Important Paintings, Jewellery & Decorative Arts, April 2006 by Webb's Auction House

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WORLD Buye

The

Condn The

Cond Packi Webb

behoi refer ,

lllustr lilustra

SALE 276

A Three Day Sale of Important Paintings, Jewellery & Decorative Arts 4th - 6th April 2006 Day One

Fine Art 6.30pm

Tuesday 4th April 2006

Day Two

Fine Jewellery & Watches 2.00pm and 6.00pm

Wednesday 5th April 2006

Day Three Decorative Arts 6.00pm

Thu rs day 6th Apri I 2006

6.00pm

8.00pm Preview

9.00am

5.30pm

9.00am

5.30pm

3.00pm

11.00am -

3.00pm

9.00am

5.30pm

9.00am

5.30pm

9.00am

5.30pm

9.00am

12.00 noon

11.00am

Check section title pages for specific viewing times.

Buyer's Premium The buyer's premium charged on all items in this catalogue is 12.5% plus GST. GST of 12.5% is payable on the buyer's premium. Condition of Items The condition of items is not detailed in this catalogue. Buyers must satisfy themselves as to the condition of lots they bid on and should refer to clause 6 in the Conditions of Sale for buyers printed on page 157. Webb's are pleased to provide intending buyers with condition reports on any lots.

Packing Restrictions Webb's is unable to pack large or fragile item/s or any item/s for international dispatch. These item/swill require professional packing which Webb's will commission on behalf of the buyer. Webb's are happy to provide advice to intending buyers, prior to sale, as to the freight policy pertaining to individual item/s. Intending buyers should refer to Webb's Guide for Buyers at the back of this cata logue.

Webb's Peter Webb Galleries Ltd

Illustrated front cover: Russell Clark, Picking Corn in the Hokianga, Lot 54 Illustrated inside back covers: Michael Parekowhai, Larry Vickers, Lot 11

30th ANNIVERSARY

Thirty years of

1976-2006

...... ............ .. ........ .'....... . ~·' ... .......__, . ·:.-::.-

ane Ernes visibl

9 .. . . .,.

• • ..

of the

and

~,.... I ' -~~ _..,

wmnij

Arte~

specu

heigh/ losl j

reckle

1976,

following thirty years; sales which , looking back, do

recognising significant growth in the New

much in themselves to trace the evolution of the

wo years after its founding in

had auctio

Zealand art market, Peter Webb Galleries

New Zealand art market. The burgeoning awareness

published its first catalogue of fine paintings,

by Kiwis of their indigenous art and the consequent

decorative arts and jewellery. The catalogue was for

growth in art collecting introduced an element of

an inaugural fine art auction to be held in the White

competitiveness to the market. No longer was it an

ltmaJ

Heron Motor Hotel in Parnell (since replaced by a

extraordinary event for galleries to have collectors

artb .

groupoftownhouses). ltwould be no understatement

queuing outside their doors when popular artists

heard

to describe the catalogue as modest, but its

were showing; artists who could now begin to see

could

contents were impressive and Webb's would dearly

some hope of making a modest living from their

Webb

like to recover some of the paintings from that initial

work in future years.

test ~

The emerging competitiveness was an essential

thew1

ingredient for the success of art auctions. It was

her fa

soon noted that paintings being resold often

unpre

catalogue to offer on the market today. Sadly, in the post-sale euphoria, no one thought to save a

Sandr

expec

catalogue, or to file the illustrations that appeared in it, but a faded cover survives and the illustration of a Raymond McIntyre portrait it featured is reproduced here. Systems improved from sale two onwards and

4 IN FOCUS

were I

achieved prices in excess of their retail price in

foyer.

galleries, and this, added to the prospect of making

Webb's archives now hold an enormous body of

a quick realisation, helped to ensure a steady supply

records and illustrations from that moment forth.

of quality works for Webb's catalogues.

Thatfirstsalewasa resoundingsuccessand it became

The most noteworthy auction of the company's first

the forerunner of continuous sales throughout the

five years was the sale of contemporary New Zealand

held 1

·-.:~-:

capac

Shera Above : Raymond J\klntyre's Porlrail ef a YoNng Girl, featured on the cover of Webb's first auction catalogue in 1978.

relief I in the

'ie,tuf'O a\,ung G'11• :,Joguein 19"8·

30th ANNIVERSARY

paintings formed by Kim Wright, a dynamic director of the influential Barry Lett Gallery in Auckland . His tragic early death released his fine collection for premature resale before many of his artists had their reputations widely established. Nevertheless, the crowd that turned out to bid for the collection overflowed the Elliott Street saleroom, and those who still retain paintings purchased from that sale are fortunate indeed. The sale of the Lion Brewery's co llection of European Paintings acquired by Sir Ernest Davis in the early 1900s was the first occasion that a sale needed to be held at a venue larger than Webb's could offer, with its gallery's capacity limited to around two hundred. The Sheraton Ballroom provided the venue on December 7th 1983. There was an atmosphere of palpable excitement in the crowded ballroom as two London dealers competed for the best paintings; one bidding by phone from his bed in London, the other seated at the front of the ballroom. Great applause rang out when the highlight of the collection, an enormous painting of a classical subject entitled Summer, by Sir William Ernest Reyno lds-Stephens was finally knocked down for $225,000 to the visibly shaken room buyer. Doubtless he had paid a first class airfare to attend and needed a substantial purchase to justify his expenses. In making the winning bid, the buyer set a world record price for the artist. Art couldn't hope to escape some of the lunacy of the eighties when frenzied speculation in stocks and shares drove markets to crazy and unsustainable heights. Small fortunes were made almost overnight, and often they were lost just as quickly. A fair proportion of the millions being thrown about with reckless abandon was directed at the art auction market, a market that had manifestations in every provincial town in the country. One ingenuous auctioneer in the Wairarapa even thought he had found a painting by Sandro Botticelli which he advertised for sale in the press and doubtless had expectations of it finding a buyer. It may have been rollicking good fun for all involved for a time, with ill informed art buyers throwing their hands in the air for paintings by artists they had never heard of and frequently hadn't even inspected at the previews. No auctioneer could truthfully claim that they weren't reveling in the fun while it lasted. Webb's frequently held its sales at this period in the ballrooms of Auckland's best hotels when as many as a thousand people overflowed the rooms to chase the works which took their fancy. In July 1985, the Olive Goldie Collection of her famous husband's paintings was sold in the Sheraton Hotel before an unprecedented crowd estimated at over a thousand. All eight hundred chairs were filled and people pressed against the walls and out into the ballroom's foyer. The sale had been advertised in the press and in the catalogue as being held in the ballroom of the Regent Hotel in Albert Street, but with a seating capacity of only four hundred, the sale was shifted at the last moment to the Sheraton Ballroom , conveniently free for the night. The shift brought great relief to both Webb's and the hotel's management, the latter foreseeing chaos in the Regent's foyer with a crowd of five hundred disappointed bidders to

Top: The Lion Bre\\·eries Collection being sold in the Sheraton Ballroom. Behind the auctioneer can be seen the large painting by Reynolds-Stephens which sold for a wo rld record price of S225,000. I langi ng to the left of the auctioneer can be fa intly seen a \·ertical painting of a nude young woma n by Jo hn Godward which also set a world record for the artist on the night of S87,500. T he Portrait of a Mao,i Girl in the foreground sold for S20,000. Middle: $87,500 was the hammer price for this 1938 portrait, w·harekmm· Tah,ma, from the esrn te of the artist's widow, Oli ve Golclie, in July, 1985. Above : A Whalebone Hei T iki from the same collection realised $4,500, in 1985 and S24,000 when reoffered in 2005.

IN FOCUS

30th ANNIVERSARY

w,, S"0-1.~ Above left to right: Doctor evil\e I logg in 1982 at the tomb of Bishop Pompallier in Puteaux, France. George O'Brien was one of the very best of the colonial artists and his historically important 1878 waterco lour, A F/011r Ali/I at /1.losgiel, from the r1ogg collection, sold for S42,000. Johannes Keulemans' watercolour Three Huias, depicting a rare albino bird was apparently missed by the British Museum. The institution holds most of the artist's illustrations for Walter Buller's Birds of ,Yew Zealand. Docror I logg acquired it in 1985 from a descendant of the artist. It realised $36,000 in the sale of his collection in 1993.

