteristic and

offers an element of anonymity, of

iconic painting by one of New Zealand’s

indeterminacy and artistic imagination,

most celebrated painters.

which Sydney then counteracts by




In Bill Hammond’s double portrait,

smaller of the two preternatural figures

Scribe Wishbone Ash, from 2010, two

perches in a cavalier fashion on the

Scribe Wishbone Ash

of the artist’s archetypal personalised

other’s head, dressed in a long skirt with

acrylic on canvas

creations sit poised in strict side profile

legs kicked up as though resting on the

against a vibrant duck-egg-blue ground.

ground rather than mid-air while staring

There is no indication that either

resolutely ahead. Traces of tangerine can

creature is aware of the other one and

be seen visibly running the length of the

their infinite poise in conjunction with

creature, which is balanced by the orange

the calming palette choice produces

flames. In comparison, the body of the

a painting that is tranquil and serene

larger creature is delicately adorned in

overall. As is often seen in the work of

inky swirls and wisps of watery grey

Hammond, thin rivulets of paint are

while a filigreed botanical tendril in

seen cascading down the background,

emerald green curls under the beak. The

creating a visual contrast with the

decorative embellishment of the bodies

comparatively controlled brushwork

in addition to the graceful feathery wings

and the precise outlines of the formal

serves to prevent the possibility of the


work emanating a hostile or aberrantly


Bill Hammond

title inscribed, signed and dated 2010 580mm x 600mm $55,000 - $65,000

outlandish element.

The larger of the two

Hammond’s Scribe Wishbone Ash

anthropomorphised avian creatures casts a cool, casual glance at the viewer.

possesses an element of the archaic in

Seated at a desk with quill in hand, the

the inclusion of the miniature ceramic

central figure studiously takes notes

urn, quill and scroll. This element of the

while extending a small dexterous left

historical or antique can also be seen

hand in which the little finger clasps a

to be carried into the figures, which

flaming wishbone. The act of offering

could plausibly have been derived from

the wishbone to an unseen creature,

prehistoric times or ancient mythology.

or perhaps to the viewer, generates a

Although, equally, Hammond’s visionary

supplementary narrative that raises

species may be seen as the futuristic

more questions than answers and

product of genetic engineering or a

increases the complexity of the painting.

distilled fragment from a dream-like

The wishbone could be understood as

vision. Either way, Hammond’s half-bird,

a peace token or, by the nature of the

half-humanoid creations such as the two

flame, as the sign of a sacred ritual or

that grace the canvas of Scribe Wishbone

mystical revelation. The petite and tame

Ash remain instantly recognisable and

orange patch of flame burns and smokes

desirable and, on some level, they are

into the sky, releasing whispering

infinitely connected to the viewer.

tendrils of indigo smoke that blend and


merge with the painterly trickles. The



Ronnie Van Hout


sixteen black and white pegasus prints title inscribed, signed and dated 1995 verso edition of 20 550mm x 365mm each 3365mm x 2570mm overall, variable. $20,000 - $30,000


works, noting that they were “funny

our initial motivation is to examine the

without being stupid and light without

human relationships described within

being unimportant”.

this suite, the obvious lack of any such

There are no secrets here. From his

content prompts us to look towards the

use of black-and-white photography,

surroundings for meaning. The common

a direct translation of light, to his

presence of pictures hung on walls

enlargement of imperfect forms so that

suggests that many of these figures are

every seam and misrepresentation

standing in a gallery; and the apparent

is made obvious, Van Hout has made

content of the paintings suggests that

a concerted effort to represent the

they are a particularly alien commodity.

physicality of these scenes as accurately

Black squares and crosses are most

as possible. It was his intention to make

notably the domain of suprematism,

his audience aware that they were

a movement of the early 19th century

looking in on an assemblage made from

that sought to be free of any meaning or

materials that were readily available and

social relevance and instead sought to

easy to manipulate. In combination with

be responsible for images that achieved

Manufactured human forms have a

the use of obvious techniques designed

aesthetic purity. While the paintings

well-established presence in Ronnie

to imbue the images with a ‘narrated’

are clearly a necessary part of the

Van Hout’s practice. In Mephitis, the

sensibility, such as a shifting depth

conversation and need to be present in

non-specific, almost ham-fisted detailing

of field and the presence of shadows

the work, the fact that they are blurred

suggests that the human forms we

cast from figures outside of the picture

suggests that, in Van Hout’s mind, there

are looking at are, in fact, those of

frame, such material qualities make

is not much to them. Furthermore, the

miniature figurines; as such, in reality

the photographs look like stills from a

content of the paintings is deliberately

they would be much smaller than they

B-grade film. While upon first looking

mirrored by the chequered floor. In a

are seen to be here. When looking

at Mephitis it is assumed that there is a

display of irreverence, Van Hout seems

closely at the environs in which they

cause-and-effect relationship between

to be thumbing his nose at the influence

stand, one can see that the scale of, and

the images or a development from one to

of high-church modernism.

relationship between, the objects is

the next, a closer inspection reveals this

not quite right: the chairs are too large

not to be so. In an almost sensationalist

genera of skunk, including the striped

and the ‘pictures’ on the wall have a

manner, the dramatic content of

skunk commonly referred to in

depth that is far too pronounced. In

each image is a seemingly isolated

children’s cartoons. Unmistakable,

stark contrast to the polyurethaned and


with its pitch-black coat and flash of

The term Mephitis refers to several

white down its spine, the striped skunk

fibreglass finishes of the latter part of

However, this is not to say that the

the artist’s career, Mephitis, in both its

relationships between the images do not

is almost a cultural glyph. While it is

treatment and inflection, could be seen

matter: far from it. A comparison of the

not pictured in this suite of images, the

to subscribe to some sort of take on a

forms present helps to define exactly

presence of the term in the work’s title

‘punk’ methodology. In a 2004 article

what is taking place in each photograph:

suggests that it is a silent stench in

on Van Hout’s work in the magazine

such as in the middle two photographs

the air that invisibly links all 16 of

Natural Selection, the now well-known

on the second row, where the slight

these images.

contemporary artist (but in this case

change in posture suggests that we are


acting as art writer) Dan Arps reflected

looking at the shadows of a man and a

on the methodology of Van Hout’s early

woman presented side by side. While




Dick Frizzell



Dick Frizzell

Pascoid Tiki

Death of a Poet

oil on canvas

enamel on board

title inscribed, signed and dated 2010

title inscribed, signed and dated

710mm x 610mm


$20,000 - $25,000

564mm x 561mm

Putting it all on the Lion, Barry Lett Gallery, Auckland, 1977. Illustrated Exhibitions - Dick Frizzell: Two exhibitions; with a retrospective, John Tarlton, Art New Zealand, No. 9, 1977, p. 18.

Provenance Purchased by the current owner from

$12,000 - $18,000

Barry Lett Gallery, Auckland.




Bill Hammond loves to strike a pose.

the painting’s highly staged theatrics

Bill Hammond

Note the frontispiece of the recent

of doom are riddled with a crazy and

Choreograph Screen

Jingle Jangle Morning Hammond

redeeming humour. The exaggerated and

acrylic and metalic pigments on a four

catalogue from Christchurch - a Liz

impossible posings of birds and horses

Maw portrait of the artist as lean, mean

are full of wilful self-parody; there is a

Westie fashion icon: Cowboy Bill, a

continual ornamentation of each stylised

city-pampered gun-for-hire as elegant

movement and each repeated gesture,

and dangerous as the consumptive Doc

which sustains the hilariously inventive

Holliday. Choreograph Screen is energised

antics of the participants in an unraveling

by the extreme and exalted posing

frieze of graphic rhythms. The fact that

of its maniacal inhabitants throwing

this painting is also a screen, a piece of

themselves in heraldic profiles and

luxury furniture, whose decorative life

geometrical sets across its four panels.

far outweighs its practical function, also

As with many of Hammond’s most rich

emphasises the cultivated decadence of a

and complex works, there is an air of

world in which exhilarated nightmares

almost 19th-century, or fin de siècle,

and harrowing psychodramas are apt

decadence about the gothic opulence

accompaniments and embellishments of

of it all. There is something excessively

a well-appointed lifestyle. This aesthetic

ornate yet darkly sinister about the

of gilded fear and attenuated delirium

gaudy extremities of its actors and its

seems the product of a collapsed world:

elaborately mannered painting style.

a declining empire entertaining itself

A sort of Nick Cave darkly glamorous

with the splendour of its own ruination,

brooding hangs about it. But, though the

finding satisfaction through continually

coppery skies with their black smoke

inventing new expressions of its

and washes of sooty dust rain down

thoroughly restless soul.

streaks of colour like apocalyptic blood,


panel wooden screen title inscribed, signed and dated 1997 1860mm 1480mm $150,000 - $200,000



Gloxinia is a lively still life painted

the terracotta pot stands. She did so by

Frances Hodgkins

by Frances Hodgkins when she was

subduing the gloxinia’s colours of white


revelling in the excitement of working

and red and spreading red ochre tints

oil on canvas

in France, then the undisputed centre of

and bluish shadows across the whole

innovation in contemporary art. Highly

work. By using the faceting and passage

experimental, it shows an eagerness to

of Analytic Cubism, she opens up entry

advance her work and catch up with the

points between the various objects in the

latest developments and ideas at a time

composition, linking them together and

when England seemed to be lagging

binding them with the light background

behind. She first exhibited Gloxinia at

space. She also carries the sharp-green

Manchester in a wintry November of

tint of the gloxinia’s leaves across her

1926. It was catalogue number 23 in

painting by placing accents of it here

her solo exhibition at All Saints, Mount

and there to establish its presence in the

Street, where its Cubist overtones must

overall colour harmony.

signed c.1924 580mm x 630mm Provenance Gifted by the artist to her friend Jane Saunders who in turn passed the work to Miss E. Shaw. Miss Shaw taught music at Manchester High School for Girls in the 1920s and the three were friends. The work remained in the collection of Miss Shaw until she moved to Wolverton, by Zeals, in the United Kingdom, when

Gloxinia is a departure from Frances

It was not for sale having been lent

Hodgkin’s earlier post-Impressionist

to the exhibition by its owner Jane

works with their focus on light and

Saunders, a supportive friend and pupil

atmosphere. Here there is more of

who taught art at Manchester High

a formal emphasis seen best in her


School for Girls. Saunders also owned

painting and drawing of the gloxinia’s

First exhibited All Saints, Manchester,

the oil Three Children, c 1924 (private

flowers. She emphasises the trumpet

2 Mount Street, 4 - 30 November 1926,

collection), to which it relates closely

shapes by thick outlines and fills the

catalogue number 23, Gloxinia (lent).

in style and technique. It seems likely

open ends of the flowers with blocks of

Exhibited in Hodgkins’ one woman

that both works were painted in the

the red ochre. By doing so, she stresses

show of 80 works, the venue was a hired

South of France in 1924 where Hodgkins

the structure rather than the delicate

hall. It was presumably lent by Jane

was visited by Saunders and her

texture and colour for which the flowers


friend Hannah Ritchie – another keen

are so highly prized. Her handling of

John Leech Gallery, Auckland, 1993

supporter and patron.

paint puts an emphasis on the physical

she gifted the work to John Melon. The work was purchased by the current owner from the Melon family in c.1993.

REFERENCE Frances Hodgkins, Paintings and Drawings, Ian Buchanan, Michael Dunn, Elizabeth Eastmond, Auckland University Press, 1994. 1914 - 1930, Ian Buchanan, p. 39 - 40. Referenced as Still Life with Gloxinia. $200,000 - $250,000


have seemed very French and daring.

At this time, Hodgkins was working

process through some palette-knife work

in oil using a white ground that helped

and heavy impasto. She is trying to use

give something of the lightness and

some of the resources of the oil medium

translucency of colour found in her

with which she was then less fluent than

watercolours. She was also responding to

she was with watercolour. Experimental

developments in contemporary French

paintings like Gloxinia laid the

painting in the wake of Cubism. Still

foundation for her mature paintings

life was a prominent subject for the

of the late twenties and early thirties

Cubists and also for leading painters

in which still life played an important

like Matisse who was working nearby in

part. Her accomplished Cubist still life

Nice. Hodgkins sees the gloxinia as part

The Red Cockerel (Dunedin Public Art

of a Cubist-like composition arranged

Gallery) is dated 1924, confirming that

on a tabletop which is tilted towards the

she was painting Cubist still lifes in oils

picture plane. Although the gloxinia is

that year while in the South of France. It

a striking pot plant noted for its large,

has the same green, red ochre and blue

colourful flowers of trumpet-like form,

colour scheme as Gloxinia has and she

she chose to link it with the surrounding

used this also in a number of her oils of

motifs – the tablecloth, the tall vessel, the

the late twenties and early thirties.

pears and the white fruit bowl on which

Michael Dunn



to New Zealand after five years in Paris

influential style of art nouveau, which

and is one of a number of portraits of his

Goldie is likely to have experienced

family members from this time which

in Paris. Light glances across Violet’s

Sorrowful Moments

also included his mother Maria Goldie

hair and plays across her face, casting

oil on canvas

(née Partington) and his younger brother,

a slight shadow onto her décolletage.

Frank Percy Goldie. Goldie’s sister

Violet’s unassuming pose, the absence

Violet also features as the subject of an

of ostentatious dress or adornment and

attractive contemporaneous Conté crayon

her tilted head combine to produce an

drawing. Drawn directly onto a page in

intimate image of a woman deep in

her autograph book, the drawing shows

thought or reflection. Indeed, Violet’s

Violet wearing similar attire to that

pose with turned head and downcast

seen in the current painting with a low

eyes imbues the portrait with a faintly

neckline and exposed décolletage, and

pensive or nostalgic air, but it is one that

is now held in the permanent collection

is finely tempered by Goldie’s handling

of the Museum of New Zealand Te Papa

of both light and chromatic tonalities.

Charles Frederick Goldie

signed, circa 1900 545mm x 440mm Provenance Gifted by the artist to William Reece (1856-1930) of Bottle Lake Farm, Bottle Lake Forest Park, Christchurch. Charles Goldie lived for a period in William Reece’s stable attic at Bottle Lake Farm. Upon Mr Reece’s death in 1929 the work was passed to one of his sons who, upon departing to America, gifted the work

Executed with a high level of

In this portrait, Goldie has painted

finish, Goldie’s Sorrowful Moment is

his sister Violet in a strict profile pose

an excellent example of his artistic

with head slightly bowed to the right

virtuosity, containing, as it does, all the

and this strikes a picture of restful

celebrated hallmarks of his style with

tranquillity. The bust-length format of

its finely wrought brushwork, marked

in 1900. The work was sold out of

the painting obviates the potential for

attention to detail and palpable level

the Reece family in 1966. A letter of

distracting details and focuses attention

of realism. Goldie completed the work

provenance signed by Paul Molineaux

on the physicality and temperament of

with an almost photographic veracity

accompanies this work.

the sitter. It also serves to heighten the

and he leaves only the smallest trace

$75,000 - $125,000

immediacy of the work by diminishing

of his brush, which serves to heighten

the distance between viewer and subject.

the allure of the portrait in its capacity

However, while this close proximity

as a painted aesthetic object. Utilising

could potentially be confrontational,

mimetic brushwork to achieve an

Violet’s contemplative disposition

enticing level of verisimilitude, Goldie

renders her oblivious to the presence

displays his remarkable ability to distil a

of the spectator which, in turn, causes

living presence onto the two-dimensional

the painting to be wholly and pleasantly

surface of the painted canvas while

quiescent. It is this air of quietude that is

retaining elements of the presence and

so fittingly captured by the poetic title of

character of the individual.

to a cousin, Mrs Molineaux who upon her death in 1968, passed the work to her son, Paul Molineaux. William Reece was the President of the Canterbury Society of Arts and was Mayor of Christchurch

An iconic New Zealand artist, Charles Frederick Goldie is most commonly known and celebrated for his portraits of Māori. Depicted in a romantic idiom, Goldie’s portraits of Māori illustrate his belief that he was representing the last of a race of people who were soon to die out or be completely assimilated. In addition to this body of work, Goldie also completed an admirable number of masterful portraits of European sitters that, as well as fulfilling specific portrait commissions of high-profile figures such as Sir Maurice O’Rourke, also included personal sitters as in the present painting: Sorrowful Moments, a portrait of Violet Elsie Goldie, the Artist’s Sister. The present painting was executed following Goldie’s return



the piece and which also may have been

In executing this painting at the turn

a subtle reference to the fact that she

of the 20th century, Goldie reveals his

remained unmarried.

debt to earlier 19th-century European

Goldie’s ability to aptly capture and

masters of illusion such as Jean-Leon

express something of the interiority

Gerome and Adolphe Bouguereau with

of the sitter is testament to his close

his infinitesimal brushwork, soft golden

relationship to his sister. Seated in

light and simple yet adroit compositional

front of a wooden screen with gilded

structure. Employing a honeyed palette

horticultural detailing, Violet is lightly

and filtered light, Goldie crafts an aura

wrapped in a swathe of diaphanous

of monumental calm and, in conjunction

white fabric. The stylised floral

with the reserved and decorous nature of

patterning of the screen and the choice

his sitter, combines them to produce an

of rich amber hues locates the painting

enchanting and pleasing portrait.

within the then highly popular and




Charles Frederick Goldie

The Nest

oil on canvas signed and dated 1937; inscribed The Nest verso, possibly in another hand 245mm x 345mm Provenance Purchased c.1948 from the John Leech Gallery, for the sum of £145, passed by descent to the present owner. Reference C. F. Goldie, Prints, Drawings, Criticism, Alister Taylor and Jan Glen, published by Alister Taylor, 1979. Catalogued as The Nest, Boy with baby on back. John Leech Gallery Records, p. 283. $160,000 - $200,000


An intimate and informal image of a

A view that the Māori race was

young boy with a child on his back, The

destined for extinction or for complete

Nest by Charles Frederick Goldie was

assimilation by the Pakeha informed

painted in 1937 and is one of a number

Goldie’s often romantic treatment of his

of double portraits that Goldie painted

subjects. This sentimentally is markedly

during his lifetime. Later double portraits

apparent in titles that the works were

include Ancestors and Descendants and

given and in the poses that the sitters

I Wonder what he Wonders, which were

were asked to assume. In The Nest, the

both painted in 1939, as well as Te

older boy is pictured with a pensive or

Rerehau Kahotea and Child from 1941,

slightly dejected expression and he is

all of which are illustrated in Alister

shown almost slumped onto the wooden

Tayler’s 1977 text on Goldie. With the

railing. His gaze is into the middle

exception of The Nest and the last of

distance and his demeanour indicates a

the abovementioned paintings, each of

certain apprehension about the future.

these portraits features a woman with

Although simple, the composition of The

a young child on her back and with her

Nest is masterfully constructed so that the

eyes averted from the viewer. In The Nest,

carved wooden ledge bisects the picture

however, Goldie has chosen a subject that

plane on a diagonal, which animates the

was at odds with social conventions of the

portrait while simultaneously performing

time. While the older boy is oblivious to

a functional role as a supporting ledge.

the spectator, the younger child returns

Goldie’s masterful eye for minutiae and

the viewer’s gaze, thereby establishing a

his ability to accurately transcribe a

direct relationship. The composition of

variety of textures is apparent where each

these portraits is typically sparse so that

individual threads of the cloak and each

all attention is focused on the figures,

grain of wood of the wooden railing are

who are, for the most part, characterised

visible. Goldie’s very detailed brushwork

by a calm and tranquil air as though

and his attentiveness to a plethora of

the artist is painting from memory a

details produced paintings that preserve

scene that was glimpsed earlier. In this

valuable information with regard to Māori

manner, although Goldie routinely

ancestors and traditions and it is fitting

dressed and posed his sitters or painted

that Goldie continues to be celebrated as

from photographs, portraits such as the

one of New Zealand’s most pre-eminent

current one appear to capture a snapshot

painters of the colonial period.

of life for Māori in the early 1900s.