6 IN FOCUS

anworl forighdn

be turned away. Webb's was obliged to pay taxi

nineties caused a crush in the foyer of Webb's

Catholic charities he supported . The sale wa s

timestaff

fares to rush across town the bidders arriving at

Manukau Road premises when the saleroom

held over two days and buyers overflowed the

well as pa

the Regent at the last moment.

was filled to capacity. This period witnessed the

main gallery into a second saleroom where they

After the crash of 1987, the art market suffered

advent of a shift in interest away from the early

followed proceedings on a television screen . The

a sizeable recession as the speculative buyers

colonial art so popular with the eighties buyers,

collection achieved a total of $1 ,300,000 with

withdrew to contemplate actually living with the

as a new breed of collector came to compete

many of the rarest lots going to public museums.

paintings they had acquired , but interestingly,

for works by New Zealand artists mostly still

It is unlikely there will ever be another historical

not one of the professional dealer galleries that

living. Works by Ralph Hotere, Shane Cotton ,

collection to compare with it.

had also benefited from the boom was forced to

Bill Hammond , Pat Hanly, Don Binney, Michael

close its doors. Provincial auctioneers no longer

Illingworth, Michael Smither, Gretchen Albrecht

founded , New Zealand had no more than ten

held 'art auctions', and the market returned

and numerous others rose rapidly in price,

dealer galleries deriving their principal income

to the genuine collector, shell-shocked and

and this observable and well documented fact

from the sale of original paintings and not from

bemused by what they had witnessed over the

ensured a regular supply of good paintings for

framing. Today the number is in the vicinity of

past few years. It should be stressed that very

Webb's catalogues.

two hundred. As well as galleries retailing locally

few contemporary artists benefited from the

There was one sale that proved an exception to

produced art, there are growing numbers of art

market mayhem as most of the truly speculative

the fall off in the market for early topographical

consultants.

buying was in the area of New Zealand 's early

art. The unique collection of over three hundred

This explosive growth since the seventies has

colonial and pre-war paintings. Many of these

and fifty rare colonial period paintings, drawings

been served and stimulated by Webb's through

largely amateur artists like John Douglas Perritt

and watercolours formed by Doctor Neville Hogg

its promotion of regular art sales and the

may never again attain the prices paid for their

of Dargaville over a thirty year period , attracted

publication of its quality catalogues; a quality

works in the eighties.

national media interest when Webb's announced

that, with this Thirtieth Anniversary catalogue,

With the market returning to some normality

it for sale in 1993. Part of the media interest lay

raises the benchmark even higher.

after the 1987 crash , no further ballroom sales

in the fact that Dr.Hogg promised all proceeds

were needed , although many an art sale in the

from the sale would be gifted to the various

1976 when the present company was

Webb's opened its doors in 1976 with just two staff. It now offers employment to twenty-two full

This brief lo the Ne

!ouched c paintings, Dunng th

30th ANNIVERSARY

Right: Colin J\lcCahon's iconic, Lei he, Lei be, was sold in 1995 for a reco rd

S704,000, the highest price to date for an artwork sold at auction in New Zeala nd. Far right: In J\larch of 1995, Philip Clairmont's Black Chair 1973, sold for $25,000.

resulting in a sale total which grossed in excess of

rhe sale was

time staff with genuine expertise in their fields, as

real estate; conducted three sales in Christchurch;

1erflowed !he

well as part timers and consultants

taken a collection of musical instruments to

half a million dollars. Occasional sales were held

11 where they

This brief outline of the company's contribution

auction in Melbourne; sold private museums like

with the help of different consultants and sales

1 screen. The

to the New Zealand art market since 1976 has

the Wagener Museum in Northland; auctioned

were discontinued in the early nineties for lack of

300,!XXl with

tou ched only on the market for fine art - namely

many thousands of highly desirable pieces

both space and an experienced manager to head

lie museums.

paintings, watercolors, drawings and prints.

under the decorative arts category including

the department. With the appointment of Simon

her historical

During the same period , Webb's has auctioned

Maori artefacts and colonial cabinetry, as well as thousands of items of jewellery and precious

Mickleson in 2001 as a full time consultant, wine sales resumed again and Webb's now holds fine

metals and watches in its specialist sales.

and rare wine auctions every six weeks. They

1mpany

was

ore than ten ;ipal income ind not from ,e vicinity of tailing local~ mbers of art

regularly attract a small but knowledgeable group

Fine Wine and Rare Books In 2001 and 2003, Webb's added two new specialist departments to the company. A prompt

of buyers, happy to pay up to four figure prices for the wines they wish to col lect and enjoy. The highest price realised for a single lot of

application for a license following the relaxing of

New Zealand wine at auction is $9,350 paid

New Zealand 's liquor laws in 1984 was rewarded

for a Balthazar of Te Mata Estate Coleraine in

when Peter Webb Galleries Limited became the

2005. The price paid represents the equivalent

first auctioneer licensed to sell alcohol by public

of sixteen bottles at $584 each. The top price

iventies has

auction in New Zealand.

achieved at auction for a foreign wine was the

ob'sthrough

A highlight of the early fine wine sales was

$3,500 paid in 2005, for a bottle of 1982 Petrus

is and the

the break up of the Antipodean winery from

(illustrated). The wine department will soon

.s; a quality

Matakana. All stocks of the expensive Bordeaux

launch a website, www.cellardoor.co.nz devoted

I catalogue,

style wine both in bottles and barrels, along with

to online retail sales of quality local and imported

the winery's wine making equipment was offered,

wines.

1ith juSI !WO enty-!WO full

IN FOCUS

30th ANNIVERSARY

AlO

In 2003, Webb's purchased the rare book business of J.H.Bethune & Company, the one hundred and fifty year old Wellington realty and book auctioneers. Now operating as Bethunes@Webb's, the book department, under the management of Miriam Shaw, holds four sales every year. It attracts bidders from all over the world for books of international interest such as first edition eight volu mes of

Cook's Voyages along with the atlas. A complete set was sold last year for $80,000 to an New Zealand collector. Other perennial favorites include The New Zealanders Illustrated by George French Angas, a copy of which sold in 2004 for $35,000, and Sir Walter Lawry Buller's

Birds of New Zealand, the sought after single volume first edition selling in 2004 for $8,000.

ENOUGH ABOUT THE PAST What Webb 's has planned for the next two years is far more interesting ... First off, the refurbished back storeroom becomes with this April sale, an

Dunedin as necessary.

;, ,: the JUI~ iianacqui

annexe to the main gallery, and it will be utilized primarily for the eight scheduled sales of Decorative Arts, four of which include colonial antiques and collectables. In this catalogue however, the annexe saleroom wi ll display the McCahon paintings from the Chapman collection along with other important New Zealand paintings and material pertaining to this

Quality items to be sent to Auckland for inclusion in Webb's sales will be

Zealand anc

freighted at no cost to the seller. By means of these regular visits, Webb's

and \ldbo1

will be able to extend to its southern customers, the same excellent

The preview opening for this event and for an exhibition to be held in

111mcandd

disadvantage of distance.

C:Therira~

Mid-year Webb's will launch an on-line gallery selling prints and multiples

Suples Coll

room scene

by leading New Zealand artists, and a similar site www.cellardoor.co.nz

~wed Jnh

selling collectible New Zealand wines online.

eo.·Rasrus,

August of works by Terry Stringer, will have pleasant surprises for those attending.

a1theprrn1

And so, advancing into the new millennium with confidence and a resolve to remain the innovative market leader, Webb's directors and staff extend

For the benefit of Webb's many customers in the We llington and South Island regions, Webb's will increase its visits from the present one visit a month to fortnightly visits.

to you all, custodians of the artefacts of yesterday and today, with your kaleidoscope of collecting interests, their hearty encouragement in your pursuit of the heritage items of tomorrow.

uademark t bankaccou 5rillreta1Jls'

:ca<lacade

1eu·'6: .\n "'.!suruque

~uer,uS3.

Fortnightly on Tuesdays and Wednesdays, one of Webb's departmental managers will spend two days in Wellington and visit Christchurch and

.\renue. B:

service for which it is known in Auckland and there will no longer be the

country's evolving history.The annexe will also be used for major exhibitions such as the big survey exhibition of Aboriginal Paintings to open in May.

repmemaw

Peter Webb

l11n .\mhc ¼<on(rl

oi m«han Si8."l!l. l:

Gorman R pushtdthe \ " Zeal,

from thee~

\k~um,

8 IN FOCUS

30th ANNIVERSARY

A LOOK AT THE PAST...

The sale on site of the contents of Florence Court in the ,\uckland suburb of Epsom \\"aS held over rwo days. Buyers for the outstanding collection of antique furniture and works of art acquired by ~frs I,. Seabrook came from all over New

les will be

Zealand and from abroad, with dealers from London, Sydney and .0- re!bourne either being present at the sale or having

s, Webb's

representatives in attendance. A: Florence Court from Omana

excellent

Avenue. B: Peter \\'ebb displaying with some effort, a heavy

5er be the

sih-er candelabrum from the Florence Court catalogue. C: The drawing room at Florence Court. D: A crowded auction room scene. E: ,\ section of the large crowd attending rhe 1-(eich

multiples

door.co.nz

Staples Collection of Vintage Motor Cycles, September 1997, seated on hay bales. F: The late ~[ax Corkill and his beloved

cat Rastus, famous for their appearances on television, arrived at the preview on his owner's Sunbeam motorcycle wearing his trademark bandana and a little crash helmet. Rastus had his own

I aresolve

bank account and signed his cheque with an inky paw. \X'ebb's

aff extend

still retains the chc9uc. \'('hen Rastus and owner were killed in a

with your

,t in your

road accident a year lacer, their sad passing made international news. G: i\mongst contemporary works in the July 1985 sale was this unique serigraph Ari for A11clio11 by Billy Apple. It found a buyer at S3,000. H: ,\rtist Denys \X'atkins, centre, with art dealers han 1\nthony and Jenny Todd at a 2000 art opening. I: 1\11 Edison Cylinder Phonograph c.1907 from the large collection

of mechanical music boxes in the \\'agener J\[useum sold for

S 18,700. J: ,\ ,\larine Sale in November, 2002, included this Siebe Gorman Rotary Pump and copper helmet. Overseas bidding pushed the knockdown price to S34,000. K: ,\ fine example of New Zealand folk art, this carved 1660mm tall i'afaori warrior 1

from the extensive collection of J\[aori artefacts in the \X agener ,\[useum sold for S18,700 in October, 2003.