Frances Hodgkins

Landscape, Ibiza gouache on paper

signed and inscribed August Afternoon and dated 1941 460mm x 615mm Provenance The Leicester Galleries, London. Acquired by Wilfrid A. Evill, March 1942, for the sum of £21.0.0; bequeathed to Honor Frost in 1963. Wilfrid Ariel Evill was a solicitor in London whose clients included many leading British artists and figures in the arts. Regarded as one of the most significant collectors of contemporary British art of the mid twentieth century,


Evill began collecting in late 1920s and

Catalogue of the Greater Portion of a

continued until his death in 1963. He

Collection of Modern English Paintings,

began to collect seriously in around 1928,

Water Colours, Drawings and Sculpture

at the time when he met Stanley Spencer

Belonging to W. A. Evill, March 1955, cat.

and purchased one of his paintings. He

no.43 (catalogued as Landscape in Snow);

later also became the artist’s lawyer,

London, The Home of Wilfrid A. Evill,

and one of the most important private collector’s of his work. He was a friend of other artists including William Roberts and Graham Sutherland, acquiring their works as well as work by Lucian Freud and Francis Bacon, then in the 1950s important new works by Patrick Heron. Wilfrid Evill was the guardian to Honor Frost, who inherited his art collection in 1963. Exhibited Hampstead, The Home of Wilfrid A. Evill, Contemporary Art Society,

Contemporary Art Society, Pictures, Drawings, Water Colours and Sculpture, April - May 1961, (part IV- section 3) cat. no.15 (catalogued as Landscape in Snow). Brighton, Brighton Art Gallery, The Wilfrid Evill Memorial Exhibition, June - August 1965, cat. no. 61. rEFERENCE Arthur Howell, Frances Hodgkins, Four Vital Years, Rockliff, London, 1951, p. 102 (catalogued as Landscape Under Snow). $35,000 - $45,000


Grahame Sydney

Fog At Ranfurly

egg tempera on gesso on board signed and dated 2005 460mm x 460mm Provenance Provenance: Purchased directly from the artist by the current owner. $25,000 - $35,000



Captain Richard Aldworth Oliver

Michael Smither


MÄ ori Girl In A Red Blanket

oil on board


signed and dated ‘68

inscribed Ihawera

825mm x 740mm

360mm x 255mm

$45,000 - $65,000

$9,000 - $12,000






With its luminous edges and dense,

her attention to the propensity of human

saturated core, the spray-painted line has

ambition to collide with the physical

Painted Words

an unmistakable presence. Rather than

structures of the world.

spray painted Masonite, wood cut-outs

being the result of applied pressure, its

Rosalie Gascoigne

on plywood title inscribed, signed and dated 1988 verso; original Roselyn Oxley9 Gallery label affixed verso 825mm x 520mm Provenance Roslyn Oxley9 Gallery, Sydney, Australia. Greenaway Art Gallery, Adelaide, Australia. Private collection, Auckland. Exhibited Greenaway Art Gallery, Adelaide, Australia, 1996. $80,000 - $100,000

Much of Gascoigne’s materials are

intensity is dictated only by the distance

found after they have been discarded

from which the mark was made. As

by society. She began to collect such

such, it serves as an indelible record

materials when she was living in the

of the author’s movements. Rosalie

isolated community of Mount Stromlo

Gascoigne’s text works have always

in Australia’s Capital Territory, where

sought to address industrialised society’s

she was based for 11 years. It is well

propensity to become estranged from

known that Gascoigne commenced her

the natural world and, in Painted Words,

career as an artist relatively late in life

her use of a spray-painted grocer’s sign

– in fact, it was not until 1974, at the age

seeks to advance this mandate further.

of 57, that Rosalie Gascoigne held her

Generally, her text works are constructed

first solo exhibition at a dealer gallery

from disused street signs that are

– and, as such, when she first began to

chopped up and rearranged according

collect the materials with which she

to formal properties of the letterforms

would later make her work, they were

and symbols and the negative and

acquired simply because their physical

positive spaces that they create. Rather

properties interested her rather than

than construct new subject matter, her

specifically for art-making. Initially she

intention is simply to confront the viewer

collected burnt, ravaged pieces of natural

with the physical properties of the

debris and later, after the Gascoignes

original material.

bought their first car, she was able to forage at the local dump. In order to

By working with street signs, Gascoigne is, in effect, seeking to unravel

describe her process, she uses a phrase

and examine the structures that shape

from William Wordsworth’s famous

day-to-day modern living. She takes

definition of poetry: emotion recollected

the subtle controls and influences that

in tranquillity. While Gascoigne’s

make up the fabric of the world and

materials were initially seized simply

makes their presence known. In Painted

because their qualities compelled her to

Words, the artist has made an advance

do so, once brought back to her studio

on the position offered previously by

they were often not used for quite some

incorporating found text that has not

time. Gascoigne’s process was not

been mediated by automated methods

simply a matter of applying a treatment

of production. The spray can offers

to a material but, rather, of a material

a utilitarian means of affecting one’s

suggesting its treatment to her. Thus,

environment and, much like the other

while her works are not governed by a

signs of age such as the scuff marks

narrative structure, her approach did

and the abrasions, the spray-painted

allow for the inert characteristics of

letterforms are a residual marking of

her chosen materials to shine through.

sorts; whether it is a graffiti-emblazoned

Every single scratch and abrasion adds

wall or a hastily made sign sitting on the

meaning and is included so that the

side of the road, spray-painted text exists

viewer is prompted to postulate on and

as both a reaction to and a by-product

engage with the origins of the material

of progress. By bringing these ‘painted

at hand.

words’ into focus, Gascoigne is turning




The sheer quality of Floating Woman,

– she is less literal and more shocking.

1984, justifies the high esteem in which

Her pose is harder to read, while the red

Floating Woman

the painting of Jeffrey Harris has been

slash of paint across her exposed neck

acrylic on canvas

widely held. Time is not always kind

implies more than intensity and suggests

to artworks and has a way of sorting

violence and bloodshed. The collaged

out the dross from the enduringly good

fragment of floral-patterned material

and significant. In this case, the work

stuck on to the green appears torn away

gains rather than lessens in impact

– like a specimen ready for forensic

over the passage of time. It remains


Jeffrey Harris

title inscribed, signed and dated 1984 verso 1830mm x 1520mm Provenance Purchased directly from the artist by the current owner. Illustrated Like Tears in Rain: Recent Work by Jeffrey Harris, Ian Wedde, Art New Zealand No. 37, 1985, p. 38 Jeffrey Harris, Justin Paton, Dunedin Public Art Gallery, Victoria University Press, 2005, p. 145, source material illustrated p. 44. $30,000 - $40,000


an extraordinary work made when

Floating Woman marks in its scale

painting was taken more seriously than

and breadth of handling an evolution

is often the case today. And it attracted

from the autobiographical and detailed

fine critical writing from Ian Wedde

works of Harris’s earlier career; it

in his incisive essay ‘Like Tears in

becomes more impersonal, universal and

Rain: Recent Work by Jeffrey Harris’

compelling. By removing the male figure

published in Art New Zealand (37) in

from the imagery, Harris heightens

1985 soon after the work was painted.

rather than lessens the sexual overtones

Wedde points out that it is one of a set of

and enhances what Wedde calls the

three canvases featuring a central figure

“melodrama and adventure” of the

of a woman derived from a sequence of

works. Whereas in the photo her pose

black-and-white photos showing her

could be read as a swoon in the arms

and a male partner dancing a routine. In

of her partner, in the painting, without

the photos, the figures dance on a stage,

his support, its possible meanings

holding poses in front of a backdrop

widen to embrace more sinister and

of scaffolding. But Harris transforms

disturbing interpretations. In the

his sources by excising the male figure

spirit of postmodernism then in vogue,

and setting the woman dancer in a

Floating Woman denies an accessible

framework of rectangular blocks of

narrative replacing it with uncertainty

strong colour, in a way that resembles

and various possible even contradictory

a Hans Hoffman abstract painting. In

interpretations, just as it brings together

so doing, as Wedde puts it, he creates

figurative and abstract conventions of

“a central image of extraordinary

picture-making into one compelling

poignancy”. No more so than here where

image. Sometimes thought of as a

she floats free of the ground, apparently

neoexpressionist painter in the mould

limp, her feet immersed in the deep

of Philip Clairmont, Jeffrey Harris here

ultramarine sea of the central block of

shows himself to be more engaged with

blue. Compared with the images of her in

contemporary painterly concerns than

the other two paintings – Lost to Beauty/

he is with revisiting the past.

Pillar of Fire and Renegotiating a Loan





Hotere’s collaboration with and

content almost as a structural device

incorporation of text by Bill Manhire

– with his painterly treatment of the

Dawn/Water Poem, Manhire

is a well-established convention in

words being of equal importance to

acrylic on canvas

his practice. The two practitioners

their linguistic content – in Dawn/Water

established a relationship in the year

Poem, Manhire, the artist makes no

of 1969 when Hotere was based in

qualms about the fact that these words

Dunedin as a result of being selected

belong to someone else. It is difficult

to take up the then newly established

to see from a distance because he has

Frances Hodgkins Fellowship. In the

dulled the passage with a stroke of

years that preceded the fellowship,

black paint but, in the very centre of

Hotere’s work relied on a common and

the work, the full title and author of the

recurring set of pictorial devices that

source material are inscribed. While

were heavily informed by American

the obscuring black paint plays down

minimalist painting of the 1960s; he

the pictorial significance of these words,

painted in lacquer and made images

their placement emphasises the great

that consisted of thin coloured lines

importance of Manhire’s contribution.

Ralph Hotere

title inscribed, signed and dated ‘75 and inscribed Port Chambers 1070mm x 650mm $80,000 - $120,000

By using a stencil to replicate the word

isolated within large black picture planes. While the lines were contorted

sunrise, Hotere sidesteps any subjective

and arranged in different ways, they

input into how these letters are formed.

were always governed by a calculable

In much the same way as one cell of

and potentially repeatable geometric

DNA can replicate itself to form a whole

formula. In the years after the fellowship,

organism; this one word is multiplied

text would form an important element

to embody the affective centre of

of his paintings. For the latter part of his

Manhire’s poem. Hotere’s input is limited

career, Hotere would go on to incorporate

to dictating their arrangement and

text not only by Manhire but also by

colour. The words are stacked up into

writers such as Hone Tuwhare. While

a column and he uses various hues to

Hotere and Manhire were often not

imbue them with meaning. The change

based in the same geographic location,

in colour, from blue on the lower part

Manhire would send Hotere passages

of the column to the pink, purple then

of his poems that would become the

red in the upper half, alludes visually to

impetus for painted works. Dawn/

different shards of light hitting a watery

Water Poem, Manhire incorporates the

surface at dawn. While the sunrise

title of the poem from which its textual

column speaks to the changeability of

content is taken. In the same year as

the natural world, the vertical lines on

this work was painted, Hotere began the

either side – a purely formal exercise of

sprawling Song Cycle series whose title

considered painterly control – ask that

also referenced the Manhire poem from

the viewer consider the significance of

which it borrowed text.

human endeavour against the forces of the world. Many of Hotere’s later

Dawn/Water Poem, Manhire is of profound importance in that it

works had specific and overt political

contains elements that are testament

motivations; however, in Dawn/Water

to Hotere’s evolution from a modernist

Poem, Manhire he takes a conceptually

painter to a postmodern practitioner

motivated approach and questions which

who programmed external sources of

human actions can be seen to constitute

information rather than drew stimulus

political activity.

from within himself. While in some


of his later works, Hotere used textual



Group portraits are rare in New Zealand

following Dora’s daughter by her first

painting which makes this work

marriage to Wellington where Eugene

‘Family Group’ No.1.

depicting Eugene Fancott’s wife Dora

found employment at Charles Haines’

oil on canvas

and her grandchildren – Patricia (in

advertising agency. He painted at

signed and dated 1957

blue), Vicki and David Enting – both

weekends and during his spare time,

780mm x 700mm

unusual and interesting. This is even

as was often the case in the 1950s when

more so because Fancott is not a familiar

only a rare exception like Peter McIntyre

name to students of our admittedly

could become a professional painter. For

brief and still inadequately researched

an artist who specialised in the figure

art history. However, Eugene Fancott

rather than in landscape, opportunities to

lived to a great age, over 105, and had

make an income from painting were few

exhibited at the New Zealand Academy

and far between. Undaunted, Fancott

of Fine Arts in Wellington in the 1950s

produced a sequence of portraits in a

when this painting, dated 1957, was first

style that is clearly British in type though

shown. Born in England, he studied at

more conservative than the realism of

the Liverpool School of Art between

Lucian Freud of the 1950s or the modern

the wars and worked as an illustrator

portrait groups of David Hockney that

and designer. He met his wife Dora in

followed in the early 1960s. Before colour

1939 in London’s fashionable West End

photographs became commonplace

where she had a dress shop catering

and able to be enlarged to life size as

to a wealthy and aristocratic clientèle.

they are today, large-scale depictions of

She had commissioned him to do a

contemporary women and children in

poster advertising her invention of a

fashionable dress were rare and confined

strapless bra – a fashion she apparently

mainly to the world of advertising.

continued to endorse, judging by the

Undoubtedly Fancott’s expertise in

strapless dress she wears in this portrait

rendering the sheen of fabrics and the

group. Dora, who was attractive and

textures of dresses and accessories, so

glamorous, became the main inspiration

prized in his commercial work, helped

for Fancott’s portraits and nudes, few

in paintings like this where attention to

if any of which were sold. He was

costume and hairstyles is critical to the

apparently in his later years a retiring

work’s success. But Fancott also conveys

and gentlemanly figure who has been

the intimacy and affection between

described as ‘not a womaniser but a great

Dora and the girls by his placement of

painter of women’. One can call to mind

the hands that hold and bind the figures

famous painters like Bonnard or Picasso

together while adding to the tactile

whose wives were their models and their

quality of the painting – even though the


grouping has a somewhat reserved and

Eugene Fancott

Provenance Passed by descent from the artist to his daughter and then to the present owners, the artist’s grandchildren. Exhibited New Zealand Academy of Fine Arts, of which Fancott was a working member 1953 - 1960, 1957 Autumn Exhibition 11 May - 7 June, cat. no. 284 under the name ‘Family Group’ NFS. $12,000 - $18,000

Fancott and his wife immigrated to New Zealand in the late 1940s,


posed aspect to it. Michael Dunn




exiled persons and, to this day, about 14

colour, symbolises the sacraments of

Don Binney

former sufferers of the disease still live

the Catholic Church. In particular he

A Cape For Father Damien II

there. The settlement was particularly

specifies that the red passage of colour in

oil on board

noted because it attracted the efforts

the very middle signifies the Eucharist

and devotion of a certain Belgian

or Holy Communion. This reading is

Catholic priest who moved to the isolated

further enforced by his use of stylised

community in 1873. Father Damien,

symbols placed at the top and bottom of

born as Joseph de Veuster and later

this passage; the semicircular indention

canonised Saint Damien of Molokai, was

at the top represents a chalice while

responsible for transforming Kalaupapa

the white circle at its base represents

from a settlement of displaced people

the body of Christ. By Binney’s own

into a functioning community. While

admission, the white circle is a deviation

Father Damien’s first act was to build

and would not be present in traditional

a church, his role in the community

’ahu’ula. Conversely, the black rim,

extended far beyond that of traditional

which was found in traditional ’ahu’ula,

priest. In addition to his spiritual

represents death and more specifically its

duties, Father Damien dressed ulcers,

omnipresence in the belief systems that

built homes, established a work farm,

incorporate a notion of the spirit.

signed and dated ‘93 1180mm x 625mm Exhibited Binney: Forty Years On, curated by Damian Skinner, toured by the Dowse Gallery, 2003- 2004. Illustrated Don Binney: Nga Manu/Nga Motu - Birds/ Islands, Damian Skinner, Auckland University Press, 2003, p. 60. Don Binney:Seven Paintings (Video Recording), directed by Roger Taberner, Auckland Art Gallery, 2004. $75,000 - $95,000

This work was painted many years

enforced laws and dug graves. He eventually contracted leprosy himself

before Father Damien was granted

and died in 1889 at the age of 49.

sainthood and it seeks to befit him with

In this work, Binney has chosen to

the same level of honour and respect as

picture the attributes for which the

that held by native Hawaiian nobility.

Kalaupapa landscape is best known:

However, like much of Binney’s work, it

its sheer cliff faces caused by erosion

can also be seen to reflect upon the inert

and its jutted land form caused by

characteristics of a specific geographic

volcanic activity. Standing at the centre

setting. In the aforementioned video

of the picture plane is a depiction of

recording, Binney referred to Kalaupapa

Father Damien based on one of the

as an unequivocally peaceful place and

very few existing photographs of him

as a place without stigma or shame and

in which he is wearing a weathered,

one can’t help but find a poignancy in

In A Cape for Father Damien II, we

wide-brimmed hat which bestowed

his words that runs deeper than their

see Binney exercise his aptitude for

on him the appearance of a working

face value. While Father Damien had

constructing a complex and culturally

man. The semicircular form that sits

a profound and deeply important affect

pervasive dialogue using only a limited

above both the landscape and Father

on the community, the necessity for its

selection of pared-back signifiers. The

Damien’s figure is a stylised depiction

existence was the result of diseases being

work is set on the Hawaiian island of

of an ’ahu’ula: a traditional feather

introduced to Hawaii by foreign sailors

Molokai, which Binney visited when he

cloak worn by Hawaiian chiefs. In a

passing through its ports. Therefore,

travelled to Hawaii on sabbatical in 1990.

filmed discussion, published by the

while modernisation and European

The island has a small population and,

Auckland Art Gallery to coincide with a

influence had improved the lives of those

while its inhabitants have resisted its

major retrospective of his work, Binney

in Kalaupapa, historically, their presence

development into a tourist destination,

canvasses his use and embellishment of

had been a double-edged sword. What

the unincorporated community of

the ’ahu’ula symbol in great detail. While

attracted Binney to Kalaupapa was not

Kalaupapa, located on a peninsula on the

it is a Hawaiian cultural icon, Binney

just the legacy of Father Damien but also

northern side of the island, has become a

has chosen to imbue it with a raft of

the fact that he viewed it as somewhat

popular tourist attraction. This is a result

Christian symbolism. In his own words,

of an oasis. It was a place where a litany

of the fact that, up until 1969, the village

the golden section signifies the “kingship

of opposing forces had found common

was the site of a leper colony. At its

of Christ”, while the red section, with


peak, the settlement was home to 1,200

its seven penetrating chevrons of





Bill Baldock belongs to a group of

doesn’t try to jolly him up. Instead,

powerful portraits Michael Smither

the crisp white shirt, blue tie and dark

Bill Baldock

painted in 1975 – mainly depicting

jacket add a formality to the encounter

oil on board

family and friends. The best known of

defending his personal territory and

these are two of his mother and father

keeping him psychologically at a

painted with graphic verisimilitude. Like

distance. As with the Portrait of the

them, Bill Baldock is a mesmerising and

Artist’s Father, the glasses become an

confrontational portrait far removed

important part of the portrait framing

from the boardroom and society works

the sitter’s eyes, which act as a focal point

that had been the mainstay of New

along with the crow’s feet that surround

Zealand portraiture until the 1970s.

them. They draw attention to the sense

Painting to please himself, Smither plays

of sight and remind us of the relentless

around with scale, enlarging the head

visual scrutiny that Smither applied to

beyond life-size and bringing it very close

his task of recording what he saw.

Michael Smither

signed with artist’s initials and dated ‘75 910mm x 630mm $60,000 - $80,000

to the picture plane in a sharp focus that

The high finish of the portrait and

reveals every detail. All these portraits

absence of gestural handling give it a

show only the head and shoulders of the

deadpan quality that fits the emotionless

sitters set before a plain background that

persona of the sitter. Part of the portrait’s

tells us nothing about where they come

intensity comes from the feeling of

from or where they belong. Everything

constraints upon Bill – his need to be tidy

rests on the features and what little we

and to have his hair cut and brushed,

can see of their dress and attire.

his glasses clean, his tie straight and

The plainness of features and the

his shirt ironed. He seems to embody

visible signs of wear and tear manifest

conservative values and expectations.

in wrinkles and sagging folds of skin

We come to see him as more than he

become, in Smither’s hands, a means

actually is; he becomes like Rita Angus’s

of drawing the viewer into the portraits

Betty Curnow before him: a symbol of a

as they work their way from one facial

type and way of life. Smither presents

crevasse and outcrop to another, like

a kind of portraiture that takes Bill

a mountaineer climbing a cliff face.

seriously and makes him credible. We

Indeed, the folds and creases of skin

can all recognise in him someone we

around Baldock’s chin evoke the stark

know or have seen. He does not have to

landscape imagery of Smither and

put on airs and graces to which he is not

his mentors, McCahon and Angus.

entitled – instead he remains himself,

There is more than an echo, too, of

unpretentious, unlovely perhaps but real.

Angus’s portraits in the frozen, serious

In 1980, Smither wrote: “When I am

demeanour and formality of the sitter.

painting portraits, I never ask people to

Baldock’s features are set, his lips firmly

pose. I just ask them to carry on”. And

closed and his gaze unflinching. Smither

that is what Bill Baldock does.

makes no attempt to set up a dialogue

Michael Dunn

between the sitter and his viewers – he



Tony Fomison

{King Lear}

oil on hessian board title inscribed, signed and inscribed “You mad one turned into a fool by your own fool who has now become your Confessor - and the Punch and Judy show… is on”; dated 1988 Lincoln St; 1989 Williamson Ave, Grey Lynn verso 480mm x 570mm Illustrated What shall we tell them?, edited by Ian Wedde, City Gallery Wellington, 1994, p.176. $35,000 - $45,000



Ralph Hotere

Oputae, Observation Point burnished corrugated steel title inscribed, signed and dated 1989 610mm x 680mm $40,000 - $60,000




Michael Hight

Chard Farm oil on canvas

title inscribed and signed 760mm x 1520mm $20,000 - $25,000


Philip Trusttum

Sou’ Wester oil on board

signed with initials and dated ‘73 1270mm x 2485mm Provenance Purchased from Peter McLeavy Gallery, Wellington. On permanent loan to the Te Manawa Museum since 1983. Exhibited Philip Trusttum: Selected Works 1962 - 1979, toured nationally by Sarjeant Gallery, 1980 - 1982. Petals, Tauranga Art Gallery, 27th October - 7th December 2008. Illustrated Philip Trustum: Selected Works 1962 - 1979, Sarjeant Gallery, 1980, p. 10. $30,000 - $40,000


Bill Hammond

Playing The Drums acrylic on copper

title inscribed, signed and dated 1988 705mm x 300mm $10,000 - $15,000








Marae - Pahaoa, East Coast


Small Lattice

oil on canvas

acrylic on canvas

acrylic on canvas

signed and dated ‘86

signed and dated ‘99 verso

title inscribed, signed and dated sept ‘79

830mm x 1920mm

610mm x 610mm

820mm x 820mm

$20,000 - $30,000

$7,500 - $10,000

$6,000 - $9,000

Stanley Palmer


Allen Maddox

Ian Scott



Kelp, Side Carved Flax Pod Vase

Puka Vase

unique cast glass 1/1

45% lead cast crystal glass, 1/1

signed, dated 1997 inscribed NZ and

signed and dated 2002

editioned 300mm x 360mm x 245m

635mm x 170mm diameter

Ann Robinson

Ann Robinson

$25,000 - $30,000

PROVenance Purchased by the current owner from Masterworks Gallery, Auckland, 1997 Exhibited Masterworks Gallery, Auckland, 1997. Ann Robinson Casting Light: A survey of glass castings 1981-1997. Dowse Art Museum, 27 February - 20 May 1998. Auckland Art Gallery, Toi o Tト[aki, 18 June-16 August 1998. reference Catalogue for the travelling exhibition Ann Robinson Casting Light: A survey of glass castings 1981-1997, Dowse Art Museum, cat. no. 60. $23,000 - $38,000







Crimson / Red

oil on canvas

oil on canvas

singed and dated 2008

title inscribed, signed, dated 1981 and

610mm x 460mm

original Gow Langsford Gallery labels

$10,000 - $15,000

affixed verso

Kees Bruin

Max Gimblett

1775mm x 1270mm Exhibited Auckland Art Gallery, Seven Painters / The Eighties, 1983. Illustrated Seven Painters / The Eighties: The Politics of Abstraction, Wystan Curnow, Art New Zealand no. 28, 1983, p. 38. $20,000 - $30,000







Hillary R. Clinton From Under the Sign of Scorpio Series


Hope of Paradise

archival pigment ink on acid-free

aluminium leaf and oil on gesso panel

oil on board

title inscribed, signed and dated

signed and dated ‘60; title inscribed,

1998 verso

signed and dated 1960, and inscribed

750mm x 400mm

A.249 verso. Original Gallery One label

$8,000 - $12,000

affixed verso

Tracey Moffatt

rag paper 2005 432mm x 584mm $4, 000 - $6,000


Fatu Feu’u


oil on canvas signed 1550mm x 1900mm $10,000 - $12,000

Tony Lane

Pat Hanly

610mm x 800mm Provenance Passed by descent from Robin Howard, uncle of the vendor. Robin Howard was an early patron of Gallery One, London. Exhibited Gallery One: Contemporary Painting and Sculpture, 16 North Audley Street, Grosvenor Square, London WI, Hyde Park, 1960. $25,000 - $35,000



Pat Hanly


affixed verso

Fire Above the City


700mm x 610mm

Gallery One: Contemporary Painting

oil on board


and Sculpture, 16 North Audley Street,

signed and dated ‘60; title inscribed,

Passed by descent from Robin Howard,

signed twice, dated ‘60 and inscribed

uncle of the vendor. Robin Howard was

Park, 1960.

A.236 verso. Original Gallery One label

an early patron of Gallery One, London.

$25,000 - $35,000

Grosvenor Square, London WI, Hyde


Pat Hanly

affixed verso



570mm x 460mm

Gallery One: Contemporary Painting

oil on board,


signed and dated ‘60; title inscribed,

Passed by descent from Robin Howard,

signed and dated 1960, and inscribed

uncle of the vendor. Robin Howard was

A.246 verso. Original Gallery One label

an early patron of Gallery One, London.

and Sculpture, 16 North Audley Street, Grosvenor Square, London WI, Hyde Park, 1960. $15,000 - $20,000






Colmbe Volant (a l’Arc-en-ciel, Flying Dove With a Rainbow)

Pretty Girls Don’t Come Home

In a Brittany Harbour

mixed media on aluminium

oil on board

colour lithograph, 28/100

title inscribed and signed


signed in pencil, signed and dated

500mm x 500mm

370mm x 450mm

10.10.1952 on the stone

$2,000 - $3,000

$25,000 - $30,000

Pablo Picasso

910mm x 1040mm Reference Catalogue Raisonné, Picasso, Volume 1,

Richard Lewer

Sydney Lough Thompson


Neil Dawson

Catalouge of printed graphic work 1904 -

Beam - Blue Birds

1967, Georges Bloch, editions Kornfeld

powder coated steel, halogen light fitting

et Klipstein, Berne, first published 1968, cat. no. 712, p. 704. $8,000 - $12,000

edition 1/6 1408mm x 300mm x 135mm $8,000 - $10,000



Ralph Hotere

Pathway to the Sea

watercolour, pencil and ink on paper, signed and dated ‘75 and inscribed Drawing for Ian Wedde’s Pathway to the Sea, Port Chambers 555mm x 760mm $20,000 - $30,000




Destruction Of The Circle

acrylic and collage on shaped wood support title inscribed, signed and dated March 29, 1990. 1800mm x 2300mm $20,000 - $25,000




Folding Space From the Blackout Movement Series

Drying Sails

acrylic on canvas

oil on board

title inscribed; signed and dated 2001


and inscribed Mamuku verso

360mm x 440mm

500mm x 700mm

$8,000 - $10,000

Shane Cotton

$15,000 - $20,000

Sydney Lough Thompson


Rudi Gopas

Sumner Hills

ink, gouache and water based media on paper signed, initialed and dated ‘56 490mm x 660mm $3,000 - $5,000







Robin White


watercolour on paper signed and dated ‘69 440mm x 320mm $10,000 - $15,000


Doris Lusk

Brown Landscape oil on plywood signed and dated 1968 500mm x 760mm Exhibited New Vision Gallery, Auckland, 18 - 30 November 1968. Several Arts Gallery, Christchurch, June - July 1969. $6,000 - $10,000


Nigel Brown

On The Last Morning acrylic on board title inscribed, signed and dated ‘84; title inscribed, signed and dated ‘84 verso 1550mm x 1250mm $14,000 - $18,000


Nigel Brown

Conversation Pacifica 78

woodcut collage and acrylic on board signed and dated ‘94; title inscribed, signed and dated ‘94 verso 1680mm x 1280mm $14,000 - $18,000


Gladstone Eyre

Sydney Harbour From The North Shore Looking Towards The City Skyline watercolour signed 570mm x 920mm $10,000 - $15,000










AT 6PM LOTS 100 - 120 LOTS 121 - 130 LOTS 131 - 242




Evening Preview 5:30pm - 7:30pm

A buyer’s premium of 12.5% will be charged on all

Thu 4 August

9:00am – 5:15pm

items in this Fine Jewellery & Watches sale.

Fri 5 August

9:00am – 5:15pm

GST (15%) is payable on the buyer’s premium only.

Sat 6 August

11:00am – 3:00pm

Sun 7 August

11:00am – 3:00pm

Wed 3 August

Mon 8 August Tue 9 August Wed 10 August

9:00am – 5:15pm


9:00am – 5:15pm 9:00am – 12 noon (sharp)



The second offering of high quality Collectable Costume Jewellery from a major German collection of International significance. The selection includes pieces by: Hattie Carnegie, Weiss, Trifari, Coro, Christian Dior, Eisenberg and Butler & Wilson. See page 123 for an illustrated sample. All pieces shown on-line at




Important & Magnificent Jewels, Wrist & Pocket Watches Accoutrements, Coins, Medals, Loose Diamonds, Mining Interest.



OMEGA, A Lady’s Stainless Steel Constellation Wristwatch.

Ref: 15623000 No 59834175. White face with polished batons. Quartz movement. With original papers showing purchase new in New Zealand 8 Dec. 2008. $500 - $700


OMEGA, A Lady’s All 18ct Yellow Gold Cocktail Wristwatch Set With Diamonds.

Approximately 14mm square case with integrated mesh bracelet. The bezel set with a continuous line of 24 round modern brilliant cut diamonds. Manual mechanical movement. 34.8g. $1,250 - $1,500 104

An Art Nouveau Period Pendant Watch and Chain Decorated With Enamels.

The conical pendant of silver-gilt, decorated with guilloché and cloisonné Art Nouveau motifs in aubergine, green and yellow enamels, is suspended by a silver chain with aubergine enamel bars at even intervals. The pendant containing a watch, silver face with Arabic numerals, the bezel decorated with further enamels. The manual mechanical 15 jewel movement signed A. LeCoultre Blancpain. Some bruising to enamels. $850 - $1,250 Not received in time for illustration

Wrist & Pocket watches

Important Conditions of Sale for Watches: Please note: as many of the timepieces are old, or their history is unknown, Webb’s offers no guarantee as to mechanical condition or condition of seals etc. A timepiece described as ‘fine’ or ‘as new’ is an opinion as to appearance only. All watches are sold as viewed. It shall be assumed that all buyers have inspected the lots and that they are happy with them in all respects. Watches cannot be returned on the grounds that repairs or service have been carried out, or parts (including straps or bracelets) have been supplied, by anyone other than the named maker. Notwithstanding the foregoing condition, named wristwatches are sold on the basis that the movement (or movement and case where both would normally have been manufactured by the named maker) were manufactured by the named maker. It is recommended that buyers have watches serviced promptly to ensure that damage does not arise from faulty seals or any other aspect of mechanical condition.

CARTIER, A Lady’s `Must de Cartier’ 21 Wristwatch.

Stainless steel and gold. Ref: 1340, No PL122298. Circular outline with Roman numerals to bezel. Quartz movement. With original box. $1,250 - $1,500


Our usual popular selection of Antique & Modern Jewellery, diamond rings & gold chains, mostly without reserve. Please ask for an inventory at viewings, or see on-line from 1st day of viewing

BENRUS, A Military Issue Wristwatch.

Brushed grey stainless case. GS-00S-54524. S/N 044569, March 1965. Matt black face with Arabic 24 hour numerals, luminous markers and sweep second. Manual mechanical movement. Black crocodile strap. $350 - $450


TISSOT, A Gentleman’s Stainless Steel `Couturier` Automatic Chronograph Wristwatch.

Ref: TO35617A, 11BL0020466. Black face with three registers, polished batons, sweep second, tachymetric scale and date window. As new appearance with box, books and spare links. $400 - $500 106

JAEGER-LE COULTRE, A Gentleman’s Dualmatic `Master Compressor’ Wristwatch.

Ref: 146.8.02 No0742. Stainless steel case with brown leather strap. Water resistant 10m. Automatic movement. Black face with date window, 24hr apertures, second time zone hand and subsidiary seconds. Lock down crowns. With original box. As new. $5,000 - $6,000 see colour illustration p 107













CORUM, A Gentleman’s All 18ct Yellow Gold `Admiral’s Cup` Wristwatch.


Circular outline bezel to duo-decagonal case and 18ct gold bracelet. Cream face with signal flag indexes, sweep second and date window. Quartz movement. 92.6g. $4,800 - $5,800 see colour illustration p 107 108

ROLEX, A Lady’s 18ct Yellow Gold Oyster Perpetual Datejust Wristwatch With Diamond Indexes.

Ref: CN 211A. All stainless, black face with 3 registers (2 chrono, 1 24hr), luminous batons, dayglow sweep seconds and sweep elapsed minutes. Rotating bezel. Near new appearance, with box. $3,000 - $4,000 see colour illustration p 107 113

Ref: 79178 S/N A158378 (C.1999). Silver face with diamond indexes, sweep second and date window. President link bracelet. Excellent appearance. $8,000 - $10,000 see colour illustration p 107 109

RAYMOND WEIL, A Lady’s `Parsifal’ All 18ct Yellow Gold Wristwatch Set With Diamonds

Ref: 10.816 No.901. Circular outline case with 18ct bracelet. Bezel and lug-link set with diamonds. Cream face with Roman quarters, diamond indexes and date window. Quartz movement. Blue cabochon end-stone to crown. 84g. Certificate of value available. $4,000 - $5,000 see colour illustration p 107 110


All stainless, charcoal face with Arabic numerals and two LCD windows. Fitted with a 121.5MHz emergency transmitter activated independently by pull-out aerials. Designed as an aviator’s back-up emergency beacon. Water resist 30m. With original box, spare links, instruction CD and manual and transmitter test instruments. Certificate No 1066177. Purchased new in New Zealand. As new. $4,500 - $5,500 see colour illustration p 107


CHOPARD, A Lady’s Casmir All 18ct Yellow Gold Wristwatch Set With Diamonds.

Ref. 917-1, 443289. Circular outline case to paisley motif link integrated bracelet, the lugs pavé set with round modern brilliant cut diamonds. Quartz movement. Signed. 80.6g. As new appearance. $7,500 - $8,500 see colour illustration p 107 115

ROLEX, A 9ct Yellow Gold Cased Open Face Pocket Watch.

BREITLING, A Gentleman’s `Pro Emergency’ Chrono Digital LCD/Analogue Wristwatch.

VACHERON & CONSTANTIN, An 18ct Rose Gold Cased Open Face Pocket Watch.

Keyless lever, silver face with polished batons, Arabic quarters and subsidiary seconds. Signed on case, movement and face. Movement 416593, Case 267972. $2,250 - $2,750 Not received in time for illustration

ETERNAMATIC, A Gentleman’s Stainless Steel Cased `Kontiki’ Wristwatch.

Cushion outline brushed stainless steel case. Black face with polished batons, sweep second and date window. Verso kontiki raft motif on gold insert. Original owner’s name inscribed on reverse. $700 - $1,000

Keyless lever, white face with Arabic numerals and subsidiary seconds. Case and movement signed Rolex. Face with `Rolex’ hand painted. $850 - $1,000 111

TAG HEUER, A Gentleman’s `Aquagraph’ Automatic Professional Diver’s Chronograph Wristwatch.


TAG HEUER, A Lady’s `Professional’ Diver’s Watch.

Stainless steel and rolled gold. White face with luminous batons, sweep second and date window. Rotating outer bezel. Quartz movement. Gold plating showing some wear. $400 - $500 117

A Lady’s 14ct Yellow Gold Cased Open Face Fob Watch.

Keyless cylinder, white face with Arabic numerals. Handset button in the band. The case enhanced with Art Nouveau decoration and restrained engine-turning. $300 - $400






188 170











CARTIER, A Gentleman’s Automatic `Santos’ Stainless Steel Wristwatch.

Ref: 2823. 152724LX. Rectangular outline case and integrated bracelet. Silver face with Roman numerals and date window. Blue end-stone to crown. Never worn. With original box and papers showing purchase October 2007. $3,750 - $4,750 see colour illustration p 107 119

BULOVA, A Lady’s Automatic White Ceramic Accutron Wristwatch Set With Diamonds.

Ref: 65RO2, C8671313. White guilloché face with diamond indexes, sweep second and date window. Rotating outer bezel also enhanced with diamonds. Integrated stainless and white ceramic bracelet. With original box and papers showing purchase in New Zealand 28/10/2009. As new appearance. $1,700 - $2,200 see colour illustration p 107



A Gold Sovereign Pendant.

The Edw.VII sovereign dated 1907 set in a free-mount pendant of 9ct yellow gold with an oak leaf border. $450 - $550 A Pair of Kiwi Motif Cufflinks of Greenstone and 9ct Yellow Gold.

Rectangular panels of polished greenstone with a Kiwi motif intaglio finished in gold, set in 9ct gold with 9ct chain to a greenstone toggle. $175 - $275


A U.S. $10 Gold Eagle Coin.

1914 Indian Head “D”. $800 - $1,000 see colour illustration p 109

ANTON TEUTENBERG, A New Zealand United Fire Brigades Association Long Service Medal.

With suspender, ribbon and one 2 year service bar. Awarded by Dunedin Fire Board to Robert Oliver Jan.1909. With original presentation box from A. Tuetenberg, Engraver, Wellesley Street, Auckland. $400 - $700 126

Two New Zealand Masonic Lodge Jewels in 9ct Yellow Gold.

Both of fern leaf motif hangers with ribbons suspending set squares. One having an articulated proof of Pythagoras drop, the other a keystone engraved with Masonic symbols. With case. $400 - $500 127

A Double Ended Toilet Bottle With 9ct Yellow Gold Caps.

Faceted glass, one end with a hinged cap, the other a screw cap. $450 - $650 128


CARTIER, A Limited Edition Paper Knife With Clock Handle.

No 266/2000 plated in platinum, the handle fitted with a tapered tonneau outline clock, silver face, Roman numerals, quartz movement. With original box. Appears as new. $1,800 - $2,200 122


ULYSSE NARDIN, A Gentleman’s `Maxi Marine’ Diver’s Automatic Wristwatch.

Ref: 263-33-3 No 1064. Stainless steel with rubber and stainless bracelet. Water resistant 300m. Rotating outer bezel. Black face with luminous indexes, subsidiary seconds, date window and power reserve register. Near new appearance. With original box and papers showing purchase in New Zealand. $3,500 - $4,500 see colour illustration p 107 120



A Geo.III Gold Guinea.

1777 $500 - $700 see colour illustration p 109 A Natural Gold Nugget Brooch.

The nugget still showing traces of host quartz rock, set with a single brilliant cut diamond and a seed pearl is suspended by a bar brooch of 18ct yellow gold inscribed with the name C.D. BOLIVAR. Understood by the vendor to be of Canadian origin. 24.1g. $1,000 - $1,400 see colour illustration p 111 ROTHSCHILD, A Gold Plated Cigarette Lighter.

As new with original box. $150 - $250



165 234



212 183



174 158 SUITE



FINE JEWELLERY & LOOSE DIAMONDS Independent Gemmological Reports and Valuations: Valuations are made available to customers for two primary purposes: Firstly to provide an independent opinion as to the quality of the stones and metals comprising the piece, and Secondly so that buyers can, if they wish, obtain suitable Insurance cover immediately upon purchase and prior to delivery. A valuation for insurance purposes represents a calculated replacement cost allowing for maximum retail margins, such that an Insurer can assess the outer limit of their exposure to risk. It does not represent actual new retail replacement as it makes no provision for competitive trade practice, or for discounts obtained by individual bargaining. As fashion, desirability and current market forces all have variable impact on second hand or Auction value, there is no direct formula for estimation of such value by interpolation from Insurable value. As the currency exchange rate and spot metal prices have a marked effect on jewellery valuations, buyers should note the date and prevailing economic factors at the time that the valuation was produced. Once all of the prevailing parameters have been established, it is possible for an experienced person to interpolate a rough estimate of the current cost of manufacture from past insurable value, but again that exercise will give no indication of actual market forces. Buyers should also note the stated purpose of the valuation (insurance, retail market, cash value, estate division etc). All valuations remain opinions and not matters of fact. Whilst Webb’s staff will assist buyers to understand the methodology and technical details of Gemmological reports and valuations, buyers must make their own assessment of an item’s value before bidding. Webb’s its consultants and employees make no representation or warranty regarding any outside opinion, valuation or certificate of any item on offer. Please note: where gemological reports are available these should be read together with the catalogue description. Should there be, through error, omission or introduction of better evidence, any significant difference between the catalogued description and that provided in the gemologist’s report, it shall be assumed that the buyer has inspected the report and is buying in acceptance of it. Unless otherwise stated, all stones have been assessed for weight, colour or clarity mounted and the descriptions given in the catalogue or report are therefore based on estimates which are limited in accuracy. Where an actual weight is given the stone will have been weighed loose, however while the grading of a stone loose will minimise error margins it shall be accepted by the buyer that all reports and descriptions remain opinions and not matters of fact.







A Late 19thC Cuff Bangle.

Broad tapered silver hinged cuff enhanced with applied varicolour gold foliate and geometric motifs together with bead work. $200 - $300 A Particularly Good Cameo Brooch.

The 50 x 38mm oval carved shell cameo of a divine charioteer with attendants and puto is set in a brooch frame of 9ct rose gold. $700 - $800 A Pair of Loose Diamonds of 0.51 and 0.50ct

Both round modern brilliant cut with G.I.A. Certificates (6127282489 and 1109864969) stating them to be E, SI1, Very Good - Excellent Make. Gemologist’s report available. $3,000 - $4,000 A Loose Pear Shaped Diamond of 1.65ct.

The brilliant pendeloque cut diamond assessed as E, SI2. Gemologist’s report available. $8,000 - $9,000 A Late 18th/Early 19thC. 18ct Yellow Gold Guard Chain.

Textured belcher links, the tubular clasp enhanced with beading and wirework set with three small turquoise beads. 36.2g, 1000mm. $2,250 - $2,750 Not received in time for illustration 136

A Double Bar Brooch Set With Turquoise and Seed Pearls.

15ct yellow gold chenier set with four turquoise beads and three seed pearls. With original box. $100 - $150 137

An Object TrouvÉs Style Bracelet of 18ct Yellow Gold.

53.9g. $1,800 - $2,200 138

A Particularly Good Necklace of South Seas Cultured Pearls.