IN FOCUS

IN RETROSPECT

2005 THE YEAR AT AUCTION: IN CONTEXT

f taken solely in light of the phenomenal

notable results in the April 2005 sale were

elections ir:i New Zealand history. This, coupled

JEl con

and unprecedented growth that took place

$11,405 for Jacqueline Fraser's A Cultural Guide

with a strange and collective aversion to hand-

Smithe!

in the previous two to three years, there can

for the Elite, $43,340 for Adele Younghusband's

raising in the audience on sale night, meant the

$96,95

be little doubt that 2005 represented a year of

The Secretary, and $31,935 for Rita Angus's

lowest clearance rate in quite sometime and

sold po

regression for the secondary market. Statistics

exquisite pencil work, Portrait of Jean Angus.

several days of hard negotiating work for the art

1ls rese

certainly support such a stance, with turnover

The June sale was somewhat less buoyant.

department staff. Whilst many of the works failed

1ls rese

down significantly to levels seen prior to the

Despite this several strong results were achieved,

to sell under the hammer, many strong prices

that tall

massive boom of 2003. However, such market

not least of which was the unprecedented

were negotiated nonetheless. These included: Bill

Fom1sc

undulations are the norm for any transparent

$51,325 paid for the cover painting, John

Hammond 's small but classic triptych Watching

two sm

marketplace and a closer look at results suggests

Walsh's Bi-Cultural Habitat Endangered which

for Buller ($114,060) [Cl, Alfred Sharpe's View

much to be optimistic about in 2006 and beyond.

sailed past its estimate of $9,000 - $15,000.

of the Rock of Maketu, near Drury ($102,650)

One of the highlights of the 2005 calendar had to

This, coupled with the similarly unprecedented

[Al, Frances Hodgkins' Three Roses ($230,000)

be the disbandment of the art buying group

$49,000 achieved for Peter Robinson's work on

and Ralph Hotere's Test Piece, Auckland Airport

The Venus Collection. Prices were exceedingly

paper Money 1, hinted at a continued and rapidly

Mural: Grey/Orange ($90,110). The latter result

high across the board with members of the

strengthening market for works by contemporary

was perhaps most interesting as it signified that

disbanding collective competing with the general

Maori artists. Female Modernists also performed

despite a slight softening of the Hotere market, the

public to induce a spirit of competition seldom

well in the June sale, with Doris Lusk 's French

right work at the right price is still keenly sought-

seen during the rest of the year. With a clearance

Bar, Titirangi bringing a record $57,030 and

after by collectors.

rate of over 90%, several phenomenal results were

Frances Hodgkins' The Mill House, Ponterwyd

2005 was book-ended by the two strongest sales

achieved for the collective. Most notable among

[Bl and Malmain's Farm making $82,125 and

of the year. The December sale, although down

these was the record $45,625 achieved for the

$70,715 respectively.

in vo lume, witnessed good buoyancy in the

Paul Dibble bronze Standing Female Form, and

10 IN FOCUS

The 2 ProdL pubh1 New,

2004 Perh,

The September sale took place amidst a back

saleroom and several results boded well for 2006.

the $57,030 paid for the humbly proportioned

drop of record prices at the petrol pump,

A highlight of the catalogue was the three strong

Shane Cotton canvas, E Ora Tona Ana. Other

economic jitteriness and one of the closest fought

paintings by Michael Smither. Sarah with Flowers

resul! fact ti our sl Illus,

IN RETROSPECT

y. Th is, coupled

[El continued the trend of strong sales for

Don Quixote de la Mancha and The Seer both

consistently throughout the rest of the year to

ersion to hand·

Smither's early domestic scenes, when it brought

sold to the same phone bidder for the same

around $1,300,000. Many of the aforementioned

night, meant the

$96,950. Summer Wave and Export Butter both

healthy price of $57,030. Colin McCahon 's

results show that the market remains in very

sold post-sale in negotiated sales, the former for

South Canterbury sold post-sale for its reserve of

good shape. Expect it to stay settled at around

; work for the art

its reserve ($9 1,250) and the latter slightly below

$96,950, whilst his much-admired Waterfall [DJ

the $12 to $14 million dollar level before taking

its reserve. The December sale also showed

sai led beyond it's estimate of $45,000 - $65,000,

off again on the back of far greater and healthier

if the works failed

that talk of a softening market for McCahon and

realizing $85,545.

diversity in the next couple of years.

Fomison is largely unfounded. Tony Fomsion's

Gross turnover in the 2005 major sales peaked at

Please Note : All prices quoted are inclusive of

two small but strong works, Sancho Panza and

$2,891,555, in the April sale before settl ing down

buyer's premium and applicable GST.

)metime and

1strong prices

1ese included: Bil iptych Watching

JSharpe's View

~ry ($102,650)

~oses ($230,00J) Auckland Airport The latter result ; it signified that Hotere market. the :ill keenly sought·

The 2005 auction realization figures have just been released by Australian Art Sales Digest. Produced by John Furphy in Sydney, the publication is now the key annual Australasian art market publication, showcasing trends and movements for individual artists and for the art market as a whole. New Zealand's turnover for the 2005 calender year at auction is put at $13,244,000 - down from the 2004 total of $17,363,000.

Perhaps the most pleasing statistical data released in the guidebook is that of the ten highest individual results achieved at auction in New Zealand 2005, of these Webb's achieved nine 1 This, coupled with the ,o strongest sales

fact that Webb's hold the top three highest prices at auction over the last ten years, serves to underline

although down

our standing as New Zealand's premier auctioneer of fine art.

,ancy in the ded well tor 2rffi.

Illustrated: Colin McCahon, No. 2 (1965), achieved $650,000 when it was sold by Webb's in 2003.

, the three strong

·arah with Flowers IN FOCUS

NEW ZEALAND WINTER GOLF SPECIAL Valid I - 31 May and I July - 30 September 2006 SPECIAL INCLUDES:

RATE:

A day of unlimited golf!

This offer is available to New Zealand residents only. Rate is based on Double Occupancy. All rates are exclusive of 12.5% GST.

Accommodation in a Deluxe Suite, cocktail hour, 3 course a la carte dinner, full breakfast and use of all lodge facilities. Facilities include the fitness centre, business centre, small meeting facilities, heated infinity pool and spa, two astroturf tennis courts, use of 3 private beaches, mountain bikes and walking trails over the 6,000 acre property.

Sunday through Thursday NZ$550 per person per night Friday and Saturday NZS590 per person per night. Single rooms add NZ$150 per night.

KAUR! CLIFFS

For reservations and enquiries Phone +64 9 407 0010

Fax +64 9 407 0061

info@kauricliffs.com

www.kauricliffs.com

IN RETROSPECT

Going . .. Going . .. Gone! The Jewellery market remains extremely buoyant for quality items, as evidenced by the record December sale that saw the overwhelming majority sell at or above vendor's expectations. A necklace set with 30ct of diamonds made $109,000 against a bottom estimate of $95,000; an exceptional emerald ring (illustrated) made $28,000 against its low estimate of $18,500; and a fine Patek Philippe wristwatch realised $36,000 (est $35,000). Strong bidding led to all of the major diamond solitaires being sold, demonstrating the current interest in substantial investment stones.

Bethunes@Webb's were delighted to achieve the sale of The New Zealand Section of Joseph Banks' Florilegium to a New Zealand collector for $45,000 late last year (plate illustrated right). Recent Rare Book sa les have highlighted the continuing demand for examples of early Maori printing. Two Church Almanacs: He Maramatakahere: He Pukapuka, from 1840 and 1843, in paper wrappers inscribed by William Colenso achieved $3,750 in November. A quality selection of this material offered in the recent March 15th auction was a treat for collectors. We are currently preparing another major rare book, map and historical photography auction to be held in June. Further entries are now invited.

Please contact Miriam Shaw on (09) 529 5602 or email :bethunes@webbs.co.nz.

The December Decorative Arts sale saw buyers seeking gifts for Christmas as usual. However, locals missed out on unwrapping a Moorcroft biscuit barrel in the Moonlit Blue pattern. It ended up under the tree of an Australian phone bidder after he competed with the room to eventually pay $7,200 against a top estimate of $4,500. Whilst furniture buyers have been selective, some interesting pieces appeared on the market and good buys have presented themselves to the astute collector. As an example, the 18th Century bureau bookcase (illustrated left) sold post-auction for $9,000, the lower end of the estimate .

Left: The 18th Century bureau bookcase and ar right the i\ [oorcroft Moonlit Blue biscuit barrel.

IN FOCUS

IN RETROSPECT

CAPTURED: New Zealand's first Specialist Photography Auction

Ben Plumbly follows up on the success of Webb's inaugural Photography sale held in November 2005

least, a place to begin.

made $970, whilst the artist's Winter's Mantle

held on the 24th of November,

The historical results were, for this author at

fetched $630. Les Cleveland's photographs sold

constitued a phenomenal success.

least, among the most pleasantly surprising. It

very wel l across the board. The top price for a work

Coupled with the publication of Hannah Holm's

is hard ly six o'clock news material to proffer that

by this artist was $1,110 for Gate on the Mohaka

superb Contemporary New Zealand Photographers,

historical photography has hitherto been grossly

River [Bl, followed by the $795 paid for Mission

late 2005 proved to be a landmark period in the

undervalued in this country. Among the highlights

House Museum at North Waimate. One of the

evolving history of New Zealand photography. With

ebb's inaugural photography auction

from the historical component of the catalogue were

results of the evening had to be the staggering and

final gross turnover of $225,923, clearance rates

numerous Burton Brothers photographs including

unprecedented $4,220 paid for R.P Moore's Lake

unheard of in the other traditional sectors of the

Paetae at Whatiwhatihoe - King Country ($2,165)

Paradise on Pigeon Island. R.P Moore's A Maori

art market in 2005, happy vendors and buyers,

[Cl ,and Huingatini at Whatiwhatihoe, King's

Haka made $1,825.

and plenty of media coverage the sale category is

Residence ($1,255). A hand-coloured Charles

In the contemporary section of the catalogue

ensured of on-going success.

Spencer photograph, An Eruption of the White

many stror.g prices were also achieved. Laurence

Highlights were numerous and the sale was strong

Terrace .. [I] made a colossal $3,080. The Herbert

Aberhart's Headboard#1 ... [HJ realised $3 ,535,

across the board with record prices set in the

Ponting's represented the top selling lots from

Peter Peryer's Doughnuts was sold the day after the

historical, modern and contemporary sectors of the

the historical section. A Dog Team Resting by an

sale for $4,562, whilst The Bracelet and

market. If we employ a standard, and admittedly

Iceberg [jl realised $7,300, whilst The Terra Nova

Self-Portrait in Overcoat [Fl each made $3,535.

somewhat redundant, classification system and take

at Ross Island made $5,475.

Michael Parekowhai was represented by two works

historical photography in this country as anything

The modern and pictorialist section of the catalogue

in the catalogue, both from The Consolation of

produced in the nineteenth century, modern as that

was also very buoyant. Works by George Chance,

Philosophy [DJ series. Boulogne sold under the

taken from 1900 to 1970 and contemporary as all

R.P Moore and Les Cleveland al l sold particularly

hammer for $7,985 whilst Carais sold subject to

well. George Chance's Paradise Road, Wakatipu

vendor approval in the subsequent days for $6,845.

photography produced thereafter, we have, at the

14 IN FOCUS

IN RETROSPECT

1ction

inter~ Mantle hotographs sold op price for awork

on the Mohaka id for Mission

te. One of the estaggering and

f pMoore's Lake Moore's AMaon

Anne Noble's Ruby's Room #18 [Al also sold

$4,335, this too was closely followed by the

under negotiation the fol lowing day of the sale

early print of Ruapekapeka [Gl for $3,875.

for $3,990, whilst her exqu isite St. Michael the

Webb's are now cal ling for entries for the

Archangel sold for $2,055. Tracey Moffatt's

second annual photography auction to take

Scarred for Life 2 series of photo-lithographs

place in November of this year. Several major

rea lised $20,530. This figure looked like good

works have already been consigned. Please

buying in light of the single image, Useless

contact Ben Plumbly: bplumbly@Webb's.co.nz

from the Scarred for Life 1 [El series, making

to discuss inclusion of items into this exciting

$4,790. Fiona Pardington's Venus from the

new sale category.

One Night of Love series, made $1,480 whilst Taniwha sold under negotiation for $3,420.

ecatalogue

Robin Morrison was represented in the sale

ieved. Laurence ealised $3,53 5.

by no fewer than seven works, the top price of which was the $2,735 paid for Portrait of

Id the day after the

Robin White in front of Harbour Cone, closely

~/et and made $3.535.

followed by Powerlines which made $2,280.

ted by twO works

Funeral of lnia te Wiata at Otaki Marae, 1972

For a full prices realised list from the November 2005 sale please contact Jessica Pearless: jpearless@Webb's.co.nz.

Please Note: All prices quoted are inclusive of buyer's premium and applicable GST.

Ans Westra's beautifully melanchol ic image,

onsolation of

real ised $2,395. Lastly, Marti Freidlander's

r,old under the

top sel li ng lot of the evening was her classic

,sold subject to

portrait, Tony Fomison in front of Omai sold for

nt days tor $6.845.

IN FOCUS

HIGHLIGHT

Left: Professor Robert Chapman at home with Colin ?-.fcCahon's, iYorthland.

Colin McGahan My Parents Collection

Abo,·e: .\"on Right: .\na Srudenrs.\s! \lcCahon'sl

Hal Chapman , son of Professor Robert and Noeline, gives us an insiders perspective of the Chapman Collection of works by Colin McGahan . These paintings represent part of the coUection

with everyone engaged in, amongst other

the corridors and hall s of the university and be

for the so

of artworks chat my parents, Professor Robert

conversational subjects, art.

appreciated and learnt from by botl1 staff and

thes~·les

Chapman and his wife Noeline, built up over

During this time Colin J\IcCahon entered their

students. He thus became, in the early 1960's, the

Through<

their lifetime. For them, collecting art was never

lives. He had been living and painting in the Art

prime mover in establishing the University of

passionan

an im·escment decision, but an adventure that

Gallery tower and both my parents loved the

Auckland Collection chat ha s continued to grow

about it a

they hoped would sustain them visually and

totally New Zealand perspective that permeated

and develop over the following decades.

galleriesr

intellectually throughout their lives.

h:s work. On Colin's invitation Dad started

At home the J\IcCahons lived on the walls like

an and iu \ewZea

For my father, this grew from his boyhood,

writing and delivering opening remarks at

members of th" family. As far as I remember,

as his father, Dr Guy Chapman, knew many

exhibitions. I remember my parents returning

the order of acquisition was firstly Kom 3 in

Colin ~le

of the poets and writers of the day and had

from a show, arguing passionately about which

about 1962/3, then the Cate painting, also in the

consider\

an established an easy, mutually hospitable

painting moved chem the most and \\'hy. If and

early 1960's from the Ikon Gallery. The Northland

tosunir1

relationship with them . Dad carried on this

when they agreed there was the foUowing debate

painting from the Barry Lett Gallery followed

richness,

tradition and in finding Noeline, he found a

as co whether they could afford it. Occasionally

this, and finally, the 1956 'fitira11gi watercolour,

woman of equal intellectual vigour who enjoyed

such a painting was within reach.

\\'illch was purchased in the early 1970's.

their company coo. From 1956 onwards, when

As Dad was promoted through the University

In the mid-60's Dad became a member of

Dad was appointed co the l"listory Dept. of

my parents traveUed during Sabbatical Leaves

the University of Auckland's Appointments

the University of Auckland the house started

and they came to realise that Auckland

Committee and urged that body to appoint

to fill with a constant procession of poets and

University sorely lacked what they found in most

Colin McCahon as Lecturer in Painting at the

painters, historians and politicians, scientists

academic institutions worldwide - a coUection

Elam School of Fine Arts of the University of

TbeCh1

and philosophers, and a parade of students,

of fine artworks by local artists that could grace

Auckland. This proved co be an inspired mm·e,

lots 55.

16 IN FOCUS

To theec theralwa

of comr considen unages o

HIGHLIGHT

-~-lo~n_d_a~y~2=5~~~p~trm~~~r_l_%_1_ _ _ _ _ _ _ _ _ _ _ _ _C~&ACC

An exhibition of recent work by McCahon, at The Gallery in Symonds Street, till 22 September. An ci.hihitio11 of 1w\\ painting, b, Colin ~1,C:a h un i, an evelll o l th e h 1.\t irnponancc lo an,oue inter Led in the ,ttt and, ultu re or his own countrv.

1rthhnd.

\\"c dio;tu ¼'d the cxh1h1tion \\ uh '11 Ch,1pmJn or th<." lli,111n lkp,1runcn1 . who ofliu:tlh opt:nul 1hc how on 'U) \11,.:,11 l

Above: ]\Tor/bland as pictured with Professor Chapman is lot 55 in this catalogue. Right: An article dated September 25, I 96 I fearured in the Auckland University Srudents Association magazine Cracm111, which featuring a discussion on McCahon's lasresr exhibition by Professor Chapman.