Silver-white, round graduated 11.5mm - 15.6mm with excellent blend and very good orient; single row secured by a ball clasp of 18ct white gold pavé set with some 117 diamonds having a TDW approximately 1.75ct. Gemologist’s report available. $8,500 - $9,500 see colour illustration p 119


A Very Stylish Necklace of Black Onyx, Emeralds and Diamonds.


The single row of articulated 18ct white finished gold rectangular links, each set with a baguette cut diamond, to a `V’ shaped mid-section set with square cut diamonds, suspends a large pendeloque rubellite (red tourmaline) drop bordered by round modern brilliant cut diamonds. The pendant removable to allow the necklace to be worn separately. The rubellite of stated weight 20.42ct, the diamonds of total 8.93ct. Gemologist’s report available. $16,000 - $18,000 see colour illustration p 115

Black silk rope cord with 18ct yellow gold finials and clasp to a mid-section of similar finials enhanced with cabochon emeralds and diamonds, suspending a gadrooned melon shaped carved black onyx pendant having a surmount and bale set with further diamonds and a cabochon emerald and gold finial. Gemologist’s report available. $2,500 - $3,500 see colour illustration p 111 140



A Pair of Diamond and South Seas Pearl Drop Earrings.

Each having a good quality (H/I, VS1+) marquise cut diamond of approximately 0.60ct at the stud suspending a round 12mm white cultured South Seas pearl. 18ct white gold. Gemologist’s report available. $3,800 - $4,800 see colour illustration p 115


A Necklace of South Seas Cultured Pearls.


Silver-white, round, graduated 10.8mm - 13.6mm with very good blend and orient; single row secured by an 18ct yellow gold ball clasp set with a row of small diamonds. Gemologist’s report available. $4,000 - $5,000 see colour illustration p 109

The cushion outline rubellite (red tourmaline) cabochon of 33.56ct is set in a mount of 18ct white finished gold pavé set with some 425 round modern brilliant cut diamonds with a TDW 4.55ct. Gemologist’s report available. $8,500 - $9,500 see colour illustration p 119

PIERO MILANO, A Pair of Creole Style Earrings Set With Diamonds.

Mimosa design in 18ct yellow gold set with lines of round modern brilliant cut diamonds. Signed. $2,000 - $3,000 see colour illustration p 109 147

A Ring of Art Deco Influenced Design Set With A South Seas Cultured Pearl and Diamonds.

An Impressive Rubellite Cabochon and Diamond Dress Ring.

PASQUALE BRUNI, a Cross Pendant Set With Diamonds.

18ct white gold set with two rows of small round modern brilliant cut diamonds suspended by a trace neck chain with signature plate and drop. $800 - $1,000

A Spray Brooch Set With Yellow Sapphires and Diamonds.

Handmade floral spray design in 18ct white gold set with nine pear shape faceted yellow sapphires of around 7ct total and some 77 single-cut diamonds having an estimated TDW 1.50ct. 17.4g. Gemologist’s report available. $900 - $1,200

Quatrefoil geometric petal design in 14ct white gold set with some 1.24ct of fine quality (DEF) marquise, brilliant and baguette cut diamonds about an ovoid 13.5 x 11.7mm white pearl. Gemologist’s report available. $2,500 - $3,500 143

A Necklace of Diamonds With A Large Rubellite and Diamond Drop Pendant.



A Russian Wedding Ring Set With Diamonds.

The three entwined rings of 18ct white finished gold each set with a continuous row of round modern brilliant cut diamonds. TDW 1.16ct. $1,500 - $1,800 see colour illustration p 115 GEORG JENSEN. An 18ct Yellow Gold `Millenium’ Pendant Necklace Set with a Moonstone Cabochon.

The oval outline retro 1920s pendant set with an oval moonstone cabochon is suspended by an 18ct yellow gold chain. Signed Georg Jensen, Denmark, 2000. 13.7g $1,000 - $1,400




A Striking Yellow Sapphire and Diamond Ring.

The oval cut vivid orange-yellow sapphire of actual weight 8.09ct is transverse set in a ring of 18ct white finished gold, the shoulders and rails pavé set with round modern brilliant cut diamonds of very good quality and actual TDW 1.95ct. Gemologist’s report available. $6,750 - $7,750 see colour illustration p 109



A Ring Set With A Diamond of 0.67ct Together With Shoulder Diamonds.

The round modern brilliant cut diamond assessed as H/I, SI1 is rub-over set in 18ct yellow gold, the shoulders wrap-over channel set with 8 smaller brilliants. TDW 0.91ct. Gemologist’s report available. $1,600 - $2,000 114


A Gold, Black Enamel and Diamond Brooch and Earring Suite.

Late 19th/early 20thC. Continental 14ct yellow gold and black enamel flowerhead design, each piece centred by a round early European brilliant cut diamond. TDW around 0.90ct. The brooch fitted with a suspension hook for an additional drop. Minor bruising to enamels. $3,000 - $3,500 see colour illustration p 111 159


A Line Bracelet Set With Sapphires and Diamonds.

Hinged figure-of-eight links in 18ct yellow gold, each set with a triangular cut violet/blue sapphire and a row of 3 round modern brilliant cut diamonds. Gemologist’s report available. $1,500 - $1,800 see colour illustration p 111

A South Seas Pearl and Diamond Pendant on a Chain of Platinum and 18ct Gold.

The oval 12 x 15mm baroque cultured white South Seas pearl set with a band of round modern brilliant cut diamonds below a cupola and bale set with an old cut diamond of around 0.55ct, all in 18ct yellow gold, is suspended by a cable link chain of alternating seven link sections of platinum or 14/15ct rose gold. Gemologist’s report available. $2,200 - $2,600

A 19thC Crescent Motif Brooch Set With Diamonds.

15ct yellow gold and gold/silver doublet designed as a knife-edge bar with diamond set finials centred by a pearl and diamond floral cluster enclosed by a large crescent set with two graduated rows of diamonds. The diamonds, some 46 in all of mixed old cuts of good make and excellent colour for the period (E-G) have an estimated TDW 3.20ct. Gemologist’s report available. $3,000 - $4,000 see colour illustration p 121 154


A Ring Set with an Emerald Cut Diamond of 1.41ct.

The Diamond of good clarity and lightly tinted Cape colour is set in a four claw mount of 18ct white gold. Gemologist’s report available upon request. $5,250 - $6,250 see colour illustration p 111

A Necklace of Fancy Coloured Sapphires and Diamonds.

A line of oval cut sapphires and small round brilliant cut diamonds set in 18ct white finished gold suspends at mid-section an open tear drop link set with diamonds with a fall of three further sapphires and diamonds to a pavé diamond teardrop finial. The sapphires of various fancy colours: pink, green, amber, yellow, orange and apricot. Gemologist’s report available. $4,000 - $5,000 see colour illustration p 121

A Striking Engagement or Dress Ring Set with Diamonds.

Cushion outline in 18ct yellow and white finished gold, centred by a round modern brilliant cut diamond of stated weight 0.70ct of quality, G, SI1; set within a pavé diamond border to shoulders pavé set with further diamonds. TDW 1.40ct. As new, diamond shop certificate of purchase available. $4,000 - $5,000 152



A Sapphire and Diamond Full Eternity Ring.

18ct white gold, set around the circumference with square cut blue sapphires and round modern brilliant cut diamonds in lines of three. $500 - $600 A Heart Motif Pendant Set With Diamonds.

Slightly concave design in 18ct white gold pavé set with round modern brilliant cut diamonds suspended by a trace bright-cut link neck chain also of 18ct white gold. TDW 0.43ct (stamped). $750 -$850 A Ring Set With A Solitaire Emerald Cut Diamond of 1.00ct.

The diamond assessed as G/H, VS, fine make is set in 18ct white and yellow gold. Gemologist’s report available. $4,750 - $5,750










217 140 144






A Ring Set With A Diamond of 0.54ct Together With Pavé Diamonds At The Shoulders.


Designed as a continuous line of convoluted 18ct rose gold wire basket loops graduated from the centre and hinged at mid-section. The upper part set with a continuous line of round modern brilliant cut diamonds about 13 pear shaped panels pavé set with larger diamonds. Gemologist’s report available. $8,500 - $9,500 see colour illustration p 121

The major diamond, round modern brilliant cut, assessed as G, SI1 is rub-over set in 18ct white gold above a band of 18ct yellow gold pavé set with 50 smaller diamond brilliants of total approximately 0.52ct. Gemologist’s report available. $2,500 - $3,000 163


A Ring Set With A Blue Topaz and Blue Sapphires.

The oval cut blue topaz rub-over set in a heavy mount of 18ct white and yellow gold, the shoulders fold-over channel set with rows of square cut blue sapphires. 11.3g. Gemologist’s report available. $1,000 - $1,500


A Splendid Line Bracelet Set With Fancy Coloured Diamonds.


The line of 24 round articulated 18ct white gold links each set with a round modern brilliant cut diamond of around 0.50ct (reported TDW 11.3ct) ranging in colour from white and pale green/yellow to champagne and rich cognac; in rub-overs bordered by round modern brilliant cut white diamonds (D/H, VVS-I1) with a total reported weight of 2.07ct. Gemologist’s report available. $13,500 - $15,000 see colour illustration p 121 165


A Cocktail Ring of “Tutti Frutti” design Set With A Large Blue Topaz.

The oval cut blue topaz set in a ring of 18ct white gold, the shoulders of floral design set with coloured gemstones and diamonds. Gemologist’s report available. $1,500 - $2,000 see colour illustration p 121



A Dress Ring Set With Rows of Diamonds.

The wide convex tapered band of 18ct yellow gold set with 11 lines of 5 round modern brilliant cut diamonds of sizes graduated from the centre. 12.4g. $650 - $850 A Bracelet Set With Blue Topaz and Diamonds

18ct yellow gold gatelinks to a mid-section of nine articulated links each set with an oval cut blue topaz and two round modern brilliant cut diamonds. 14.6g. $750 - $850

A Pair of Diamond Scroll Earrings of Art Deco Design.

Tapered scroll twist in 14ct white gold set with lines of round modern brilliant cut diamonds separated by ajouré. TDW approximately 1.15ct for the 122 stones. Gemologist’s report available. $1,500 - $2,000 see colour illustration p 109

A Diamond Cluster Ring.

The undulating border of close channel set baguette cut diamonds enclosing a cluster of 13 round modern brilliant cut diamonds centred by a stone of approximately 0.90ct assessed as E/F VS2/SI1, the surrounding diamonds E/F VS1+ to SI1. TDW approximately 3.26ct. Gemologist’s report available. $6,500 - $7,500 see colour illustration p 111

A Very Striking Bangle of Rose Gold Set With Over 6ct of Diamonds.


A Tropical Fish Motif Brooch Set With Pink and White Diamonds.

18ct white finished gold pavé set with panels of round modern brilliant cut pink and white diamonds to suit the design. The eye set with a small cabochon ruby. Gemologist’s report available. $4,500 - $5,500 see colour illustration p 121 172

A Ceylonese Blue Sapphire and Diamond Cluster Ring.

The oval cut sapphire of approximately 3.80ct is set in a substantial ring of 18ct yellow gold within a channel set border of 15 round modern brilliant cut diamonds having an estimated TDW 1.20ct. Gemologist’s report available. $7,500 - $8,500 see colour illustration p 109



A Traditional Ruby and Two Diamond Ring

The oval cut ruby of approximately 2.10ct is set in 18ct yellow gold with a round modern brilliant cut diamond of approximately 0.40ct on each side of a traditional bridge ring. Gemologist’s report available upon request. $4,000 - $5,000 see colour illustration p 115



A Ring Set With A Princess Cut Diamond of 1.70ct.

The diamond assessed as E, SI2 (confirming EGL report 2662759542) Good/Very Good make is set in a four claw mount of platinum. Gemologist’s report available. $9,750 - $12,750 see colour illustration p 121


175A A Bracelet Set With Diamonds.

Articulated open heart motif links to a mid-section of five oval panels and six further heart links set with round modern brilliant cut diamonds. The diamonds, some 222 in all having a TDW 1.97ct. Gemologist’s report available. $3,250 - $3,750 see colour illustration p 115






Oval, graduated from the centre, 10 x 8 to 5 x 4mm, desirable rich green, strung on wire links to a 9ct yellow gold clasp. 540mm. $550 - $650 A Dainty Necklace Set With Diamonds.

A Belle Époque Period Diamond Brooch.

Square outline in gold/silver doublet ajouré quatrefoil design of a cross and four fleurs-de-lis motifs all set with old cut diamonds of good quality to a continuous border of senaille cut diamonds. With box from Heming & Co of Conduit St, London. Gemologist’s report available. $2,800 - $3,800 see colour illustration p 115 A Rubellite and Diamond Cluster Ring.

The oval cut rubellite (red tourmaline) of reported weight 5.04ct is set in a ring of 18ct white finished gold within an undulating border of round modern brilliant cut diamonds, the shoulders pavé set with further diamonds. TDW 0.74ct. Gemologist’s report available. $1,750 - $2,000 see colour illustration p 115 A Dress Ring Set With A Large Lemon Quartz and Diamonds.

A Ring Set With A Good Quality Marquise Cut Diamond of Approximately 1ct.

The marquise cut diamond estimated to be G, VS2 is set in a split-shank ring of 18ct white and yellow gold enhanced with rows of small diamond brilliants. TDW approximately 1.25ct. Gemologist’s report available. $6,000 - $7,000 see colour illustration p 121

A Pair of Cabochon Emerald Earstuds.

Circular diamond set links and circular panel clusters in 18ct white finished gold form a mid-section and drop suspended by a trace neck chain. TDW 2.39ct. Gemologist’s report available. $3,500 - $4,000 see colour illustration p 115

A Pair of Solitaire Diamond Earstuds of Approximately 1.28ct Total.

The cushion outline 21.5 x 16.5mm fancy mixed cut lemon quartz is set in a heavy ring of 18ct white and yellow gold within a continuous border of round modern brilliant cut diamonds. Gemologist’s report available. $2,000 - $3,000 see colour illustration p 111

A Two Row Necklace of Polished Emerald Beads.

Oval, graduated from the centre, 10 x 8 to 5 x 4mm, desirable rich green, strung on wire links to a 9ct yellow gold clasp. 540mm. $1,200 - $1,400

A Tennis Style Line Bracelet Set With Diamonds.

The line of articulated platinum links each set with a round modern brilliant cut diamond. TDW 2.00ct $2,000 - $2,500

The round modern brilliant cut diamonds assessed as M/O, SI2 are set in 14ct yellow gold. $1,750 - $2,000

A Very Stylish Pair of Crossover Creole Style Earrings Set With Black and White Diamonds.

Domed split row and cross-over design in 18ct white finished gold, two rows pavé set with white round modern brilliant cut diamonds, two set with black diamond brilliants. Gemologist’s report available. $4,750 - $5,750 see colour illustration p 111 175



An Attractive Pair of Drop Earrings Set With Diamonds.

Heart motif studs suspending an articulated fall of geometric motifs set with lines of baguette cut diamonds together with fancy yellow diamonds. 18ct yellow gold. TDW 3.79ct. Gemologist’s report available. $3,800 - $4,800 see colour illustration p 111



An Exquisite Art Deco Period Brooch Set With Diamonds and Pearls.


Demi-lune outline in white finished gold, enhanced with geometric ajouré, set with rows of half pearls and mixed old cut diamonds. Gemologist’s report available. $3,800 - $4,200 see colour illustration p 119 187


The band of 18ct white gold fully set with 24 end-set marquise cut diamonds of good quality, graduated from the centre diamond of approximately 0.57c TDW estimated 3.88ct. Gemmologist’s report available on request.


Not received in time for illustration


An Impressive Diamond Cluster Ring Centred By a Stone of Approximately 2.60ct

The central round modern brilliant cut diamond estimated as K/L VS2 is set in 18ct white and yellow gold within a border of round modern brilliant cut diamonds bisected by two baguette cut diamonds. TDW approximately 3.52ct. Gemologist’s report available on request. $15,000 - $18,000 see colour illustration p 109 189

A Ring Set with a Solitaire ‘D’ Coloured Diamond of 2.48ct.

The round modern brilliant cut diamond of a reported weight of 2.48ct , reported quality D, SI1, Excellent Make, is set in ring of platinum with two tapered baguette shoulder diamonds. Gemologist’s report available upon request. $34,000 - $38,000 see colour illustration p 119 190

A Bangle Set With A Row of 15 Diamonds of Total 4.55ct.

The round modern brilliant cut diamonds set in the upper section of a hinged bangle of 18ct white finished gold. Gemologist’s report available. $14,500 - $16,500 see colour illustration p 115


The round modern brilliant cut diamond described in HRD certificate 960129201 as F, VVS1, Very Good Make is set in an elegant hand-made ring of 18ct yellow gold and platinum. Gemologist’s report available. $45,000 - $55,000 see colour illustration p 119

A Ring Centred By A Diamond of 2.14ct.

The round modern brilliant cut diamond assessed as J, SI2, Very Good Make is set in a ring of 18ct white gold within a border of small brilliants, with further brilliants set in the split shank shoulders. TDW approximately 2.54ct. Gemologist’s report available. $12,500 - $15,000 see colour illustration p 119

A Ring Set With A Fine Quality Solitaire Diamond of 2.10ct.


A Large Pendant Set With Fancy Yellow and White Diamonds.

Freeform openwork baroque pendeloque outline set with sinuous lines of round modern brilliant cut diamonds together with 11 randomly set pear and oval cut fancy yellow diamonds. TDW 13.37ct. $9,500 - $10,500 see colour illustration p 109 192A A Bracelet of Fancy Yellow and White Diamonds.

Designed as a line of 18 cushion outline panels of 18ct yellow and white finished gold, each centred by a radiant cut fancy yellow diamond within 2 concentric borders of fancy yellow and white round modern brilliant cut diamonds, TDW 10.37ct. Gemologist’s report available. $14,000 - $16,000 Not received in time for illustration


An Important Solitaire Marquise Cut Diamond of 5.04ct Set in A Ring.

The diamond described in G.I.A. certificate 12312451 as colour F, clarity VS1, Very Good finish and Good Symmetry is set in a ring of platinum with two accent baguette cut shoulder diamonds of similar quality. A splendid ring of elegant proportions and a sound investment opportunity. Gemologist’s report available. $185,000 - $225,000 see colour illustration 194


A Good Late 19thC Butterfly Motif Brooch.

Silver/gold doublet (approximately 15ct) set with 54 old mine cut diamonds, three round cut white sapphires, a pearl and an emerald-cut emerald of good colour and estimated weight 1.71ct. TDW approximately 3ct. Gemologist’s report available. $5,000 - $6,000 see colour illustration p 119 A Ring Set With A Solitaire Diamond of Approximately 3.14ct.

The round modern brilliant cut diamond assessed as L/M, VS1 is set in a ring of platinum with four small single-cut diamonds at the shoulders. Gemologist’s report available. $18,500 - $22,500 see colour illustration p 119





189 196






The emerald-cut emerald of highly desirable vivid crème-de-menthe colour is set in a heavy contemporary style ring of 18ct yellow gold within an octagonal border of 20 small round brilliant cut diamonds of estimated TDW 0.46ct. Gemmologist’s report available on request.

$42,500-$47,500 Not received in time for illustration


A Magnificent Solitaire Princess Cut Diamond of 5.14ct.

The diamond described in G.I.A. report 17237000 as G, SI1, excellent make is set in a ring of 18ct white gold, the wide shoulders pavé set with 64 round modern brilliant cut diamonds of estimated total weight 1.00 ct. Gemologist’s report available. $115,000 - $125,000 see colour illustration p 119 197


A Bangle Set With Princess Cut Diamonds.

18ct white gold hinged design, the upper section close channel set with a line of 25 Princess cut diamonds having a TDW 2.64ct. Gemologist’s report available. $4,700 - $5,200 see colour illustration p 115 An Impressive Three Diamond Ring of Total 3.07ct.

The round modern brilliant cut diamonds assessed as 1.02/1.02/1.03ct, L, VS2/SI1 are set in a bridge of 18ct white and yellow gold. Gemologist’s report available. $12,500 - $15,000 see colour illustration p 115 200 A Pair of Five-Diamond Drop Earrings.

18ct white finished gold designed as a fall of five articulated circular cheniers with larger diamonds at the stud and finial and three matched smaller stones between. The round modern brilliant cut diamonds having a stated TDW 1.55ct. Gemologist’s report available. $3,500 - $4,500 see colour illustration p 121



An Unusual Floral Motif Brooch.

18ct yellow gold set with a cornelian agate panel below a floral surmount of carved red and angel-skin coral enhanced with small diamonds, pearls and semiprecious beads. $600 - $800 A Citrine and Diamond Cluster Ring.

The 12 x 10mm oval cut citrine set in a ring of 18ct yellow gold within a border of 14 round modern brilliant cut diamonds having a TDW approximately 1.4ct. $1,350 - $1,750

203 A Ruby and Diamond Cluster Dress Ring.

Oval outline in 18ct yellow gold, the flat bezel separated into two concentric rings by ajouré, set with two rows of senaille cut diamonds centred by a rub-over set oval cut ruby. Gemologist’s report available. $1,200 - $1,500

204 A Striking Pair of Diamond Drop Earrings.

Each designed as a circular diamond cluster stud suspending two concentric articulated pendeloque open drops set with lines of diamonds about an enclosed articulated fall of three Princess cut diamonds. 18ct white finished gold. TDW 2.12ct. Gemologist’s report available. $3,500 - $4,000 see colour illustration p 115

A Ring Set With A Solitaire Diamond of Approximately 2.00ct.