\ lnl 10 commt·nt on tht· ,1rti 1·, dt· H lupnwnt in n n·nt H·:t,,. \1r Clupman pointc"tl uu1 that .\fc<::i hon i, unc 1l[ thl' £1."\\ \.c-" /\·.1IJ111l paintt·r<, ~1111,1,; ~url.: h;1 gum· throuAh ;1 numlx:t o{ ph.1~1-.. ,1·1 ,1111 fll,lllH'tl ;I tt.:c<'IJ!llit.lblc pc.·n.t.lll· alit, \ l o,;;t '\/. Jr t1,11; :arc t·itht·r ,tutJ.. v. 1th the Cllll' ~t, le tir pa~ throu~h a .. utn,,ion nf unconneclt·1l ,1, ks \tcC.1h,,n work h~ con tmut"d to r,nht·. ~inC't" hi. hr'it har-h 01 .1~tl \.1ml,r.11 >4.-s. thro u g h h1 <1i nlf\num t.• nt a l a nti 1n1h ;unh c nti c.: M: ri c.~~ Qr ~fa n n fan-.;. 1,, hi~ icml h. rchginu p .tinttu~. whc u · • -.i11,iun h ,l'i 1r,rn, £o nn c1I i,k a into dra -

mJlic \l"-tt .l l 1magcs.

for the students at least. McCahon's legacy is still to be found in

;irr and be

staff and

rt 960's, the •ersirr of ted ro gro1r

A new ph a\t:

the styles of several of that generation of students. Throughout their lives my father and mother were always passionate about art. They read about it, collected many books about it and had visited, sometimes several times, most of the great galleries of the world. They understood and were able to 'read'

!es.

art and its symbolism. They both considered the work of some

walls like

New Zealanders to be the equal of anything produced and put

member,

Colin McCahon at the peak of art practice in New Zealand. They

;n,Jin

considered that buying an artist's work and so enabling that artist

also in rhe

to survive, grow and mature in ideas and technique, added to the

!ie.\orthla11d

richness of society.

followed

To the end of their lives they valued their paintings in the way

ercolour,

they always had, as a rewarding expedition into painterly world

)'s.

of compositional balance, visual play, and colour. They both

:r of

considered themselves fortunate in being able to live with these

meors

images on their walls.

point

The Chapman Collection of works by Colin McCahon are

g at the

,-ersitr of ed more,

New phase

lots 55 - 58 in this catalogue.

nm\ C'd

hcjr,a n

Aud.land

whe n t ht.• ,mi ,;t -\I"> ,t t th1ir; 1111w,

he m;uk a clou: 5tUtl ) u £ tlw p .1i1Hi ng o f CwJ nnc: ,1 cC,1hu11 ', n~ponsc to tht• '\'.orth hi .m e! <;.CC 11t· w.l ~ ' " " h .tnh. a nti h1 ir; l,11HI• ir.c-a,x ht•c:t m c gtC'Cn t·1 :, ml "'1 h l' r th n ug h the-, <li lill 11:1ainNI hi1 <1il rt'ln i: frl'li n~ £o r "pace- and fonn The.· ~ or1hl,mt l P.111t• I, h:tH· ,111 ' c.· k ·ctri c qu alit ) ·. .i.s tho ug h .t nin ,howt: r has ju'- l p.iir;\etl \f1 t' 1 ., bt"au1iful \t" ri t."\ or Tiur.angi paiu1in ~. McCahnn 1urnn l dra m :ui c-a lh· to ,1bs1rac1inn Once a Jr,till hi rolo111 h ("ca mt· ha"h-- rcd11, a nd white<li o;inling a..ot 1ho u1th ' ln ,, furn ace:'

Humour and paradox In this latC1t " h1bir ion . there " "-IHI a stnlnJt ~-n~ o f lt"n'lion . but th e.· • ra wnrv. and toic bitt crnt"S' a rc.· gone. Snhil ob1cc1s «Id,· Jtf"Ol\'it) , noa1ing ba thrd in light There is al,n a Krt"3 l clc-al of humo ur a1";l parado,. Pa,ing trihutc 10 Mon .,Srian. lcCaho n RWN his llat dt"\ign a paradoxical dcpLh • The two • C.ntr ' pain1rng,. s tai r- the tMfflC' of the exhibition-the opc-ning and dosing of opponunity, mttting, h<"lWft'fl objttb whi(h have just h appened ' or arr on 1hc- poim of happ('ning. The unuaua1 dlapn or some of thl" paintings add further 10 our fttUng"'I of surpri~ and dlatutbrd cxpttiation. McCahon hu a au~ K'mt' of drslgn • form, allO shown by hia USC' of

Hlh~r(",,t In 1111•\t'lll

!Ill \\Offl) tlom ina1 in~

the 1lt:Mj?n.

True abstract \fr Chapman k·d~ 1ha1 it i imPortant tn rth1ini:1mh In.it• :thqr,1c1 art from · 1lhtt.\C'I t"'-prc ~toni<m ThL· l;111t·r ,.,,hool of pai01ing freqnt>nth n,ploit wmi-con1rollcd Jccickn 1. an,t ,, 1,. iu r.1c1. 1hc..· 11 l1im:u c in .1rti t ic romo1n11c i\m. ( .n, 11.·Cl l\l ~,wa l..in ~ t h1-. l. lml of ,llt i~ nu1 .1b .. t1 Jctio n · .11 ;111 ,, n rtit dO<"'- 1101 ;nrc.· mp1 rn 3b, tr.tc-t m imphh lonn, h o m n;1111n•. T rue a h,uac-t ATI , on the othc-r hand ,le.tier; with the.· sh.tpc."" ancl forms ba.uc w J lt h t11n:1n \-isual c..·xpc ricnn•. Thi, 111, " morr • claatc • ltttam of an. and ii is to th is 1nulilion 1hat MrCahon's work bcl,,n~. Mcf'..t h on 's .tl1'lrac1 art bears J dost: J'l' l,1t.io1111,hip to 1'· ha1 llo"t" 5Ct.' illround u c, <"n d a, . in the.· sh a pe. ~nd ~pa~ of th e urha n l.mclscapc. \\' hc.-n Wt.• ride.• » hin d <· '"' c.. 1im:uc- apc.-crl a ml ,H-.1ancl' in llw 'lJmt· v.·.1,· Mcf".aho n arran~ 1hc..· ob ject in hi, JUincin(,t' ,\II his form \ cuuld be simph· ni>r, •• cl u ct'<I in n,uure. "-IV by a toppling "'••d o f ho--.:c."' (rhough the boxn • wo ultl nol h a, t' "' uch intett1rinf( 1u11 fa ce, or he ha tht, I in surh btau1i(ul light ).

Few pidurea Summing up. M, C:h,lJHnan "ii11tl it "''a\ ck ,11 1har a la,J!c..' Rc11ospcc1i,·t· Exhibi tio n n f the.· ar1111 ·~ work wa, urgc.-nll) n eNlt'tl \Ir Ch~tpman al11u pointed 0111 the- fact 1h.1t p a11uinlt'I h,· McC..ahon hau~ rttmlly hccn bought t-, M'\c-ral NZ Uni\-enitiM In romp3n~un wi1h othrr ttnln"I. Auck laml l ' niw1'il\ has r"w pictures on 11 ..-a lls. and \uc-li.land atudmts should not allow the msrlu ro hr undcrpri, ilegnl JO

thi11,

\\ ;I\

U 1hr l 1 11neni1y and /or the- Studc-n11· At10eia1ion 111,ne to purchalr' a painting by Mr<~ hc,n from 1hc pttsrnl nhihition , the·, " nnhl ha," a , ·ti) valuable- a&M'I , in , icw or 1hC' gtowinR inltt"I in his ""or);. and 1hc- innruing tccngnition of !dc<'.ahon u one- of thr rountry'1 mos1 1mpor1am palntft'L M . J. MORRl.<,SF.Y R. HORROCK.~.

dllour: for eumpk in the Interplay of light and obade, and ia the ..rie,y of _,. be hu appli<d bladr.. In ....-nl of the palntinp, ther< l1 a okllful ...., of to bttalt up Mnfac:n. At the umr lime, the artllt bu &uc• mcded In cm11ing ro.- of a,lllcient

IN FOCUS

-...------ - - - - - - - - -

F1ll1w1ng o

:;e April '.0 lection i Coilectionw d1scoverm GI nineteen original art,

c' learning, c·;s1 olus.

HIGHL INCLU Friuel A!ngh/($2

:4 COO t :?COO-$

Paul Dibble (exhibiting 27 Sept- 22 Oct 2006)

Tim Maguire (exhibiting 1 Nov - 26 Nov 2006) The Gubba

MARTIN

BROWNE

57-59 MACLEAY STREET POTTS POINT NSW 2011 AUSTRALIA TEL: +61 2 9331 7997 FAX: +61 2 9331 7050 mbfayellowhouse@ozemail.com.au www.martinbrownefineart.com GALLERY HOURS: TUESDAY - SUNDAY 11AM - 6PM

PREVIEW

t_i,,,,-.,~,, . '.Y

,,.,~,

11.·

:t • 11 •

·,:-

·'

•

...

Following on from the incredibly successful sale of The Venus Collection in the April 2005 cata logue, Webb's is pleased to be offering The Gubbardheim Collection in this year's April catalogue. Like most collectives, The Gubbardheim Collection was the result of a group of people together deciding that they wanted to discover more about contemporary art, artists, styles and movements. Consisting of nineteen Hami lton based members, almost all of whom had never purchased original art works previously, the art buying collective served primarily as a means of learning, sharing, socializing and investing for the respective members. Like most of us, they operated on a budget and al l the works they purchased were, interestingly, bought through auction.

HIGHLIGHTS OF TH E COLLECTION INCLUDE: Dick Frizzell, Cubist Tiki ($2,500 - $3,500) [C]; Bil l Hammond, Bobby's

Alright ($20,000 - $30,000) [B]; Richard Killeen, Stack - Months and Days ($4,000 - $6,000) [A]; and Pat Hanly's mixed media work, / Am ($7,000 - $10,000) [DJ.

The Gubbardheim Collection is lots 78 to 99 in your catalogue.

IN FOCUS

PREVIEW

Home Coming: Four Paintings

tha thE Te

1nl

to Go

Ben Plumbly highlights a uniquely New Zealand selection

of works featured in Webb's April 4th fine art auction.

av, Ofl

ap frc side from both The Gubbardheim Collection and the Robert and Noeline

Chapman Collection , the April sale sale offers art lovers and collectors

a wealth of varied and interesting works of art from undisclosed, mixed

vendors. Highlights are numerous and as always the art department at Webb's

have selected a few of their personal favourites from the catalogue. This time we've decided to focus on four works which do much to encapsulate our love of New Zealand. Russell Clark's paintings and sculptures of Maori figures are, simply put, of important national significance. They stand alone in their candid and respectful depiction of Maori in rural environments in the 1950s.

This particular work

resulted from a trip the artist took to the Hokianga in 1951, and relates closely to a work entitled Waiting for the Bus which is housed in the Fletcher collection. These wo rks are incredibly rare and seldom appear on the market. Picking Corn, Hokianga is the fi nest example to come on the market since Webb's sold An Argument, Otaki (c. 1949) for $133, 500, in September 2000.

Colin McCahon's The Calling of a Christian is part of a body of works which were executed on a roll of wallpaper which allegedly came from the artist's brotherin-law. Exhibited as one of a series at Barry Lett Galleries in 1969, the works were hung, unframed, side by side around the gallery walls, thus enveloping the viewer in a world of text and emphasizing the artist's firmly-held belief that communication was the primary objective of the artwork. This is further underlined both through the scroll format, with its rich Chris~ian legacy, and through its beautifully conce ived hand-written text, the unequivoca lly benevolent message of which could do wonderful things if heeded by some of the world 's leaders today. Charles F. Goldie's portraits of Maori subjects require little introduction to New Zealand audiences. Painted at a time when Maori were undergoing great change and threat to their traditional lifestyle and customs, Complacency.- Portrait of Lot 53: Colin McCahon , The Col/i11g of a Christia11, wacerbased-crayon and wash on wallpaper stock, 1570 x 552mm. Estimate: S50,000 - $70,000

20 IN FOCUS

Takarea Te Heu Heu (1930) , showcases all the classic ingredients of Goldie at his

best. Executed in a highly deta iled manner, there is an optimism to this painting

PREVIEW

that is at odds with many of Goldie's Maori portait paintings and the critical interpretations of them. Goldie's depiction of Takarea Te Heu Heu is not, in this instance, characterised by downtrodden introversion, but rather there exists an inner strength and resilience to the suject.

lection

Gordon Walters' Koru paintings and drawings, like Goldie's

on.

depictions of Maori , have similarly been the subject of great debate over recent times. With their stylized depictions of the traditionallyorganic Maori Koru or fern frond, this design has gained universal appeal in recent years and incarnations of ii are seen everywhere from movie theatres to any number of government departments.

JNoeline :ollectors d, mixec

t Webb's his time 1r love of

This, coupled with the fact that Walters' work has proved positive stimuli for many young Maori and Pakeha artists such as Shane

Lot 54: Russell Clark, Picking Corn in the Hokianga, oil on board, 440 x 600mm. Estimate: SS0,000 - S100,000.

Cotton, Darryn George, Andrew McLeod, Michael Parekowhai and Peter Robinson, serves to highlight that Walters' Koru paintings can only be seen as positive and generative contributions to both Maori and Pakeha art and design.

put, of specttul

ar work ; closely llection. 1g Corn, ;old An

;h were irother! works

eloping jef that

••

erlined

Jgh its ;age of oday. o New hange

rat/ of 1

Lot 66: Charles Frederick Goldie, Co111place11cy: Portrait of Takarea Te He11 He11, oil on canvas, 345 x 300mm. Estimate: S 120,000 - S 160,000

Lot 52: Gordon Walters, St11dy for ReJJ'a, ink on paper, 760 x 570mm Estimate: $60,000 - S80,000

at his

1int1ng

IN FOCUS

APRI L 5

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PREVIEW

APRIL 5th

DIAMONDS Magnificent diamonds are a feature of the April 5th Jewellery offering. The current world-wide fashion for larger stones has

dollar softens, and demand escalates with the spending

steadily driven prices upwards on the international

power and consumer expectations of emerging middle-

market over the past 18 months because the availability

class wealth in China & India.

of larger stones is not so much a question of managed

Included in the offering are diamonds ranging in

supply, but more a function of the numbers of such

size from a spectacular 5.Sct down to let and below,

stones acrually produced by the mines.

with several in the 2-3ct range. Pre-sale estimates,

In New Zealand too fashion leaders are becoming

based on international wholesale prices, provide a real

more confident about displaying wealth, and that is

opportunity for purchasers to substantially extend the

reflected in the demand for other rare or valuable

buying power of their dollar. Illustrations (not actual

items such as expensive motorcars, boats and exclusive

size) Lot 311 5.53ct loose diamond, lot 312 loose

mansion-like properties as well as diamonds. The

l.73ct pear shaped diamond, lot 327 3.13ct solitaire

continuing relative strength of our dollar means that

ring, lot 329 ring set with a total of 6.48ct of diamonds

there will probably never be a better time than right

including the 2.86ct centre stone.

now to invest in diamonds. It is highly probable that

Christopher Devereaux

the furure will see an increase in diamond prices as our

Jewellery Consultant

APRIL 6th

MAORI

& PACIFIC ARTEFACTS

Collectors recognise the desirability of inspirational Maori

Edward VII in 1902. The stick illustrated here, comes

carving applied to innovative, non-traditional objects as

from an Australian vendor, and while it's provenance is

well as pieces replicating traditional heirlooms. Included

unknown it befits such a presentation.

in the artefacts section of the April 6th sale is this very

Careful detailed comparison to tokotoko and other carved

good example of a walking stick or tokotoko, carved in

objects enables us to confidently attribute this example

the manner of Jacob William Heberley (1849-1906).

to Herberly's hand. While he usually introduced some

There are only twenty-two known carvings documented

variation in the details of his carving, this stick is carved

as being the work of Jacob Heberley. Contemporary

with his typically interpreted male figure at the top with

records, photographs, the Heberley family oral history

stylized body and naturalistic head bearing male tattoo,

and institutional archival study have confirmed this small

and the eyes are inset with bone. The head extends into

number, despite our knowledge that he was a reasonably

a loop handle incised with kowhaiwhai pattern that unites

prolific carver for a considerable period (c.1869-1902).

the stick with a manaia head. The male figure stands

Many of Heberley's documented and attributed walking

above two bulbous mouthed manaia heads which in turn

sticks are catalogued in the Records of the Auckland

surmount zones of rauponga and kowhaiwhai pattern,

Institute and Museum (Vol 28, pgs 69-148, 1991,

interspersed by janus weku heads.

R. Neich).

The attractive dark brown patination is original, and

In the last quarter of the 19th century Maori woodcarving

although there is the loss of four pieces of paua shell

was increasingly seen as an appropriate gift to

inlay, the overall condition is excellent.

distinguished overseas visitors. Heberley, on commission from the government, carved numerous pieces as official

The Jacob Heberley attributed walking stick is Lot 400

gifts for presentation, including a walking stick for King

in this cata logue.

IN FOCUS

LOUIS ROEDERER CHAMPAGNE

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PREVIEW

April 3rd

FINE WINE

~) •o/.,.,.;"~

IQl\8

In the April 3rd 2006 Fine and Rare Wine Auction at Webb's, a very special lot will be offered. There is perhaps no more famous estate in Burgundy or France than Domaine De La Roma nee-Conti. The wines are superb, sell for exhorbitant prices and the limited supply is far exceeded by demand. DRC makes as few as 1,600 cases of some of its wines and on the international auction

Webb's have one virgin unopened twelve bottle case of Domaine

market they sell for amazirig prices. Howard G. Goldberg in the March

La Romanee Conti assorted wines including:

issue of Decanter magazine had this to say:

1 x 2000 DRC Roma nee Conti

"It's not the most expensive wine in the world, but at over USD$14,000

3 x 2000 DRC La Tache

a bottle it's still a world-beater. Setting a record for a case of wine at

2 x 2000 DRC Romanee Saint Vivan!

auction , six magnums of 1985 Roma nee-Conti fetched USD$170,375 at

2 x 2000 DRC Richebourg

Christie's on 2nd March in New York. That equa ls US$14, 198 per regular-

2 x 2000 DRC Grands Echezeaux

size bottle. Christie's had estimated the 1985 lot, bought by a European

2 x 2000 DRC Echezeaux

private customer, at US$60,000 - 80,000. The purchase price eclipsed the record US$136,275 record for six magnums of 1971 Romanee-Conti, Domaine de la Romanee-Conti , paid at an Acker Merrall & Condit auction

These will be sold as a single 12 bottle case lot. The wine has been perfectly cellared and is in top condition. This represents a rare opportunity. Estimate: NZ$15,000 - $19,000.

in January 2006."