The round modern brilliant cut diamond assessed as L/M, SI1, Very Good Make is set in a ring of 18ct white gold, the shoulders each enhanced with a row of small channel set round modern brilliant cut diamonds, alternately pink and white. Gemologist’s report available. $12,500 - $15,000 see colour illustration p 109 198



A Stylish Three Stone Princess Cut Diamond Ring.

Centred by a diamond of 1.02ct assessed as G, VS2 with side stones of 0.30 and 0.33ct assessed as G/H SI1 in a mount of platinum. The `V’ support for the centre stone enhanced with small round modern brilliant cut diamonds. TDW 1.87ct. Gemologist’s report available. $6,500 - $8,500 see colour illustration p 121 205A A Bracelet Set With Rubies and Diamonds.

The line of 36 articulated links of 18ct white gold alternately set with an oval cut ruby or a quatrefoil of 4 small brilliant cut diamonds. Gemologist’s report available. $3,250 - $4,250 see colour illustration p 109

206 A Good Pair of Late 19th/Early 20th Century Diamond Drop Earrings.

Each set with a good quality (H/J, VS) early European cut diamond of around 1.25ct as an articulated drop suspended by a wire hook with hinged clasp set with a smaller diamond. Continental 14ct yellow gold, TDW approximately 3.15ct. Gemologist’s report available. $10,000 - $12,000 see colour illustration p 121


238 184 175 227




156 200






A Necklace of Faceted Ruby Beads and Diamonds.

Two rows of faceted ruby beads graduated to the clasp, enhanced with 18ct white gold roundels set with diamonds and supporting at mid-section an arced filigree 18ct white gold panel set with further diamonds. Gemologist’s report available. $3,000 - $4,000 208 MOVADO. A Circular Pendant Set With Diamonds on A Collier Necklace.

The open circular 18ct white gold pendant set with a continuous line of small round modern brilliant cut diamonds to a larger diamond of approximately 0.33ct is suspended by an 18ct white gold Omega link collier necklace also of 18ct white gold. TDW approximately 0.58ct. Gemologist’s report available. $2,500 - $3,000





A Pair of Solitaire Diamond Earstuds of 1.34ct Total.


An Exquisite French Flower Motif Brooch Decorated With Enamel.


18ct yellow gold foliate stem to a flowerhead of five hinged petals decorated with apricot enamel guilloche opening from a central cluster of 8 emerald tipped stamens en-tremblant. Stamped `Made in France’. $1,500 - $1,800 212


A Bracelet Pavé Set With Diamonds.

Designed as five arced rectangular panels with hinged joining links, 18ct white gold, all set with some 219 round modern brilliant cut diamonds having an estimated TDW 3.50ct. 40.3g. Gemologist’s report available. $5,000 - $6,000 A Ring Set With Baguette and Brilliant Cut Diamonds In A Two Row Grid.

The wide band of 18ct white finished gold set with 8 panels of close set baguette cut diamonds bordered and divided by rows of round modern brilliant cut diamonds. TDW 2.06ct. Gemologist’s report available. $2,750 - $3,250 see colour illustration p 115

A Good Cabochon Ruby and Diamond Cluster Ring.

Oval outline in 18ct yellow gold set with a fan of baguette cut diamonds to a central oval ruby cabochon estimated to weigh 3.5ct. The shoulders enhanced with a row of small round cut rubies. TDW approximately 4.20ct. Gemologist’s report available on request. $5,500 - $7,500 see colour illustration p 111

A Pair of Yellow Beryl and Diamond Drop Earrings.

Each designed as a small Creole hoop suspending by diamond set link an articulated pendeloque outline drop set with a large pendeloque cut yellow beryl within a pavé border of round modern brilliant cut diamonds. The beryls having a total weight of 13.2ct, the diamonds a total of 1.19ct. Gemologist’s report available. $3,500 - $4,500 see colour illustration p 109

The line of 50 articulated square links of 18ct rose gold each set with a square cut pink sapphire. Total sapphire weight stated 11.38ct (stamped). Gemologist’s report available. $2,000 - $2,500

The round modern brilliant cut diamonds of stated quality H, SI2/I1 are set in 18ct white finished gold. Gemologist’s report available. $4,500 - $5,000 see colour illustration p 109

A Ring Set with a Princess Cut Diamond of 1.07ct.

The elegant handmade band of 18ct white gold set with the Princess cut diamond, assessed as 1.072ct, G, SI1/ SI2, V.G make, together with four flush set baguette cut shoulder diamonds. Gemologist’s report available upon request. $5,250 - $6,250

209 A Tennis Style Line Bracelet Set With Pink Sapphires.


A Citrine and Four Diamond Dress Ring.

The oval cut citrine of 21.85ct is set in a heavy ring of 18ct yellow gold of contemporary design, the four substantial claws each set with a round modern brilliant cut diamond in a white gold tip. 23.65g. Gemologist’s report available. $850 - $1,250


A Bangle Pavé Set With Over 9ct of Diamonds.

The wide hinged bangle of 18ct white finished gold having an upper section pavé set with some 259 diamonds having a TDW 9.29ct. Gemologist’s report available. $9,750 - $10,750 see colour illustration p 107



PASQUALI BRUNI, A Fiori Ring Set with Diamonds.

Designed as five flowerhead 7 diamond clusters joined by articulated bar links each set with two diamonds. The diamonds all round modern brilliant cut. Signed P.B. with original draw-string bag. Gemologist’s report available. $2,700 - $3,700

A Striking Cocktail Ring Set With Baguette and Brilliant Cut Diamonds.

Concave double domed fan design in 18ct white finished gold set with arced lines of round modern brilliant cut diamonds and close channel set baguettes to suit the design. TDW 4.38ct. Gemologist’s report available. $4,750 - $5,750 see colour illustration p 121 221






The band of 18ct white gold close channel set with a row of seven Princess cut diamonds having a TDW 1.01ct. Brand new clearance stock. Gemologist’s report available upon request. Note: See also previous lot. $2,250 - $2,750 227


A Diamond Cluster Line Bracelet.

The articulated line of 28 circular flowerhead links of 18ct white finished gold each set with 11 round modern brilliant cut diamonds centred by a larger stone. TDW 7.13ct. Gemologist’s report available. $9,750 - $11,750 see colour illustration p 115 A Pair of Pearl and Diamond Cluster Earstuds.


14ct yellow gold, each centred by a 6.5mm white pearl surrounded by 10 round modern brilliant cut diamonds. $400 - $600 A Pearl and Diamond Pendant/Enhancer

Three tiered design in 9ct white gold centred by a round modern brilliant cut diamond of approximately 0.44ct within two borders of diamonds estimated to weigh approximately 1.00ct. TDW 1.44ct. Gemologist’s report available. $1,700 - $2,000



An Eternity Style Bridge Ring Set with a Row of Princess Cut Diamonds

The band of 18ct white gold close channel set with a row of seven Princess cut diamonds having a TDW 1.05ct. Brand new clearance stock. Gemologist’s report available upon request. Note: this lot is sold with the right to take the following lot at the same price as this lot. $2,250 - $2,750

A Ring Set With Opals and Diamonds.

Unusual transverse bridge design in 18ct yellow gold set with three oval opal cabochons graduated from the centre separated by two rows of three old cut diamonds. $1,250 - $1,500 see colour illustration p 121 A Pink Sapphire and Diamond Ring.

The oval cut Sri Lankan pink sapphire of stated weight 1.82ct is set in 18ct white gold on a fully set band of diamonds, the round modern brilliant cut diamonds of stated total weight 1.41ct and quality F, VS. Gemologist’s report available. $3,850 - $4,850 see colour illustration p 111 A Ruby, Sapphire and Diamond Convertible `Flip’ Ring.

The central band of 18ct yellow gold fully channel set, one half with square cut blue sapphires and the other with square cut rubies. Hinged half hoops on either side set with round modern brilliant cut diamonds allow conversion from one combination to another. Gemologist’s report available. $1,500 - $2,000

The slightly ovoid 15-16mm white pearl with a pavé diamond cupola and hinged bale, 18ct yellow gold. $800 - $900 An Oval Diamond Cluster Ring

An Eternity Style Bridge Ring Set with a Row of Princess Cut Diamonds

A Double Circlet Diamond Pendant on Chain.

Two concentric circles of 18ct white gold fully set with round modern brilliant cut diamonds, the inner circle articulated. Suspended by a belcher link necklace also of 18ct white gold. Gemologist’s report available. $1,250 - $1,500 A Ring Set With A Solitaire Diamond of Approximately 0.75ct.

The round modern brilliant cut diamond assessed as I/J, I1 Good Make is set in a ring of 18ct white and yellow gold. Gemologist’s report available. $1,500 - $2,000 232

A Bar Brooch Set With Diamonds.

Gold/silver doublet with 8 chenier set transitional brilliant diamonds amongst foliate motifs set with old single-cut diamonds. TDW approximately 1ct. $1,000 - $1,200




A Tennis Style Line Bracelet Set With Diamonds.

The line of 43 articulated 18ct yellow gold links each rub-over set with a round modern brilliant cut diamond of good commercial quality and estimated TDW 1.50ct. Gemologist’s report available. $2,250 - $2,750 A Bridge Ring Set With Three Old Mine Cut Diamonds.

The diamonds graduated from the centre stone of approximately 0.60ct with side stones of approximately 0.32ct each (TDW approximately 1.25ct) of very good quality for the period, are set in a bridge of 18ct yellow gold. Gemologist’s report available. $1,850 - $2,250 see colour illustration p 111 235

PASQUALE BRUNI. A Cross Pendant Set With Blue Topaz.

The Latin cross formed from 6 articulated square panels, each pavé set with round cut blue topaz. Suspended by a fine trace chain with heart shaped signature plate and drop. With Pasquale Bruni pouch. $2,000 - $2,500 237

A Pair of Creole Earrings Pavé Set With Diamonds.

Hinged design, the leading domed surfaces pavé set with 1.02ct of round modern brilliant cut diamonds. 18ct white finished gold. Gemologist’s report available. $1,400 - $1,800 see colour illustration p 115 238

A Late Victorian/Edwardian Jewelled Heart Motif Pendant.

Openwork heart outline in gold/silver doublet about a trefoil clover leaf, set with rubies, old cut diamonds and sapphires to suit the design, and centred by a pearl. Folding catch for brooch pin (designed to be removable and no longer present). Further diamonds set to bale. $1,200 - $1,500 see colour illustration p 121


A Seventeen Diamond Cluster Ring.

Circular outline in 18ct white gold, domed tiered design, centred by the largest stone set within a border of small stones to an outer border of larger stones. The diamonds all round modern brilliant cut. Gemologist’s report available upon request. $2,400 - $3,200 see colour illustration p 109

240 An Attractive Ring Set With A Cluster of 9 Rose Cut Diamonds.

The slightly oval outline cluster centred by the largest stone set in 18ct yellow gold, enhanced with bead-work. $600 - $800


A Necklace of Platinum and 18ct Yellow Gold Set With Two Diamonds.

Long platinum bar links with 18ct yellow gold joiners, the rub-over box set Princess cut diamond at midsection suspending a two link drop to a larger similarly set Princess cut diamond finial. The diamonds, assessed as F, SI1 having a TDW 0.99ct. With original box and two spare platinum links. Total weight 21.8g. Gemologist’s report available. $2,750 - $3,750 236



A Ruby and Diamond Cluster Ring.

The oval cut ruby of approximately 1.25ct of good colour and clarity is set in a ring of 18ct white and yellow gold within a border of 10 round modern brilliant cut diamonds. Gemologist’s report available. $750 - $1,000 A Ring Set With A Black South Seas Cultured Pearl and Diamonds.

The 12.7mm round cultured medium grey/black pearl set in a ring of 18ct white gold enhanced with ajouré separating bands of diamond brilliants, 70 in all with an estimated TDW 1.05ct. Gemologist’s report available. $1,500 - $2,500 see colour illustration p 111




ANTIQUES & MODERN DESIGN THURS 11 AUGUST 6:00PM PLEASE NOTE ALL LOTS ILLUSTRATED ONLINE AT WEBBS.CO.NZ Absentee and phone bids must be registered before 12:00pm on Thursday 2 June This sale will be preceded by an uncatalogued Collectables sale at 4:00pm, also fully illustrated online at

604 A Spectacular Napoleon III Ormolu and Patinated Bronze Mantel Clock by Deniere, Paris. $44,000 - $48,000

Viewing Wed 3 August

Evening Preview 5:30pm - 7:30pm

Thu 4 August

9:00am – 5:30pm

Fri 5 August

9:00am – 5:30pm

Sat 6 August

11:00am – 3:00pm

Sun 7 August

11:00am – 3:00pm

Mon 8 August

9:00am – 5:30pm

Tue 9 August

9:00am – 5:30pm

Wed 10 August

9:00am – 5:30pm

Thu 11 August

9:00am – 12 noon

BUYER’S PREMIUM A buyer’s premium of 15% will be charged on all items in this Antiques and Modern Design sale. GST (15%) is payable on the buyer’s premium only.

300 A GROUP OF FAMILY MEDALS INCLUDING AN IMPORTANT WWI DISTINGUISHED FLYING CROSS AWARDED TO NEW ZEALANDER SAMUEL DAWSON $6,000 - $10,000 The awards and memorabilia of Lieutenant Samuel Dawson, DFC, RNAS & RAF, and his two brothers. (1) Distinguished Flying Cross, undated and unnamed, as issued, in John Pinches Ltd (Medallist, London, 21 Albert Embankment) case of issue. Base of case bearing label with recipient’s name, date of death, 17.9.1919, and name and address of next-of-kin, his father. With piece of original DFC ribbon. DFC Citation, London Gazette, 20 September 1918: “Lieutenant Samuel Dawson (Sea Patrol) was engaged in a long distance bombing raid on an enemy aircraft station under very difficult circumstances and carried out a successful attack from a low height in face of severe enemy fire.” (2) British War Medal 1914-18, named LIEUT S DAWSON, RAF. (3) Victory Medal 1919, named LIEUT S DAWSON, RAF. With letter from Air Ministry, London, 16 May 1922, forwarding the two service medals to his father. (4) Memorial Plaque 1914-18. Together with further material relating to Samuel Dawson and his brothers. Lieutenant Samuel Dawson was one of four sons born to Robert and Rubina Dawson of Masterton. He was born at Mauriceville on 25 January 1894. He was a clerk with the Post and Telegraph Department and served at Wellington, Dargaville, Waihi and Paeroa. On the outbreak of war he volunteered but was turned down. Eighteen months later he was accepted and commenced training, only to be discharged on medical grounds three weeks later. In 1916 he went to Australia, where he learnt wireless telegraphy before joining the Australian Navy, serving mainly in the Mediterranean. In June 1917 he signed off in England and a short time afterwards was appointed a probationary flight officer in the RNAS. After training and receiving his pilot’s badge in January 1918, he was posted to the fleet. While on HMS


‘Furious’ he took part in the operation to Tondern, the first successful aircraft carrier strike in history. A full account of this bombing raid, for which Dawson was awarded the DFC, his subsequent apprehension in neutral Denmark, and his escape through neutral Sweden and Norway back to Scotland, was reported from London on 26 September 1918, and published in the Evening Post, Wellington, on 13 December 1918: … it was Lieutenant Dawson’s one and only bombing expedition to date. On 19th July he was one of a flight of bombers who rose from a British squadron off the coast of Schleswig to attack a German airship station well inland. The day was not very clear, and it was some time before they found their objective or before the objective disclosed itself by a lively barrage. The British airmen then dropped rapidly from six thousand to three or four hundred feet, and dropped their eggs on the objective. Lieutenant Dawson’s machine was riddled by shrapnel but not damaged in any vital part. Unfortunately, however, he and one or two others were short of petrol, and they were compelled to make a landing in a lonely part of Denmark. Lieutenant Dawson himself was within ten minutes’ flight of the rendezvous when his petrol gave out. In spite of a tire puncture by shrapnel he made a safe landing and at once skirmished about in the hope of buying some petrol. The only village near was a fishing community, which, of course, did not stock the commodity, so he got in touch with the British Consul, who promised to send him some spirit. After waiting for some time in the hope of it arriving, he proceeded to a lighthouse and got a suit of civilian clothes in exchange for his uniform, and then, after a walk and cycle ride of from fifteen to twenty miles, got to the railway to proceed to Esbjerg (north-west coast of Denmark). The Consul left the train during the journey, and police, who had been watching for the missing airman, immediately came up and arrested Lieutenant Dawson. He was taken to a hotel in Esbjerg, where he found two of his fellow airmen, who had also been compelled to land, and they were kept under close surveillance. They had all made up their minds to escape if possible, and Lieutenant Dawson took an early opportunity of snatching one

of the detective’s hats and simply walking out of the hotel. Being unable to speak a word of Danish he said as little as possible, and soon found himself on the train for Copenhagen. On the ferry boat from Nyborg to Korsor (Denmark) he travelled for three hours within arm’s length of a detective without being discovered. During most of the time he rendered himself inconspicuous by pretending to read a Danish newspaper. After spending three days in Copenhagen he cycled out of the city and embarked in a sailing boat with a single companion, a Dane. On the voyage across to Sweden they passed within call of a German trawler. Landing on a quiet part of the coast Lieutenant Dawson followed his instructions and reached a small town where an Englishman gave him welcome advice, which enabled him to get to Gothenburg. Here he remained five days waiting for a passport, and then travelled overland to Christiania [Oslo], the capital of Norway, and then embarked from a Norwegian port. He arrived in Scotland on 5th August, a little over a fortnight from the date of the raid. While stationed on HMS ‘Vindictive’, a cruiser-carrier, he failed to return from a flight, and later it was ascertained he had been killed on 17 September 1919 (aged 25). He was buried in the Koivisto General Cemetery in Finland. His name appears on the Archangel Memorial of the Russian Federation and on the Brookwood (Russia) Memorial at Woking, Surrey, England. “In the Russian campaign of 1919… Lieutenant Samuel Dawson, in July 1918 a participant in the first carrier-launched air strike, was lost flying from HMS ‘Vindictive’ and became New Zealand’s last air force death of the 1914-19 fighting.” (Errol Martyn writing in the ‘Oxford Companion to New Zealand Military History’, page 8.) Samuel Dawson was one of very few New Zealanders to be awarded the DFC during the Great War, possibly the second, after the Dunedin born H G Watson of the Australian Flying Corps. Information prepared by Phillip O’Shea, CNZM, LVO, New Zealand Herald of Arms, with assistance from Errol Martyn. For further information contact Brian Wood: +64 9 529 5609.