MASTER OF WINE PAYS US A VISIT Auckland born and raised Sam Harrop at

young consuming market, is maturing quickly

thirty-four Is the youngest of the very few New

and consumers continue to look for more

Zealanders to have gained the status of Master

unique and select wines to satisfy their growing

of Wine. London based , Sam travels the world

curiosity. When taken together with the ever

as a wine consultant and is part owner of a small

improving quality of wines available, wine lovers

biodynamic winery in Southern France in the

will start cellaring wines to allow for ageing and to gain improvement in both quality and value.

foothills of the Pyrenees. the

Sam believes New Zealand consumers are crazy

international wine trade was further enhanced

to spend so much on a bottle of wine from a

with his appointment as one of the four chairman

wine shop and then immediately drink it when

Last year,

Sam

Harrop's

standing

of the International Wine Challenge, the world's

it has only just been bottled. Some of the best

largest and most important wine competition.

Cabernet based reds such as Te Mata have

The Challenge receives thousands of entries

already shown that they can continue to improve

every year and the judges, numbering almost

with age for ten to fifteen years which is very

five hundred , jet in from around the world to

exciting for the industry.

blind taste over 9000 bottles of wine.

Simon Mickleson concurs as he has already

Sam Harrop predicts a bright future for fine

witnessed this occurring in his wine auctions. He

wine auctions in New Zealand over coming

reminds us of the Balthazar of 1990 Colera ine

years as consumers become more adventurous

sold last year for $9,350 plus premium.

with improved understanding of the vast array

Sam Harrop has agreed to Simon's suggestion to

of wine styles that are available throughout

give a talk to Webb's wine lovers on the subject

He indicated that this is a natural

of collecting and cellaring wine during his next

the world.

progression as New Zealand , still a relatively

Above: Simon ~lickleson, left, Webb's wine consultant was only too happy to open a bottle of Awatea 1997 Cabernet to share a gla ss with Sam Harrop.

visit home. We can all look forward to that.

IN FOCUS

FINAL ENTRIES ARE NOW INVITED FOR THE MAY 16th Al ART SALE

Works by Martin Poppelwell, Seraphine Pick, Robin White and Roger Mortimer to feature in the May A2 Art catalogue.

Not only is Webb's New Zea land's premier auctioneer of

value of between $500 and $5000. Webb's hold four

high value paintings and art works, but our A2 specialist

annual A2 art sales. To discuss the inclusion of any works

catalogued art sa les are the finest veh icle for the sale of

you might be thinking of selling, email Jessica Pearless:

New Zealand and foreign art works with an estimated

jpearless@webbs.co.nz or telephone : (09) 529 5609.

Webb's offer New Zealand's only comprehensive (NZPI) Property Institute certified valuation service for the fine and decorative arts. Whilst Webb's dedicated valuation department performs valuations for New Zealand's largest and most important public and private collections, no valuation is too small. Recent valuations undertaken include: >

University of Auckland

Te Papa Tongarewa

Auckland Art Gallery Toi o Tamaki

The South Waikato District Council

The Northland Regional Council

The Rodney District Cuuncil

Gavett-Brewster Art Gallery

Webb's are pie diverse private

The sale 1ncluc Tin plate, Tram Sets. This ama

days on Mond,

To discuss having your items or collection formally valued for insurance indemnity purposes contact James Parkinson on: (09) 524 6804 or 0274 867 265.

Viewing will be

9th July Acat

Forfurtherdet,

on jhogan@wel

Pictured: The University of Auckland has built over the last forty years, one of the country's finest institutional collections of New Zealand contemporary art. James Parkinson and Ben Plumbly are shown here carrying out a recent re-valuation of the entire collection of 620 works.

FORTHCOMING

:T SALE

TWENTIETH CENTURY DESIGN

More Modern in 2006 Due to the ongoing and evolving success of Webb's Twentieth Century Design sales , a section of the June Decorative arts catalogue will be devoted to Twentieth Century Design . The insatiable appetite of this market means that the annual November sale is no longer sufficient in itself to satisfy demand. Several key

pieces have already been

consigned

including: a Charles and Ray Eames lounge chair and matching ottoman (est : $5000 $8000) , a superb 1960s Scandinavian teak

'-lay A2 Art ca

desk designed by Torben Strangaard (est: $2000 - $3000) and a George Nelson side table (est : $650 - $850) - all illustrated left.

Xl. Webb's hold lo,· inclusion of any m

To discuss the consignment of entries into

mail Jessica Pearless

this buoyant sale category email James

09) 529 5601

Parkinson on : jparkinson@webbs . co . nz or telephone : (09) 524 6804 .

(NZPI) Property and decorat1vearti pertorms valial

ubl1c and private

IO¥ S • ll To be held 10th and 11th July 2006 Webb's are pleased to announce the sale of one of the largest and most diverse private collections of toys to be offered to the market in many years . The sale includes Die-cast, Dinky, Corgi, Matchbox, Tin plate, Trains, General Toys and Plastic Vintage Kit Sets. This amazing sa le will be held over two days on Monday 10th and Tuesday 11th of July. Viewing will be Friday 7th, Saturday 8th and Sunday

ally valuedlor

9th July. A catalogue will be available in early June.

arkinson on:

For further details please conlact James Hogan on jhogan@webbs .co.nz or (09) 524 6804.

er the tastlor!Jlfa ol New zeala d

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NEARL BSTRACT A Survey Exhibition of Selected Dreamings by Aboriginal Women from Kiwirrkura, Utopia and Ramingining Communities. Co-curated by Dick Bett (former director of Gavett - Brewster Art Gallery) and Ben Plumbly.

May 26th - June 9th 2006 Opening preview: Friday, May 26th 6.00pm

FORTHCOMING

TERRY STRINGER A LIFE IN SCULPTURE 28th August - 8th September

Left: An early portrait of Terry Stringer. Far left: Actress Jennifer Ward-Lealand and acclaimed writer Peter Wells.

Webb's

are

delighted

showing

when in 1971 as a highly promising young artist he

able to appreciate his large figurative bronzes in a charming rural setting.

exhibition of new sculpture by Terry Stringer that

was included in the Auckland Art Gallery's Young

will coincide with the artist's sixtieth birthday.

Contemporaries exhibition of that year, and then

By way of a thank you to all his admirers on his

The gallery's association with Terry Stringer goes

in 1975, he was given his first one man show at the

sixtieth birthday, and to celebrate the occasion of

back to 1978 when it commissioned an edition of twelve portrait bronzes entitled Portrait of

Lois White after a Self-Portrait of the Twenties. The edition quickly sold out at the pre-release price of $315.

Barry Lett Gallery in Auckland. Four years later,

his August exhibition, the artist has commissioned

he won the competition to design a sculpture for

a Nano Opera for performance at the opening.

Aotea Square in Auckland. His bronze fountain in

Composed by Jonathan Besser, with a libretto

the form of a craggy mountain became one of the

by Peter Wells, directed by and sta rring Jennifer

country's most widely recognized works of art. In

Ward-Lealand, Pygmalion and Galatea tells the

Now widely recognized as one of the finest

October 2000, Terry Stringer opened Zea!andia,

story of the joys and rewards of making sculpture.

practitioners of sculpture in this country, Terry

his own sculpture park forty minutes north of

The preview on Sunday, August 27th will be an

Stringer first came to the attention of art collectors

Auckland at Mahurangi West. Here visitors are

event to remember.

~ -~

, , ',

Treasures of the Orient On January 21st James Parkinson traveled to Beijing and Shan Xi province to select a consignment of Chinese antique furniture to be offered for sale as part of the Oriental Decorative arts sale to be held on May the 22nd. This sale will include Chinese, Mongolian and libetan antique furniture and decorators items as well as a collection of Satsuma and Neolithic Yangshao pottery.

To have items appraised for this sale please contact Ross Millar: rmillar@webbs.co.nz or James Parkinson: jparkinson@webbs.co.nz or phone Webb's on: (09) 524 6804

Above: Jaml's Parkinson 011 right enjoys a mt.:al wi1h

fril·rnls during his ( ~hina ,·isir in January.