MISCELLANY 301 A 19th Century Royal Artillery Sabretache with bullion embroidered Royal Arms, oak leaves, motto, and gilt brass cannon, with hanging straps. Some fading. H350 $800 - $1,000 302 A 19th Century Officer’s Dress Sword with shagreen grip and basket hand guard. Age related wear. L1070 $150 -$250 303 A 19th Century German Dress Sword with shagreen grip, basket hand guard and etched blade. Leather scabbard, maker W.R. Kirschbaum - Solingen. L1050 $500 - $700

304 A J.D. Dougall Twelve Bore Shotgun with side by side barrel and patent ‘lock fast’ mechanism. Foliate etched stock and barrel. Serial 2866. Original leather case. Faults and wear. $700 - $900 305 An Elkington Roman Foot Candlestick with a copper Roman sandled foot, brass rope handle and acanthus holder. H45 L130 $50 - $80 306 A Brass Quill/Pen Holder with hinged lid and attached inkwell. Decorated with Middle Eastern designs. L230 $50 - $80 307 An Early 19th Century Brass Adam’s Transit Theodolite signed ‘Adam’s, London’. With telescope, bubble levels and compass, mounted on a wood base. Brass tarnished. H415 $400 - $600

308 A Victorian Pocket Barometer with a brass case and moving outer ring. Maker F.L. West, London. D50 $80 - $120 309 A Miniature Brass Anchor stamped ‘Lloyd Triestino’. L155 $150 - $220 310 A Pair of Modern Brass Port and Starboard Ship’s Lamps with Dutch labels. H360 $180 - $220 311 A John E. Hand Gimbal Compass Made in U.S.A. Circa 1950. H160 W160 D160 $200 - $300 312 A Cased H. Hughes & Sons Sextant London 1940’s. $700 - $900 313 A WWII German Sextant with certificate of examination dated 1968. Name ‘Plath’ of 6’’ radius and reading to 1/2’. $600 - $900 314 A Wooden Propeller with metal mount and tips. W2250 $300 - $500


315 A Full Mount Taxidermy Baboon H800 L1000 D500 $4,000 - $6,000




316 A Taxidermy Thirteen Point Shoulder Mount Red Deer H1420 D770 $1,200 - $1,800


317 A Full Mount Male Taxidermy Bush Buck H1330 L1200 $3,000 - $5,000 318 A Zebra Skin with canvas backing. L2300 $1,200 - $1,800 319 A Victorian Ivory Case the front cover deeply carved with crest, wreath and bow. Hinged case opens to lined interior. H23 W150 D75 $200 - $400 320 An Antique Whalebone Cribbage Board L300 $80 - $120 321 A Pair of Painted Oyster Shells with landscape scenes and dated 1891. Paint loss. L200 $100 - $200

325 A Pair of Victorian Candlesnuffers scissors with spring loaded cutting blade. L180 $50 - $80 326 A Pair of Antique Eye Glasses with folding lenses and brass rims. $100 - $180 327 A Victorian Bamboo Walking Stick with Sterling handle which opens to reveal a pipe compartment. ‘J.B.’ London 1887. L940 $250 - $350 328 A Walnut Cased German Polyphon Music Box marked Musterschutz, No 17474. Four discs. H100 W190 D190 $800 - $1,200

329 A Pair of Villeroy & Boch Crystal Candlesticks each with five branches. H260 $150 - $300 330 Eight Waterford Cut Crystal Wine Glasses one base has a different pattern. H190 $400 - $600 331 A Ruth Castle Woven Basket of circular form with interlaced cane weaving. D390 $80 - $120 332 A Ruth Castle Woven Basket of circular form with interlaced cane weaving. D390 $80 - $120

322 A Brass Half Gill Measuring Cup stamped E.J. Rose and Co. H65 $50 - $80 323 A Good Quality Dressing Case the burgundy cloth bound case with leather handle. Age related wear. H140 W660 D550 $80 - $120 324 A Green Frosted Glass Dressing Set with a tray, three lidded boxes and two candlesticks all butterfly shapes. $100 - $200






333 An Early New Zealand Railway’s Jigger from the Whanganui area. 19th Century with considerable restoration. $400 - $600 334 Three Old N.Z. Railway’s Copper and Brass Gauges with a screw coupling. $80 - $120 335 Two Old N.Z. Railway’s Signs enamel ‘Warden’ and painted wood ‘Emergency’ signal. 336 A N.Z. Railway’s Sheffield Silver Plated Teapot and suger basin. $20 - $40 337 An Old N.Z. Railway’s Ink Stamp with wood handle, ‘C. Kavanagh, Post Office and General Store’. $20 - $40









338 An Old N.Z. Railway’s Copper Boiler with a small NZR fuel can. $20 - $40

343 Two Old N.Z.Railway’s Enamel Signs carriage ‘No Smoking’ signs. W150 $10 - $20

339 Three Old N.Z. Railway’s Tiles of hexagonal shape, red and yellow tiles. NZR in the centre of a four lobed cartouche in low relief. AF. W155 $30 - $60

344 An Old N.Z. Railway’s Locomotive Plate the circular cast iron plate number ‘2’. The number and border in relief, faded red and yellow. D260 $50 - $100

340 Three Old N.Z. Railway’s Tiles W155 $30 - $60 341 Three Old N.Z. Railway’s Tiles W155 $30 - $60 342 Seven Old N.Z. Railway’s Enamel Signs carriage ‘Smoking’ signs. W150 $30 - $60

345 A Small Old N.Z. Railway’s Locomotive Plate the circular cast iron plate letter ‘Z’ over ‘10’. W260 $50 - $100 346 An Assortment of N.Z. Railway’s Enamel Plaques three x 189, two 110, two 115, three 112, two 76, one 99. W75 $50 - $100

CERAMICS 347 An Early Crown Lynn Earthenware Vase with brown glaze and incised banding. Tiki mark to base. H110 D80 $100 - $200 348 An Early Crown Lynn/ Ambrico Red Glaze Bowl of large circular form, tapering at the base. Incised linear decoration to the rim. Finished with a mottled red glaze. D210 $100 - $200 349 A Crown Lynn Wharetana Koruru Tray with brown border and green tray. W195 D140 $400 - $600 350 A Pair of Crown Lynn Wharetana Moko Bookends in green glaze. One face with manufacturing chip to upper corner (under the glaze). H150 $2,000 - $2,800 351 A Rare Crown Lynn ‘Legend of Maui’ Platter designed by David Jenkin for Expo ‘70. W300 D188 $300 - $500 352 A Rare Crown Lynn ‘Legend of Maui’ Platter W300 D188 $300 - $500 353 A Crown Lynn Trickle Glaze Pig H800 W95 $100 - $200 354 A Crown Lynn Green Air New Zealand Mug H90 $50 - $80



355 A Len Castle Flared Red Bowl earthenware, lava red glaze. H135 D400 $1,600 - $2,000 356 A Len Castle Stoneware Dish of square form with raised corners and light grey glaze. Circa 1976. Minor nibbles to edge. H40 W170 D165 $100 - $200 357 A Len Castle Lipped Red Bowl earthenware, lava red glaze. H75 D250 $800 - $1,200 358 A Stunning Len Castle Blossom Vase the large press moulded pot with an opalescent blue Jun glaze applied over a Tenmoku glaze. Impressed cipher, circa 1980. H545 W500 D280 $5,000 - $7,000 359 A Large Graeme Storm Vase of baluster form in blue and green glaze. H450 D400 $200 - $400 360 A Large Greg Barron Blossom Vase of large ovoid form with tapering neck and mottled dark red glaze. H560 D600 $200 - $400 361 A Christine Thacker Ceramic Vase of ovoid form, matt teal and pink glaze with interspersed nodules. H200 D180 $100 - $200




362 Four Chester Nealie Vases $150 - $250 363 A Robin Welch Ceramic Studio Bowl the earthenware cone shape bowl tapering to an elongated stem. Purchased at the Fletcher Brownbuilt Awards 1983. H155 D145 $100 - $200 364 A Charles Holmes Earthenware Vase the cylindrical vase with turned bands, pinched sides and matt glaze. H165 W100 $80 - $120 365 A Susanne Nicholson ‘Spirited Horse’ Earthenware Sculpture the horse of stylised ancient Chinese form with polychrome glazes. Chip to the saddle lid. H390 W380 D250 $1,200 - $1,800 366 A Pilkington’s Lancastrian Vase of bottle vase form with lustre floral decoration by W.S. Mycock. H220 $800 - $1,000 367 A Moorcroft Pomegranate Candlestick green signature and stamp to base. H210 $250 - $450 368 A Moorcroft Pomegranate Honey Pot of circular form with a sterling silver lid. Spoon missing. Stamped ‘Moorcroft 162’ to base. H100 D80 $200 - $400

369 A Royal Worcester Blue Sabrina Vase the small baluster shaped vase with carp decoration, 1926. Slight wear to rim. H78 D75 $200 - $300

373 A Unusal Glaze Royal Doulton Flambe Vase of tapering ovoid form with a chevron patterned ground and unusual blue/black, green and yellow glaze. H160 D70 $200 - $400

377 A Large Belleek Porcelain Shell Bowl set on porcelain coral. Ivory finish with gilded edges. Green mark. H200 W260 D170 $400 - $600

370 A Royal Worcester Autumn Fruit Vase the ovoid vase decorated with apples and blackberries, signed Ricketts, 1924. H130 D90 $400 - $600

374 A Royal Doulton Flambe Veined Vase of ovoid form with slender neck. The base with mottled blue and yellow glaze moving to swirling red on the neck. H210 D95 $200 - $400

378 A Parian Figure of the Duke of Wellington stamped to base ‘Alfred Crowquill Designavit. C. Abbot Sculpsit’. Minor faults. H300 $350 - $500

371 A Crown Devon Fieldings ‘Cook’s Landing’ Jug with Kangaroo handle and painted relief pattern decoration. Australian anthem to front. Music box missing. H210 $100 - $200 372 A Royal Doulton Lidded Tobacco Jar brown glazed circular pottery jar with relief Monk pattern. Sterling Silver rim and lid. H145 D105 $250 - 4350

375 A Large Royal Doulton Flambe Woodcot Vase the elongated ovoid body with red glaze ground and deer landscape scene. H295 D125 $200 - $400 376 A Royal Doulton Owl Vase the tall ovoid vase with hand painted relief figure owls and flowers. Minor faults. H245 D120 $250 - $350

379 A Rare Carltonware Chinoiserie Vase the ‘Chinaland’ dragon vase with two panels of dragons amid clouds on a red and black ground. Impressed 217 mark and number 938. H260 $900 - $1,200 380 An E. Radford Vase of ovoid form with painted flowers H180 D120 $50 - $100 381 An E. Radford Cylindrical Vase with painted anemones. H158 D115 $50 - $100 382 An E. Radford Burslem Vase of ovoid form, blue ground and painted flowers. H125 D110 $50 - $100 383 An E. Radford Burslem Vase of ovoid form, yellow ground and painted hydrangeas. H125 D115 $50 - $100 384 An E. Radford Burslem Vase of ovoid form with yellow ground and painted anemones. H130 D135 $50 - $100



385 An E. Radford Burslem Vase tapering at base and rim with painted flowers. H180 D120 $50 - $100

386 An E. Radford Burslem Vase of ovoid form, yellow ground and painted pansies. H125 D140 $50 - $100

395 An E. Radford Wall Vase the slip cast vase decorated with butterfly and flowers. H230 $50 - $100

387 An E. Radford Burslem Cylindrical Vase with yellow ground and painted trees. H105 D70 $50 - $100

396 A Clarice Cliff Bizarre Honey Pot the Newport potteries beehive honey pot with Orange Erin pattern. Restored and hairline crack to lid, no spoon. H100 $250 - $300

397 A Clarice Cliff Moderne Egg Cup Set the Wilkinson potteries figural duck plate with four cups in Odette pattern. Two cups with nibbled rims. H130 $300 - $400

388 An E. Radford Handcraft Ware Lidded Jar of cylindrical form with painted irises H85 D125 $50 - $100 389 An E. Radford Vase of tapered form, painted with grape leaves. H110 D100 $50 - $100








390 An E. Radford Burslem Plate with yellow ground and painted trees. D228 $50 - $100 391 An E. Radford Burslem Candlestick with yellow ground, painted poppies and foxgloves. H95 $50 - $100 392 An E. Radford Burslem Vase of baluster form with painted flowers H125 D110 $50 - $100









393 An E. Radford Vase of tulip form with painted flowers. H140 D80 $50 - $100 394 A Pair of E. Radford Squat Candlesticks with painted flowers. H40 $50 - $100






398 A Poole Pottery Truda Adams Charger decorated with the Persian deer pattern, painted by Anne Hatchard. Signed. Some crazing to surface. H70 D380 $1,200 - $1,500 399 A Poole Delphis Leaf Shaped Dish with red ground and abstract pattern. Signed ‘M’. L305 $50 - $100 400 A Poole Plate with blue ground and abstract pattern. D205 $50 - $100 401 A Poole Delphis Leaf Shaped Dish with yellow ground and leaf patterns. Signed ‘R’. L305 $50 - $100 402 A Poole Studio Plate with orange ground and abstract pattern. Signed. D205 $200 - $300 403 A Poole Delphis Leaf Shaped Dish with orange ground and abstract floral pattern. Signed Julia Wills. L305 $50 - $100 404 A Large Poole Delphic Bowl orange ground with abstract pattern. H95 D345 $350 - $450 405 A Poole Pottery Advertising Platter hand painted with abstract pattern and ‘Poole Pottery’. Circa 1960. W360 D275 $300 - $500 406 A Large Poole Delphis Charger green ground with abstract pattern. Possibly Cynthia Bennet. D350 $150 - $250


407 A Small Poole Pottery Vase of ovoid form and painted flowers. H82 D105 $50 - $100 408 A Small Poole Stem Vase of ovoid form plain white slip glaze. H145 D75 $50 - $100 409 A Poole Lidded Box of rectangular form and painted flowers. H55 W110 D87 $50 - $100 410 A Poole Vase of ovoid form and painted leaves, mauve interior. H155 D95 $50 - $100 411 A Poole Honey Pot of square form with lid and honey bee handle. Spoon missing. H120 W125 D125 $150 - $220 412 A Large Poole Aegean Charger brown ground and swirl pattern. D350 $150 - $250 413 A Large Poole Delphis Charger with orange ground and abstract floral pattern. Signed AF. D350 $150 - $250 414 A Poole Delphis Boat Shaped Dish with green ground and floral design. L435 $50 - $100 415 A Poole Delphis Boat Shaped Dish with yellow ground and abstract pattern. Signed Carole Cutler. L435 $50 - $100

416 A Poole Delphis Boat Shaped Dish with red ground and abstract pattern. L435 $50 - $100 417 A Poole Delphis Bowl with orange ground and abstract pattern. Signed. D265 $50 - $100 418 A Poole Delphis Bowl with red ground and abstract pattern. Signed. D265 $50 - $100 419 A Poole Delphis Bowl with red ground and abstract pattern. Signed Gillian Taylor. D265 $50 - $100 420 A Poole Aegean Bowl with brown ground and boat scene. Signed. D265 $50 - $100 421 A Poole Aegean Bowl with brown ground and abstract pattern. Signed. D265 $50 - $100 422 A Poole Studio Plate with teal ground and abstract pattern D205 $200 - $300 423 Two Small Poole Dishes both signed. D125 $50 - $100 424 A Poole Cat Figurine white glaze with hand-painted flower decoration. H170 $200 - $300 425 A Poole Six Place Dinner Sevice in grey and yellow. $150 - $300

426 A Poole Six Place Dinner Sevice in grey pebble pattern. $200 - $400 427 A Homemaker Dinner Service six dinner plates, five entree plates, eight side plates, one bowl, six small bowls, three saucers and six cups. $500 - $700 428 A Tall Vintage Amphora Vase with applied and impressed patterns on a blue ground. H425 D150 $100 - $180 429 A Tall Vintage Amphora Ewer with applied and impressed patterns on a taupe ground. H445 D150 $80 - $120 430 An Amphora Vase of ovoid form with bouquet decoration. Chips to base. H360 D180 $100 - $150 431 An Amphora Triple Handled Vase the handles in the form of birds beaks. H210 D150 $50 - $100


SILVER 432 A Georgian Silver Cruet Set on an oval tray with four pad feet and central handle. All vessels cut crystal with silver handles or pourers and crystal stoppers. Solomon Hougham, London 1803-4. H230 W230 D170 $1,000 - $1,500 433 A Pair of Georgian Silver Berry Spoons one spoon William Eley, London. The other London,1804. Marks rubbed. L215 $250 - $400 434 A Georgian Silver Sifter Spoon the shaped and pierced bowl embossed with fruit decoration including pineapple. W.S. London 1784. L180 $200 - $400 435 A Pair of Continental Silver Berry Spoons the shaped and pierced bowls embossed with fruit decoration including pineapple. L202 $200 - $300 436 Three Georgian Old English Silver Table Spoons with bird and initials engraving to handle. Thomas Wallisor Fuller White, London 1801. Stephen Adams, London 1802,1803. L220 $200 - $250


437 A Pair of Georgian Fiddle Pattern Table Spoons initialed AB to handle. Lias Bros, London 1825. L220 $250 - $300 438 A Victorian Silver Pepper Pot of cylindrical form with shaped gadroon sides and lid. Harison Bros. Sheffield 1889. H85 D48 $80 - $100 439 An Edwardian Silver Lidded Mustard Pot of cylindrical form , geometrical pierced sides, scroll handle and flip top lid. Original liner missing. Haseler Bros, Chester 1909 H45 D45 $50 - $80 440 An Edwardian Silver Inkstand pierced boat shape with gadrooned border and four hoof feet. Two cut crystal bottles. Birmingham 1905. L190 $400 - $600 441 A Scottish Georgian Silver Tea Set including teapot, sugar and creamer. In Regency style with chased bright cut decoration and gilt interior. Alexander Spence, Edinburgh 1812. Repair to creamer handle. $1,800 - $2,200 442 Victorian Fish Slice and Fork both utensils pierced and engraved with floral designs. Fluted mother of pearl handles. William Hutton, Sheffield 1889. L310 $400 - $600 479







443 A Good Silver Serving Tray the two handled oval tray with repeating leaf border. Birmingham 1928. 1.36kg. L487 $1,200 - $1,800 444 A Late Victorian Silver Toastrack J. M. Banks, Chester 1898. 98g. H95 W90 $100 - $200 445 A Cased Silver Butter Dish the circular dish with pierced sides, two handles and glass liner. William Devenport, Birmingham 1899. Together with a silver knife, Sheffield 1897. H40 W115 $100 - $200 446 A Silver Trinket Box circular box, hinged lid with repousse decorated rim and tripod footed base. E.S. Barnsley, Birmingham 1936. H35 D67 $100 - $200 447 A Silver Mustard Pot the narrow unadorned oval pot with hinged lid and green glass liner. Mappin & Webb, Sheffield 1892. H65 $200 - $300 448 A Cased Napkin Ring well worked with pierced floral decoration. Birmingham 1890’s. $80 - $120 449 A Silver Cruet Set a mustard pot, pepper and salt dish with glass liners. Unmarked. $250 - $350 450 A Silver Tea Strainer and Basin Birmingham 1960’s. $150.00 451 A Silver and Blue Glass Salt Dish of boat shape form, with original liner. H50 $180 - $220


452 A Cased Set of Victorian Silver Teaspoons twelve spoons with tongs. Rat tail handles with snake etching. Charles Boyton, London 1884. $120 - $220 453 An Impressive George II Silver Salver with piecrust decorated edge. Engraved with period lion cartouche. Maker Richard Gurney and Co. London 1753. Minor split to edge and foot. Weight 1.77kgs. H45 D410 $4,000 - $6,000 454 A Fine George II Silver Coffee Pot of typical elongated baluster shape on a ring foot base. Fruitwood scroll handle and artichoke finial surmounts a hinged lid. London 1752. Maker’s mark rubbed. 930g. H265 $2,500 - $4,000 455 A Fine Georgian Silver Tea Caddy the shaped oval caddy with chased floral decoration. The hinged lid with pineapple finial. Lock with key. Thomas Daniell, London 1786. 348g. H140 W135 $1,200 - $1,800 456 A Pair of Silver Candlesticks hexagonal columns on octagonal bases with urn shaped holders. Britton & Gould, Birmingham 1934. 395g. H250 $400 - $600 457 A Georgian Silver Serving Spoon fiddle pattern handle, William Bateman, London 1835. 118g. L290 $500 - $800 458 An Early Georgian Silver Serving Spoon rat tail handle, marks indistinct. London possibly 1725. 110g. L300 $500 - $800

459 A Georgian Silver Serving Spoon fiddle pattern handle, London 1820. 145g. L305 $500 - $800 460 A Georgian Silver Serving Spoon old English handle. Thomas Ellis, London 1785. 96g. L310 $500 - $800 461 A Georgian Silver Serving Spoon old English handle. John Robertson & Walton, Newcastle possibly 1787. 130g. L320 $500 - $800 462 A Large Georgian Silver Ladle old English handle. Sam. Godbehere & Ed. Wigan, London 1788. 145g. L335 $600 - $900 463 A Georgian Silver Serving Fork Fiddle thread pattern, cut down from spoon. William Eley and Fearn, London 1805. 149g. L285 $400 - $600 464 A Silver Sugar Castor Nathan & Hayes, Chester 1912. H185 $200 - $280 465 A Silver Bon Bon Dish the sides shaped and pierced with flower and ribbon decoation, swing handle. William Devenport, Birmingham 1901. H95 W145 $150 - $200 466 A Walker and Hall Silver Milk Jug Sheffield 1919. H85 W140 $100 - $150

467 A Victorian Cased Cutlery Set with horn handles, silver mounts and steel blades. Two x carving knives and forks, steel, brightcut serving slice and fork. S.B. & H.B. Sheffield 1891. Case damaged. $250 - $450

454 456 455

468 A Four Piece Silver Tea Service with teapot, hot water jug, sugar and creamer. Simple unadorned shaped body with reeded rim and bakelite handle. S. Blanckensee & Sons, Chester 1935-40. $1,200 - $1,600 469 A Walker and Hall Silver Plate Smokers Companion with a central parrafin urn and two attached lighters with flame finial handles. H170 D100 $100 - $200 470 A Highly Decorative Victorian Silver Plate Tea Service the sheffield silver set includes tray, teapot, tea kettle, coffee pot, sugar and creamer. All pieces lobed with floral decoration. $400 - $600 471 An Interesting Indian Silver Dish the sides pushed in to create three lobes decorated with palms wild animals and fish. H70 W145 $100 - $150 472 A Chinese Silver Finger Bowl the plain footed bowl with chased calligraphy and floral design. Stamped to base with Chinese characters. H50 D100 $150 - $250 473 A Chinese Silver Export Hand Mirror with impressive repousse Chinese battle scene. Marked in Chinese characters and KW possibly Kwan Wo - Canton. L250 $200 - $400





474 A Chinese Silver Export Card Case both front and back decorated with flying dragon relief on plain ground. Hinged lid reveals stamped Chinese mark, possibly Gem Wo - Canton. H83 W52 $250 - $400 475 A Chinese Silver Export Sugar Bowl the two handled body with all over floral decoaration and dragon head lid. Signed to base ‘KC’. H100 W140 $500 - $700 476 A Chinese Silver Export Butter Dish the oval dish with lobed rim and chased bird and floral decoration. Lid similar. Stamped to base in Chinese characters. H75 W125 $200 - $300




477 A Chinese Silver Export Bowl the open bowl decorated with repeating floral patterns. The rim surmounted with two foo dog heads. Stamped to base ‘CUT,’ possibly Cutshing Canton. H45 $250 - $400 478 A Chinese Silver Export Lidded Box rectangular box with unadorned surface. Chinese character marks to base. H30 W90 $100 - $200 479 A Good Quality Chinese Silver Export Teaset the teapot with dragon body handle and dragon head spout. The lid with dragon head finial and body with dragons in relief. Together with similar sugar and creamer. Al signed to base ‘Wing Nam’ and Chinese mark, possibly Hong Kong late 19th Century. $2,500 - $3,500

ORIENTAL 480 A Chinese Exportware Painted Dish with blue and white floral border and central painted scene of men at leisure. Signed to base. D195 $100 - $200 481 A Chinese Famille Rose Vase with enamelled polychrome pictorial and floral decoration. H250 D95 $250 - $400




482 An Unusual Chinese Symbol Bowl the bowl decorated with a god figure, astrology style figures and writing with touches of red enamel. Signed to base. H45 D225 $300 - $400 483 A Chinese Red Glazed Bulbous Vase of round form, bulbous middle, long neck and everted rim. The celadon ground with an oily red overglaze. H200 D100 $450 - $600


484 A Chinese Famille Rose Exportware Plate together with a similar smaller plate. D205 $100 - $200 485 A Chinese Blue and White Ginger Jar with painted courting couple and floral decoration. Signed to base. H200 D170 $200 - $400 486 A Chinese Earthenware Teapot of tall teardrop form, scroll handle and curved spout. White mottled glaze on dark ground. H270 W180 $300 - $400 487 A Good Japanese Kutani Vase of baluster form with decorative gold and red ground and four painted panels featuring mountain landscapes and courtesans. H215 D140 $400 - $600


488 A Well Carved Hardwood Kuanyin Figure seated on a lotus in traditional pose. Dark patina. H270 W130 $2,000 - $3,000





489 A Chinese Blue and White Dragon Vase the ovoid vase with high shoulder and small rim decorated with two dragons on white ground. Two small chips to interior base. H260 D140 $700 - $900


490 A Large Chinese Blue and White Baluster Vase decorated with nobleman and servants in a garden, foo dogs to the neck. Faults to glaze. H420 D210 $400 - $500







491 A Chinese Red and White Baluster Vase the round squat body heavily worked with red enamel chrysanthemums and floral patterns. H260 D220 $600 - $800

492 A Large Chinese Blue and White Ginger Jar Meiping shape decorated with still life and flowers. H420 D250 $750 - $950 493 A Chinese Blue and White Meiping Vase with painted floral decoration on a celadon ground. H290 D170 $200 - $400 494 A Large Chinese Polychrome Baluster Vase heavily decorated with flowers and dragon. Foo dogs and dragons to the neck. H445 D200 $500 - $700 495 A Western Zhou Style Bronze Dragon Censor of square form, rounded sides. Intricately cast with repeating decoration and dragon smoke spout. Suspension handles and chained lid with monkey finial. Inscription to base. H230 W350 D280 $3,000 - $4,000 496 A Large Chinese Canton Charger heavily enamelled decoration featuring birds, flowers, vases and butterflies on a celadon ground. Signed to the base. Circa 1860. H55 D370 $500 - $800

499 A Large Chinese Blue and White Jardinière with painted courtesan scenes and floral decoration on a celadon ground. H315 D350 $800 - $1,000 500 A Chinese Large Porcelain Baluster Vase with famille rose polychrome enamel bird and floral decoration. Red Guangxu mark. H400 $2,000 - $2,500 501 A Chinese Wood Ancestor Figure figure with tablet and concealed prayed scroll. H195 $150 - $250


502 A Chinese Wood Ancestor Figure of an old man with peach and bowl. Concealed prayer scroll. H215 $150 - $250 503 An Unusual Chinese Dragon Tea Pot the double bulb body decorated with dragons and bird handle. Signed to base and lid. H130 W220 $100 - $200 504 A Chinese Dragon Tea Pot with relief carved dragon sides and moveable dragon head to lid. H75 $150 - $250



497 A Large Chinese Cast Green Patinated Bronze Food Vessel of Archaic Shang style and form. Wide flared mouth on four sided baluster base with raised stylised bird and animal motifs. Relief elephant heads on the four shoulders and pierced corner panels. Some losses. H320 $2,500 - $3,000 498 A Large Meiping Chinese Vase with yellow glaze, pine tree, crane and chrysanthemum decoration. Signed to base. H550 D350 $2,000 - $3,000









506 A Chinese Earthenware Teapot black, green finish, bamboo style handle and spout with cicada finial. Signed to base. H90 $150 - $250 505 A Chinese Earthenware Teapot ox blood finish and tapered angular sides. Signed to base. H95 $150 - $250 507 Chinese Octagonal Tea Caddy earthenware with brown finish, inscribed to sides. Signed to base. H85 $100 - $200 508 Chinese Earthenware Tripod Bowl of cylindrical form, two square handles to rim and mottled glaze on dark ground. H85 D128 $300 - $400 509 A Good Chinese Blue and White Baluster Vase with underglaze painted decoration of flowers and auspicious symbols. Chip to base interior. H410 $300 - $500 510 A Chinese Blue and White Lidded Export Jar of cylindrical form with landscape scene to lid. Signed to base. H58 D110 $400 - $600 511 A Chinese Inscribed Bamboo Pot H125 $200 - $300








512 A Large Chinese Baluster Vase decorated with a group of ladies collecting flowers and Chinese inscriptions. Hairline crack to the rim. Signed to base. H580 D250 $300 - $500

520 A Fine Japanese Manuki Style Tobacco Toggle depicting a samurai with staff and sword. His gold patterned kimono details well rendered on a shakudo ground. Signed on an inlaid tablet. Wired for brooch. L47 $400 - $600

513 A Chinese Baluster Vase decorated with enamelled warriors at battle. Dragons and foo dogs to the shoulder. Signed to base. H460 D200 $150 - $250

521 A Chinese Mustard Yellow Crackle Glaze Vase the hexagonal vase tapering at the shoulder, everted rim and two cylinder lugs to the neck H230 W120 D90 $400 - $600

514 Large Chinese Polychrome Bowl the exterior decorated with enamelled ducks and flowers, the interior with teal glaze. H190 D405 $200 - $300 515 Chinese Horn Foo Dog Carving W60 $600 - $800 516 Chinese ‘Blood Jade’ Carving the gourd form decorated with flowers and birds. W45 $350 - $450 517 A Japanese Hardwood Dogs Netsuke H50 $100 - $150 518 A Japanese Hardwood Rat Netsuke H35 $100 - $150 519 A Japanese Hardwood Rabbit Netsuke H50 $100 - $150

522 A Chinese Rosewood Cased Ink Stone the case with incised calligraphy. L200 D150 $1,200 - $1,600 523 A 19th Century Chinese Agate Snuff Bottle the shaped squat bottle with grey/brown colour. No stopper. H48 $350 - $450 524 A Chinese Pink Quartz Gourd Pendant depicting agourd with relief bat and fish carving. L52 $600 - $800 525 A Chinese Red Coral Monkey Pendant L32 $150 - $200 526 A Chinese Black Glass Toad Pendant the top surface carved with a family of warty toads in relief. L45 $300 - $400

527 An Unusual Chinese Stone Child Carving the pale yellow and burgundy carving of a young boy half in a cowl. L69 $450 - $550 528 An Old Chinese Grey ‘Jade’ Ornamental Carving of a finger citron with relief baby dragon and bat motif. L51 $500 - $700 529 A Chinese Grey ‘Jade’ Ornamental Pendant pierced and carved with floral and gourd motif. L46 $500 - $700 530 A Chinese Hardstone Carved Ornament depicting a small mountain with low relief figure in landscape. H65 $500 - $700 531 A Chinese Grey ‘Jade’ Tablet Pendant finely carved with a figure flying, bats and a poem. L49 $400 - $600 532 Chinese Green Glazed Stem Vase of round form with long tapered stem, signed to base. H135 D75 $500 - $700 533 A Chinese Ming Dynasty Style Dish the small round dish with painted decoration. W88 $400 - $600 534 Chinese Bamboo Node Brush Washer with relief pine tree branch decoration, 19th Century. L95 $400 - $600 535 Chinese ‘Jade’ Lotus Carving of young boy wrapped in lotus leaf, holding stalk of fungus. Possibly 19th Century. W52 $500 - $700




536 A Chinese Stained Horn Longevity Carving depicting the symbolic old man figure of longevity. H200 $600 - $800 537 A Chinese Country Blue and White Porcelain Bowl with underglaze blue figures in landscape. Unglazed interior. H90 D190 $700 - $900 538 A Chinese Tortoise Shell Ruyi Sceptre the finely carved and pierced sceptre formed from joined tortoise shell panels. Possibly Ching period. L300 $5,000 - $6,000 539 Chinese Ceramic Celadon Dish with painted floral decoration. H43 $300 - $400 540 A Late Ching Period Chinese Carved Stone Lion of mottled grey, mythical seated lion figure. L55 $250.00 541 A Chinese Octagonal Polychrome Teapot with six panels of European female portraits and floral decoration. Signed to base. H150 $500 - $700 542 African Decorative Lidded Pourer of round form, long spout and lid with well carved female figure adorned with beads. H220 $100 - $200





543 An African Carved Male Figure of stylistic form, crouching with hands on knees and unadorned head dress. Body attached to a frame suspended with a rope through the neck. H465 W150 $100 - $300 544 An African Male Figure Carving of stylistic form, seated holding a tablet. Dark pigment finish. Splits to wood. H360 W140 D250 $100 - $300 545 A Papua New Guinea Carved Bust Naturalistically portrayed with domed carved coiffure, large protruding ears, fine mouth and eyes with inset cowrie shell. Dennis Dutton collection H365 W220 $300 - $400 546 A Good Fijian Tabua with aged patina and worked suspension holes to top and side. L175 $800 - $1,200 547 A Congo Male Figure Carving of stylistic form, standing upright with incised decoration. H330 W145 $200 - $300 548 A Congo Family Figural Carving with mother feeding a child and another child to the shoulder. Large head dress and beaded decoration. Dark pigment finish. H460 W190 D130 $200 - $400

549 A Cassowary Bird Bone Dagger With front carved in deep relief depicting a figure in full traditional dress. Denis Dutton collection. H390 $300 - $400

556 A Papua New Guinean Carved Head of realistic form with faded black and white pigment. Denis Dutton collection. H185 W150 D190 $100 - $200

550 A Lower Sepik Carved Mask of traditional elongated form, stylised mouth and hair with crocodile finial. Provenance from The Denis Dutton collection. H670 W230 $100 - $200

557 Two Abelam Heads for a Ceremonial House of traditional form with faded ochre, red and white pigments. Denis Dutton collection. H780 W250 $300 - $500

551 A Ramu River Mask of elliptical form, toothed border and looped nose. Red mineral pigment. Denis Dutton collection. Old insect damage. H450 W200 $200 - $400

558 A Mindimbit Carved Face of realistic form with black pigment. Denis Dutton collection. H145 W100 $80 - $120

552 A Sepik River Carving the upper portion of male form the lower section with curled tail. Protrusion from chest to nose. Cowrie eyes and red and black pigment finish. Denis Dutton collection. H60 W110 $100 - $200 553 A Fine Massim Drum of hollowed form with a carved ridge, central handle and finely pierced ridges on either side for the attachment of ornaments. Dark brown patina. Denis Dutton collection. W665 D170 $500 - $700 554 A Fine Massim Drum of hollowed form with a carved ridge and central handle. Decorated in bands of undulating and curvilinear motifs. Light brown patina. Denis Dutton collection. W630 D120 $500 - $700 555 An Indonesian Mask of stylised male face and dark brown patina. Denis Dutton collection. H220 W140 $80 - $120


559 Two Indonesian Figural Carvings of a male and female upper section. Black pigment finish. Denis Dutton collection. H480 H290 $100 - $200 560 A Wosera Statue Carved in the classic form of a male yam ancestor, decorated with polychrome pigments. Dry weathered patina. Denis Dutton collection. H875 W90 $300 - $400 561 A Papua New Guinea Carved Bust with stylised features and tan and white pigment decoration. Cowrie shell and blue wool hair. Denis Dutton collection H330 W230 D220 $200 - $400

MODERN DESIGN 562 A PAF Studio Dove Table Lamp black, wear to base. H550 $250 - $350 563 A Louis Poulsen Panthella Table Light by Verner Panton. White opal acrylic finish. H550 $750 - $950

564 A Weltron Globe Cassette Stereo white, model 2004 with speakers. Circa 1970. $200 - $300 565 A Pair of Kartell Componilbili Modules white finish with two storage compartments. H400 D32 $250 - $350 566 An Oluce Atollo 236 Table Lamp by Vico Magistretti. With frosted white glass body and shade. H360 $400 - $600 567 A Rosy Angelis Floor Lamp by Philippe Starck the grey aluminium tripod base with fabric shade. H1800 $200 - $400 568 A Rosy Angelis Floor Lamp by Philippe Starck the grey aluminium tripod base with fabric shade. H1800 $200 - $400 569 A Rosy Angelis Floor Lamp by Philippe Starck the grey aluminium tripod base with fabric shade. H1800 $200 - $400 570 A Rosy Angelis Floor Lamp by Philippe Starck the grey aluminium tripod base with fabric shade. Shade faulted. H1800 $200 - $400 571 A Large Pink Art Glass Baluster Vase white overlay with internal oval dot decoration and frilled neck. H290 $80 - $120 572 A Heavy Art Glass Ashtray faded amethyst colour. W160 $50 - $100

573 A Tricorn Art Glass Bowl pale blue and orange with flared rim. Minor chip. W240 $50 - $100

577 An Art Glass Amethyst Bowl of twisted form with internal amethyst colouring. W200 $80 - $120

582 A Squat Art Glass Pink Bowl of shaped oval form with internal pink and white enamel decoration. W320 $100 - $200

574 A Whitefriars Art Glass Vase fat bodied, tapering neck with amethyst colouring. H210 $100 - $200

578 An Interesting Vintage Bakelite Table Lamp similar to above. $100 - $200

583 A Small Olive Green Art Glass Vase with internal bubble decoration. H110 $50 - $100

575 An Italian Art Glass Grey Vase of handkerchief form. Signed. W100 $50 - $100

579 A Dark Green Art Glass Shallow Bowl with thick wavy sides. L370 $100 - $200

576 A Japanese Hineri Art Glass Vase of compressed oval form, shaped edges and pink ribbon decoration. W240 $80 - $120

580 A West German Art Glass Vase of triangular form with flared rim and internal bubble decoration. H310 $100 - $200

584 An Interesting Vintage Bakelite Table Lamp dark brown body. Possibly Eric Kirkman Cole manufactured in Czechoslovakia. ‘Typ 11105’ Circa 1940. $100 - $200

581 An Art Glass Amethyst Bowl with folded and shaped edging. W210 $80 - $120











585 A Large Flared Brown Glass Vase with twisted internal bubble line decoration. H220 $100 - $200 586 A Set of Four Flower Form Glass Ashtrays or candleholders, in yellow, blue, pink and green. W125 $50 - $80







587 A Pair of Hunter Chairs with Footstool with black button back vinyl covers, leather arm rests, wood frames and woven canvas back support. H1000 $500 - $800 588 A Reproduction Gerrit Rietveld Red Blue Chair light wear to frame. H890 $800 - $1,000 589 A Modern Black Metal Cocktail Cabinet of demi-lune shape with black powdercoated surface and two doors open to reveal an internal shelf. H800 W750 D370 $1,000 - $1,200 590 A French Twin Pedestal Metal Desk Circa 1930. H780 W1500 D750 $1,500 - $2,000

CLOCKS 591 A Victorian Black Marble Mantel Clock the rectangular section clock on broad base. White enamel face with Roman numerals. Barrel movement. Faults, no pendulum. H210 W255 D132 $100 - $200



592 French Alabaster Mantel Clock round clock cased in alabaster on square section neo-classical plinth. Twin barrel eight day striking movement by Japy Freres & Co. No pendulum. H340 W200 D120 $200 - $400 593 An Edwardian Mahogany Balloon Mantel Clock with eight day striking barrel movement. Pendulum H380 $200 - $400 594 Edwardian Inlaid Mantel Clock body in a keyhole shape with brass feet and satinwood inlay. White enamel face with Roman numerals. French eight day barrel movement. H285 W180 D145 $150 - $250 595 Victorian Black Marble Brickwork Mantel Clock body decorated with rustic slate ‘stonework’ bricks. Brass dial and Roman numeralsFusee and chain drive barrel movement. H275 W200 D115 $300 - $500 596 An Art Deco Tambour Shape Mantel Clock round wood cased clock with seated chrome ‘flapper’ on side platform. Eight day Westminster chime movement. H230 W320 D140 $150 - $250 597 A Late 19th Century French Gilt Porcelain Mantel Clock with transfer scroll design on teal ground. Bordered by a gilt and white fluted frame. Howell James and Co. Small chip to border. H270 W195 D115 $500 - $800 598 Unusual Carriage Style Clock with four glass sides, rosewood base and top with gilt brass frame and carry handle. Powerful fusee and chain barrel movement with pltform escapement. Circa 1900. Retailer A.N. Irvine - Auckland. H260 $200 - $400



599 A Propeller Section Mantel Clock face with brass key pattern surround, white enamelRoman numerals. French eight day striking barrel movement. No pendulum. H260 W350 D140 $300 - $500 600 A 19th Century Black Tambour Shape Mantel Clock with mottled green edging. Eight day striking barrel movement. Top section of case loose. L400 $300 - $500 601 A 19th Century Black Marble Mantel Clock with shaped variegated green corners. Enamel face and gilt bezel. Eight day barrel movement. H335 $300 - $500 602 A French Red and Black Marble Mantel Clock with incised floral designs. Eight day barrel movement by L. Marti with visible escapement. Enamel chapter ring faulted. 19th Century. L400 $300 - $500

603 A Rare and Impressive 19th Century Oak and Walnut Clock Symphonium the clock case decorated with carved scrolls, columns, finials and lion masks. Sits on the Symphonium base with matching decoration on a twin pedestal base. The clock has eight day striking Lenzkirck clock movement. Symphonium maker Schutz complete with 70 discs. H2000 $20,000 - $25,000 604 A Spectacular Napoleon III Ormolu and Patinated Bronze Mantel Clock by Deniere, Paris. the case surmounted by a bronze figural group emblematic of music on a spreading base of elaborate scrolls. The restored enamel dial signed ‘Deniere/Ft De Bronzes/ A Paris’ and later hands. The twin barrels with anchor escapement (pallets lacking), rack strike on replaced bell. Circa 1860. H680 W750 D320 $44,000 - $48,000



605 An Large Impressive Edwardian Carved Mahogany Eight Day Table Clock the finely carved mahogany pagoda case clock retailed by Hampton and Sons, Pall Mall, London. The 11 in. wide engraved brass dial with silvered and engraved chapter ring, signed to the arch ‘Hampton & Sons/Pall Mall/East. Blue steel hands, single chain fusee movement with anchor escapement with passing hour strike on bell. H750 W370 D245 $18,000 - $22,000 606 A Swiss Glass Dome Skeleton Clock the fusee and chain movement is powered by a spring wound up form the base to a skeleton gilt movement with platform escapement. H320 $1,200 - $1,800 607 An American Ansonia Mystery Clock A bronzed spelter boy sailor figure holds aloft a torch. With two chains from which a green painted sphere hangs, containing the movement. H700 $2,500 - $3,500














601 600

602 610




608 A 19th Century American Ansonia Mantel Clock with architectural black marble case, incised floral motifs and inlaid H360 $350 - $550 609 A Victorian Black Marble Mantel Clock the architectural case inlaid with coloured marble panels and gilt scroll decoration. Brass barrel 8 day striking movement with exposed anchor escapement in the dial. Key and pendulum. H450 $500 - $800 610 A Large 19th Century Black Marble Mantel Clock with architectural marble case, motteld granite side coloumns and inlaid panels, gilt decoration. The eight day barrel strike movement with visible esccapement and white enamel dial. H540 $600 - $900 611 A 19th Century American Mantel Clock with black marble architectural case, relief bronze mask decoration and gold face. Eight day Ansonia strike movement. H450 $250 - $400 612 A 19th Century Seth Thomas Mantel Clock walnut case, two brass weights and painted metal face. Chromed bezel, spring and pendulum fittings. H750 $250 - $400

614 A 19th Century European Wall Clock with enamel face and pink chapter ring. Two pine cone weights, no pendulum. W270 $100 - $200 615 A 19th Century French Black Marble Mantel Clock of architectural form with inlaid malachite panels. Eight day striking movement by L. Marti. L400 $80 - $120 616 A Late 19th Century Oak Cased Bracket Clock the gold face with silver chapter ring and carved scroll pediment below a pagoda top with finial. Together with an oak bracket. H880 $400 - $600 617 An Arts and Crafts Oak Cased Mantel Clock with relief exposed brass numerals. Pequegnat Clock Co. movement, Berlin. Later oak leaf carving added. H740 $300 - $500 618 A Stylish Art Deco Design Mantel Clock with maroon bakelite covered stepped wooden case. Eight day striking movement. H240 $150 - $300

619 Alabaster Mantel Clock with incised and gilt decoration. “To Mother - Kia Ora�. The centre drilled for 40mm movement. H200 $150 - $250 620 An Art Deco Black Marble Mantle Clock the tambour shape case with inlaid green bands. Eight day striking movement, stamped L.F.S.. L450 $300 - $500 621 A European Art Deco Design Mantel Clock with textured pewter steeple shaped case and exposed brass hands. Circa 1925. H230 $100 - $200 622 An American Inlaid Walnut Wall Clock with eight day strike movement, painted dial and brass bezel. 19th Century. L720 $350 - $500 623 A Victorian Circular Institution Wall Clock with beechwood case, painted metal face and brass bezel. D360 $100 - $200

613 An Impressive French Black Marble Mantel Clock of classic architectural shape with incised scroll design, ormolu mounts, borders and mask handles. Eight day striking barrel movement with visible escapement. 19th Century. H450 W480 $500 - $800 650


624 A Large Carved Oak Wall Clock with leaves, finials, gilt dial and ornate pendulum. L1330 $1,200 - $1,800 625 A 19th Century French ‘Vineyard’ Wall Clock with wooden case and shaped bezel. Eight day striking square plate movement by Japy Freres. W490 $250 - $400 626 A 19th Century Belgian Oval Framed Wall Clock the ebonised frame encasing a ‘Heer Fils Anvers’ clock. H580 $200 - $400 627 An Old Negretti and Zambra Barograph grey steel and brass. London. L260 $50 - $100 628 Clockwork Punch Time Clock H300 $150 - $250 629 An Oak Cased Clockwork Counting Machine “Belgica” 15303. W180 $100 - $200

FURNITURE 630 A Pair Of Carved Wood Eagle Wall Brackets H500 W450 $300 - $500 631 A Victorian Metamorphic Book Stand the adjustable figured walnut easel mounted on three bobbin uprights and tripod base with castors. T.H.Fulmer & Sons. London. H970 $400 - $600 632 An Early 19th Century Twin Pedestal Sideboard in mahogany. Plain panelled doors and upstand to back. H1150 W1830 D510 $1,000 - $1,500 633 A 19th Century Walnut Twin Pedestal Desk inset green leather top. Shaped frieze concealing a centre drawer, four drawers to each side. H750 W1350 D530 $1,200 - $1,800 634 William IV Mahogany Pedestal Sideboard breakfront top with three drawers, carved upstand back. Pedestals with shaped fluted panels. H1160 W1600 D620 $1,000 - $1,500

635 A 19th Century Mahogany Gateleg Table the rectangular table with drop sides and turned legs on pad feet. H720 W910 D1370 $600 - $900 636 A Fine 19th Century Mahogany Tea Table the tilt top with seven circular recesses amongst foliate carving. The turned tripod base with acanthus details above claw feet. Some faults. H700 D790 $4,000 - $5,000 637 A Set of Six Victorian Balloon Back Chairs carved details and cabriole legs. $900 - $1,000 638 A 19th Century Mahogany Commode with shaped apron and turned legs. H450 W450 D480 $150 - $250 639 An Edwardian Revolving Piano Stool in painted metal and brass with buttoned upholstered seat. H570 $150 - $250 640 A Victorian Mahogany Dressing Table shaped front with platform base, nine drawers, carved legs and mirror supports. H1800 W1200 D600 $400 - $800 641 An Edwardian Mahogany Desk the upper section of tambour doors and fitted interior. The foldover top above two inlaid drawers on square sectioned legs. H1070 W950 D510 $500 - $700



642 A Late Victorian Mahogany Side Table with two drawers on turned legs. H800 W1050 D510 $300 - $500

643 A Georgian Oak Oval Dropside Table with turned supports and stretcher base. H760 W1410 D1070 $800 - $1,200 644 A Georgian Lincolnshire Oak Chest with three drawers below six false drawers. Ogee bracket feet and quarter reeded pillasters. Oak with mahogany cross-banding. H890 W1530 D530 $4,000 - $6,000 645 An Early 19th Century Mahogany Gateleg Table with tuned padfoot legs. H740 W910 D920 $500 - $700 646 An Early 19th Century Rosewood Cupboard with two panelled drawers, fitted interior, moulded turned details and later turned feet. H1150 W1030 D400 $1,200 - $1,500 647 A 19th Century English Rosewood Cylinder Desk in the French style. The upper section of a cupboard and shaped glazed ends. Extensive inlay and galleried details, the desk above similarly decorated with tapered legs and lower shelf. The pull out writing shelf with maroon leather inset. H1920 W910 D510 $2,200 - $3,500

648 An Impressive Venetian Rococco Revival Cupboard with originall paint and gilt finish. Glazed cupboard to the upper section, panelled cupboard and drawer to the lower section. Circa 1880, some restoration. H2300 W1170 D480 $2,000 - $3,500 649 A Pair of Massive French Porcelain Pedestal Urns the lidded urns each with ormolu stands and ornate rims and caryatid hinged swag handles. The bodies with panels of figures in landscape and courting couple on a deep burgundy ground. Both lids with ormolu finials and marked with “Sevres” entwined L’s. H920 $8,000 - $10, 000 650 A French Giltwood Canebacked Sofa of small proportions, carved decoration to the frame. 19th Century. W1300 H930 $600 - $800

655 A French Fruitwood Carved Double Bed traditional panelled head and foot with carved cresting and foot panel. H1520 W1450 $1,200 - $1,800 656 A Highly Decorative Pair of European Beds the bombe shaped head and baseboards with figured veneer and cast metal mounts. For use as two single or one double bed. One headboard mount loose. H1680 W910 $1,000 - $1,500 657 French Fruitwood Coffer panelled front with shaped apron and legs. H710 W1830 D740 $600 - $900

651 A French Giltwood Sofa faded pink, upholstered button back, carved details to the frame, showing wear. H1100 W1700 $800 - $1,200 652 A 19th Century French Figured Walnut Chest with four drawers, shaped plinth and black variegated marble top. H950 W1300 D570 $2,800 - $4,000 653 A French Style Revolving Piano Stool carved, paint finished and tapestry seat. H490 $200 - $300 654 A Large French Pier Mirror with white paint finished carved wood frame. H1455 W910 $1,200 - $1,800




658 A 19th Century French Oval Dropleaf Table with cabriole legs. H730 W1460 D1350 $1,200 - $1,500

664 A Pair of Continental Giltmetal Wall Sconces the decorative pair with two branches. $200 - $400

659 A French Corner Cupboard constructed from old timbers. Shaped panelled door with nickel silver embellishments. H1380 W820 D410 $400 - $800

665 A Decorative Gilded Wall Mirror with shaped scroll decoration, distressed. H1030 W630 $200 - $300

660 A Good Antique French Fruitwood Dresser with shaped cupboard doors and two drawers above shaped feet. The upper section with three open plate rack shelves. H1960 W1280 D580 $4,500 - $7,000

666 A Bobbin Turned Armchair with rush seat, circa 1900. H900 $150 - $300

661 A French Open Armchair in showwood frame with restrained carved details on stretchered cabriole legs. H1000 $400 - $800 662 A Pair of French Country Ladderback Armchairs with rush seats. $400 - $600 663 A Set of Six French Country Dining Chairs with rush seats. $300 - $600




667 A Baltic Pine Dresser two panelled doors to the base and upper section of three open shelves. Restored. H1980 W1280 D370 $800 - $1,200 668 A 19th Century European Pine Trunk with original stencilled and grained decoration to the sides. H580 W1230 D590 $300 - $500 669 A 19th Century Pine Chest with four drawers, turned feet and handles. H720 W1100 D630 $500 - $700 670 An Elm Cricket Table with drawer to shaped frieze. D900 $900 - $1,200

671 A Large European Elm Dome Top Trunk with iron hardware. 19th Century. H780 W1170 D660 $300 - $500 672 A European Elm Dropside Dining Table with turned legs and centre supports, three leaves. H755 W2500 ext. D1240 $1,000 - $1,500 673 An Antique Elm Ladder-back Armchair with rush seat. H1100 W590 D530 $200 - $300 674 An Antique European Bowfront Oak Corner Cupboard the door with incised decoration. H510 W750 D470 $400 - $600 675 A Set of Five Ladder-back Dining Chairs comprising one carver and four singles, rush seated. 19th Century. $750 - $1,000 676 An Oak Refectory Dining Table supported on turned legs and stretcher base. Dark patina. 18th Century style. H760 W2000 D840 $1,000 - $2,000

677 A Jacobean Style Oak Armchair with bobbin turning and carved details. H1230 W630 D700 $300 - $500

685 A Brass Bound Camphorwood Chest plain exterior, some restoration. H430 W950 D450 $250 - $400

678 An Eight Branch Rustic Iron Chandelier H800 D790 $300 - $500

686 A Japanese Elm Tansu in two sections, two sliding doors above four drawers with decorative iron medallions. H116 W915 D395 $200 - $400

679 A Georgian Oak Chest of Drawers the three long drawers below two short drawers with brass drop handles on bracket feet. H960 W950 D480 $1,000 - $1,500

687 A New Zealand Timbers Octagonal Side Table with starburst inlay to top and on turned legs with lower shelf. H720 W710 D520 $1,500 - $1,800

688 An Antique Oil on Board Painting ‘Madonna and Child’ the early Renaissance style painting framed by an Italianate wood and gesso frame. The picture with old worm damage to rear and the frame with age related damage. Ex. Collection of Alwyn Warren - Fourth Bishop of Canterbury (NZ). H445 W380 $2,000 - $3,000 689 A Pair of Framed Antique Hogarth Prints the Polling’ and ‘Canvassing for Votes’. H740 W840 $400 - $600

680 An Antique Oak Coffer four panels to front with incised decoration. Age related wear. H560 W1320 D490 $1,200 - $1,500 681 An Oak Wall Mounted Plate Rack with dark patina, shaped top and iron handles. H1150 W1420 $400 - $600 682 A 19th Century Oak Corner Cupboard with shaped solid panelled door, replaced hardware. H890 W570 $300 - $500 683 A 19th Century Mahognay Bookcase with one shelf above two drawers on a plinth base. Faults. H920 W1220 D300 $600 - $800 684 A Brass Bound Camphorwood Chest plain exterior. H430 W950 D450 $350 - $500



690 A European Oil on Canvas Board Riverport Scene indistinct signature, in period oak frame. H980 W1300 $1,000 - $1,200 691 A Pair of Coloured Lithographs Stanley Berkley entitled ‘Going-Going’ and ‘Gone’. H440 W580 $150 - $250 692 A Pair of Oak Framed Engravings - A. Mortimer of boating scenes, signed. H650 W750 $150 - $250

693 A Gilt Framed Engraving L. Callet of women in a boudoir scene. $200 - $300 694 A Gilt Framed Engraving L. Callet of women in a boudoir scene. $200 - $300 695 An Early 20th Century Japanese Woodblock Print Sino-Japanese War propaganda. H340 W710 $250 - $350 696 Large Chinese Carpet in mustard with white fringing. L3100 W2480 $400 - $600 697 Hand Knotted Small Wool Carpet the centre with fifteen medallions in muted browns, reds and mauves. L3000 W1460 $600 - $800

698 Hand Knotted Small Wool Carpet of fifty four squares containing traditional geometric motifs, in reds and blues L2750 W2220 $600 - $800 699 Hand Knotted Small Wool Carpet with geometric central medallion, in muted blues, creams and reds. L2900 W1960 $500 - $700 700 A Fine Quality Hand Knotted Wool Carpet with intricate traditional geometric designs in indigo and muted reds. L3600 W3300 $2,500 - $3,500 701 A Small Hand Knotted Wool Rug with three central medallions on a red ground. L1600 W930 $100 - $200 702 A Hand Knotted Wool Rug tradition patterns with ten central medallions on a red ground. L2000 W1260 $250 - $350

648 688




703 A Hand Knotted Wool Rug traditional pattern in muted blues and reds. L2100 W1070 $200 - $300 704 A Hand Knotted Wool Rug with central medallion, in reds and blues. L2000 W1060 $200 - $300 705 A Hand Knotted Baluchi Wool Rug with red and black colour way and typical geometric pattern. L1950 W1180 $200 - $400 706 A Hand Knotted Turkoman Wool Rug traditional geometric pattern, red tonings. L1870 W1500 $500 - $700 707 Hand Knotted Shiraz Small Wool Carpet in blues and reds, some fading. L2900 W2500 $600 - $800





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.

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.

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.

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.

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 12.5% for the Important Paintings and Contemporary Art sale and Fine Jewellery and Watches sale, and a buyer’s premium of 15% for the Antiques and Modern Design, (unless otherwise stated), together with GST on such premiums.

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.

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.

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.

Bidding Slip For absentee bidders on lots in sale 327 Please bid on my behalf at the above sale for the following lots up to the prices recorded. 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 Important Paintings and Contemporary Art and Fine Jewellery and Watches sales a buyer’s premium of 12.5% will be added to the hammer price and that GST is charged on the premium, and that in the case of a successful bid on items in the Antiques and Modern Design sales, a buyer’s premium of 15% will be added to the hammer price and that GST 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




home phone

business phone



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 utmost to carry out bidding instructions for absentee bidders. It will not be responsible however if circumstances prevent it from doing so.



18 Manukau Rd Newmarket | PO Box 99251 Auckland 1149 New Zealand Ph:  09 524 6804 / Fax: 09 524 7048 | /


PRICES REALISED SALE 325 (31 MAY - 2 JUN 2011) A2 ART, Fine Jewellery and Watches, Antiques and MODERN DESIGN LOT 4 5 7 8 9 10 11 13 14 16 18 20 21 22 23 24 25 26 27 29 32 33 34 35 41 42 43 45 49 50 53 54 56 57 58 64 65 71 72 73 74 75 78 79 80 81 82 84 85 87 88 89 90 93


$ 900 1550 4250 1100 3750 2500 1000 1400 3000 2300 2100 1800 3500 1000 800 1000 1750 1600 1000 1100 1300 1850 1200 1500 2000 3000 15000 3250 1300 2900 6250 5000 1200 7000 6500 2300 1000 2100 4250 6500 9000 4000 1000 8250 3250 1250 1000 1000 2250 2300 1750 2650 5900 1800

LOT 94 96 97 98 99 100 101 102 103 104 105 106 107 108 110 111 112 113 115 116 117 119 122 123 126 127 128 132 134 137 140 141 142 143 145 146 149 152 155 156 159 160 161 162 163 200 201 202 203 205 206 207 208 210

$ 3800 700 1700 2000 800 1250 800 800 1300 1300 600 300 200 550 1500 2000 450 400 2500 1000 6000 1000 8000 1600 2750 2750 1900 3000 1600 1000 400 2200 250 420 500 600 2800 450 200 250 350 1100 1400 1300 1000 300 200 350 475 3100 3200 2800 1900 2450

LOT 212 213 214 215 216 217 218 220 223 224 225 235 236 237 238 239 240 242 244 246 249 251 252 254 255 261 262 265 267 276 278 283 285 288 290 294 295 301 302 305 306 400 402 403 404 405 407 408 409 411 417 418 419 420

$ 6500 10000 770 1850 3100 2700 625 1950 3900 3750 1000 700 1400 4000 2350 4500 2000 400 2450 1700 1300 800 1400 3100 1650 23000 45000 16000 27500 3600 7000 7500 1800 1500 1800 700 800 13000 3000 1200 850 2300 110 175 150 160 600 300 100 400 425 500 450 100

LOT 421 422 424 425 426 428 429 430 431 434 435 436 437 438 439 440 441 442 444 445 446 447 448 449 450 451 452 454 455 456 457 458 459 460 461 465 470 471 472 473 474 477 478 480 481 482 483 484 486 487 488 489 492 493

$ 200 200 100 100 180 680 450 315 1800 50 400 600 40 20 410 325 175 60 150 35 50 140 110 325 1400 375 2300 140 110 750 300 250 300 200 60 400 500 140 240 250 50 160 160 375 225 225 250 1000 300 500 275 275 50 550

LOT 494 495 496 497 498 499 501 502 503 504 505 506 507 508 509 510 511 512 514 515 519 521 522 523 524 525 526 527 528 529 532 533 535 536 537 538 539 540 541 542 543 544 545 546 547 548 549 550 551 553 556 558 559 561

$ 250 500 400 1500 150 500 220 70 50 50 160 200 150 80 70 160 1000 2600 3100 160 50 160 250 220 120 500 900 60 90 60 220 85 250 35 60 800 150 30 260 250 60 260 170 375 200 100 250 260 400 2800 265 1900 150 60

PRICES REALISED SALE 325 (31 MAY - 2 JUN 2011) A2 ART, Fine Jewellery and Watches, Antiques and MODERN DESIGN LOT

562 563 568 569 572 573 575 576 579 580 0580A 0580B 0580C 582 583 584 585 586 587 588 589 590 591 592 593 595 599 602 605 606 607 608 609 611 612 613 614 616 618 620 622 623 625 626 630 632 634 635 636 639 640 642 645 647


100 260 160 650 200 350 250 300 275 150 150 150 150 425 350 325 160 200 100 180 275 180 140 250 550 5200 300 40 100 20 90 50 100 160 80 50 600 150 150 2000 250 100 100 200 160 100 150 150 120 450 100 370 220 300


648 649 650 651 652 653 654 655 656 657 658 659 660 661 663 664 669 673 674 676 677 678 679 680 681 683 684 685 689 690 691 692 693 694 695 696 697 699 701 703 704 706 707 708 709 711 712 713 714 715 716 717 719 720



300 150 240 300 1100 1950 2600 600 350 950 850 100 350 500 30 2200 3000 400 250 1900 350 450 4200 2500 300 50 50 50 400 500 250 250 1500 1300 1000 400 2100 651 500 300 400 650 150 1200 800 4000 1700 7500 3000 900 1100 1300 500 800

721 722 724 725 726 727 729 733 734 735 736 737 738 741 743 744 745 746 748 749 750 751 752 753 755 756 757 760 761 762 763 764 765 767 1000 1001 1002 1004 1005 1006 1007 1008 1010 1011 1012 1013 1014 1015 1016 1018 1019 1020 1021 1022


2500 900 1300 1750 400 275 175 500 60 80 300 200 80 400 275 50 220 200 150 90 120 100 405 400 400 200 140 150 300 200 100 300 300 1600 410 800 2400 450 240 300 220 170 200 675 625 375 300 320 160 175 50 275 140 275



1024 1025 1027 1028 1029 1030 1032 1033 1034 1035 1036 1037 1039 1040 1041 1042 1044 1045 1048 1050 1051 1054 1055 1056 1058 1059 1060 1061 1064 1065 1066 1067 1068 1070 1071 1072 1074 1075 1076 1077 1078 1079 1081 1082 1083 1084 1085 1086 1087 1088 1089 1092 1093 1095

150 120 300 340 120 240 100 480 300 600 100 30 950 325 120 1000 400 80 200 100 80 100 575 575 300 100 130 1400 100 200 170 200 200 100 60 110 100 300 110 110 220 67 60 110 60 100 110 110 100 150 260 450 100 600


1096 1098 1099 1100 1101 1102 1104 1105 1106 1107 1108 1109 1110 1111 1112 1113 1114 1115 1116 1117 1118 1120 1121 1122 1124 1125 1126 1128 1129 1130 1131 1133 1134 1135 1136 1137 1138 1139 1140 1141 1142 1143 1144 1145 1146 1147 1148


520 140 130 70 100 20 200 175 200 30 300 140 35 950 50 50 50 175 90 300 175 90 50 50 50 50 50 100 50 50 200 50 50 50 60 340 50 110 180 500 400 90 130 140 100 160 80



27, 48

Leek, Saskia

Brown, Nigel

76, 77

Lewer, Richard


Lindauer, Gottfried


Lusk, Doris


Maddox, Allen


Bruin, Kees Charteris, Chris Clairmont, Philip Cotton, Shane Culbert, Bill Dashper, Julian Dawson, Neil

2 30 26, 74 11 3, 13, 20

McCahon, Colin

12 24, 29

Moffatt, Tracey


Nolan, Rose



Oliver, Captain Richard Aldworth


Fancott, Eugene


Palmer, Stanley


Feu’u, Fatu


Pardington, Fiona



Parekowhai, Michael

Frizzell, Dick

1, 70

Maw, Liz

Eyre, Gladstone

Fomison, Tony

5, 9, 10

21, 34, 35

Picasso, Pablo


Gascoigne, Rosalie


Robinson, Ann

58, 59

Gimblett, Max


Robinson, Peter

Goldie, Charles Frederick Gopas, Rudi

38, 39 76

Scott, Ian

31. 41

32, 36, 54

Sydney, Grahame

65, 66, 67

Temin, Kathy

Harris, Jeffrey


Thompson, Sydney Lough

Hight, Michael


Trusttum, Philip

Hotere, Ralph Killeen, Richard

46, 51, 72

57 43, 49

Hanly, Pat

37, 40


Smither, Michael

Hammond, Bill

Hodgkins, Frances




Upritchard, Francis

6, 7 71, 75 18, 53 15, 16, 17

Van Hout, Ronnie


22, 73

Warhol, Andy


Kum, Denise


White, Robin


Lane, Tony




Webb's August Catalogue  
Webb's August Catalogue  

August catalogue for Important Paintings and Contemporary Art, Antiques and Modern Design, Fine Jewellery and Watches.