Day 1

Fine New Zealand Paintings, Prints, Photography, Sculpture & Foreign Paintings Tuesday 4th April 6.30pm Lots

1 - 77

Fine New Zealand Paintings, Prints, Photography & Sculpture

Lots

78 - 99

The Gubbardheim Collection

Lots

100 - 148

Further Fine New Zealand Paintings, Prints, Photography & Sculpture

Lots

149 - 160

Foreign Paintings & Prints

6.00pm

8.00pm Preview

March

9.00am

5.30pm

March

9.00am

5.30pm

April

11.00am

3.00pm

April

11.00am

3.00pm

April

9.00am

5.30pm

April

9.00

12.00 noon

! ,,

j! till 12 noon only on day of sale.

Illustrated left: Gordon Walters, Study for Rewa, Lot 52.

>INE NEW llALAN[ & FOREIGN PAINTING. PRINTS & PHOTOGRAPH

Fine New Zealand Paintings, Prints , Photography & Sculpture E. Mervyn Taylor lane and Hine Ahu One wood engraving, edition of 40 title inscribed and signed 160 x 112mm $1,500 - $2,500

Richard Killeen Insects and Triangles acrylic on paper signed and dated 7.2.80 570 x 392mm $3,500 - $4,500

Michael Parekowhai The Bosom of Abraham screenprinted vinyl on fluorescent light housing, 2004 1300 x 220 x 80mm $2,500 - $3,500

32 FINE NEW ZEALAND & FOREIGN PAINTING. PRINTS & PHOTOGRAPHS

Jre

:::'::::

Peter Robinson

Stop Making Cents screenprint on canvas, edition of 3 Warwick Henderson Gallery label affixed verso 1215 x 910mm

ttUJ:i:l~l!

.:.:----~

•

Red Window vinyl on perspex, fluorescent light tubes, 1997 745 x 745mm $8,000 - $12,000

-- .:.::::~ ~

Jim Speers

-4·-

----:::

-r;~:.> -

-=-=

% 0

$2,000 - $3,000

J:~

.::~

,,-

...

..r--:. ,. _i

•

-~~

ili

Ralph Hotere Espana lithograph 3/22 title inscri bed, signed and dated '96 765 x 570mm $5,000 - $8,000

Walter Wright Maori Figures at Riverside gouache on pa per signed and dated '16 215 x 310mm $2,500 - $3,500

f'NE NEW ZEALAND & FOREIGN PAINTING. PRINTS & PHOTOGRAPH'

Robert Ellis Maungawhau - Mt Eden watercolour and ink on paper signed and dated 2000 500 x 570mm

$2,500 - $3,500

John Reynolds Wound VII mixed med ia on hessian title inscribed; signed and dated 1988 verso 280 x 275mm

$1 ,000 - $2,000

Vera Cummings Mohi oi l on canvas title inscribed and signed; title inscribed, signed and inscribed No. 19- Fighting Chief on original H. Fisher & Son Gallery label affixed verso 242 x 192mm

$3,500 - $4,500

Michael Parekowhai Larry Vickers c-type print, edition of 10 original Michael Lett Gallery label affixed verso 530 x 435mm Il lustrated: inside back cover of this cata logue

$3,000 - $4,000

34 FINE NEW ZEALAND & FOREIGN PAINTING. PRINTS & PHOTOGRAPHS

Ralph Hotere

Red lithograph 3/20 title inscribed, signed and dated '97 765 x 570mm $5,000 - $8,000

Robin White Allan 's Beach screenprint 28/60 title inscribed, signed and dated '77 870 x 600mm Illustrated: Alister Taylor (ed), Robin White.New Zealand Painter (Martinborough, 1981), p. 111 $4,000 - $6,000

Robin White Mabel Mitchell's Place, Waiotemarama, Hokianga screenprint 25/45 title inscribed, signed and dated July 1977 685 x 450mm Illustrated: Alister Taylor (ed), Robin White.New Zealand Painter (Martinborough, 1981), p. 112 $3,000 - $4,000

FINE NEW ZEALAND & FOREIGN PAINTING. PRINTS & PHOTOGRAPHS

Peter Peryer Poplars silver gelatin print title inscribed and signed verso and inscribed Taken at Bethlehem, Bay of Plenty July 1990 378 x247mm

$2,000 - $3,000

Peter Peryer Seeing silver gelatin print title inscribed, signed and dated 27th August '89 270 x 415mm Illustrated, Gregory Burke and Peter Weiermair (eds), Second Nature, Peter Peryer, Photographer, New Zealand (Wellington , 1995), pp.89-90

$2,500 - $3,500

Peter Peryer AStudy in Random silver gelatin print title inscribed, signed and dated 1983 verso 190 x 285mm Illustrated, Erika Parkinson (ed), Peter Peryer Photography(Wanganui , 1985), p. 10

$2,000 - $3,000

Pat Hanly End of the Golden Age screenprint 26/50 title inscribed , signed and dated '81 and inscribed The Tour Division 450 x 600mm

$3,000 - $4,000 11

36 FINE NEW ZEALAND & FOREIGN PAINTING. PRINTS & PHOTOGRAPHS

'fl

Richard Lewer

The Prozac Kid mixed media on aluminium signed 'From R. Lewer' and inscribed The Prozac Kid has a new hairdo and shirt, he will be alright 1145 x 1145mm $4,000 - $6,000

John Weeks Maori Motifs oil on board certificate of authenticity signed by Hilda O'Connor and Allan Swinton affixed verso 430 x 305mm $5,000 - $8,000

Mervyn Williams Little Oracle oil on canvas title inscribed , signed and dated '02 verso 505 x405mm $4,000 - $6,000

22 Peter Robinson The Adventurers and Discoveries of Robinson screenprint on linen , edition of 7 signed lower left and lower right 780 x 1088mm $3,000 - $5,000

FINE NEW l'AL~NO & FOREIGN PAINTING. PRINTS & PHOTOGRAPHS

Peter Robinson Bahn Bahn Bahn der Autobahn ink on paper signed and dated '99 645 x 495mm $1,800 - $2,800

Dick Frizzell Pascoid Tiki lithograph 16/50 title inscribed, signed and dated '98 410 x 390mm $1,000 - $2,000

25 24

Ralph Hotere Blue lithograph 19/24 title inscribed, signed and dated 1998 575 x 640mm $3,500 - $5,000

Stanley Palmer Houpoto II oi l on linen signed and dated '86; title inscribed verso 735 x 735mm $3,500 - $4,500

38 FINE NEW ZEALAND & FOREIGN PAINTING, PRINTS & PHOTOGRAPHS

J.S Parker

The Good Weather - February Evening acrylic on paper title inscribed, signed and dated 2003 1200 x 790mm $4,000 - $6,000

Nigel Brown Dog Food (The Brick Courtyard) oil on boord signed and dated '79; titl e inscribed, signed and dated verso 407 x 340mm $2,5DO - $3,50D

Michael Stevenson Department Store: At Night oil on board signed and dated 31.7.88; title inscribed and dated 31 July 1988 verso 760 x 840mm $8,000 - $12,000

Michael Stevenson was born in 1964 in Inglewood, New Zealand and stud ied at the Elam School of Fine Arts in Auckland , graduating in 1986. From 1987 to 1993 he lived in Palmerston North, where this work was painted. Stevenson is one of New Zealand's most successful artists working in the international art arena , having held artist residencies in New York and Berlin; he represented New Zealand in the 2002 Biennale of Sydney and was a finalist in the 1997 Seppelt Contemporary Art Prize, Sydney, Australia and the inaugural 2002 Walters Prize. His work This is Trekka represented New Zealand at the 2003 Venice Biennale. Stevenson began his career with paintings of sma ll town and provincial New Zealand which he depicted in a mood of affectionate irony. Th is example depicts a since-demolished department store at night in Palmerston North. Painted in 1989, it was first exhibited at the Southern Cross Gal lery, Wellington , and then included in an important touring exhibition, Constructed Intimacies, the Inaugural Moet and Chandon Art Foundation Touring Exhibition , 1989. It is one of the very best of his early paintings, and a fine example of regional realism.

FINE NEW ZEALAND & FOREIGN PAINTING. PRINTS & PHOTOGRAPHS

Don Binney Pied Shag at Devonport Ferry acrylic and gouache on paper signed and dated 1969; John Leech gal lery label affixed verso 345 x 230mm Provenance: private col lection, Dunedin

$8,000 - $14,000

Michael Smither Fishes oil on board signed with artist's initials M.D.S and dated '00 354 x 740mm

$10,000 - $15,000

40 FINE NEW ZEALAND & FOREIGN PAINTING. PRINTS & PHOTOGRAPHS

Peter Robinson

The Queen is Dead Long Live ... oil stick and acrylic on paper title inscribed and signed 900 x 1130mm

$8,000 - $12,000

Ralph Hotere Abstract with Cross lithograph drawing signed and dated '96 and inscribed Litho Drawing 760 x 560mm

$14,000 - $20,000

Kingsley Baird Portrait of the Maori Prophet Rua Kenana cast bronze, brass and wood 1/3 signed and dated 1990 and inscribed Kotahi Te Ture Nga /wi ERua Maungapohatu 375 x 348mm

$1,500 - $3,000

FINE NEW ZEALAND & FOREIGN PAINTING. PRINTS & PHOTOGRAPHS

Mary McIntyre

In 1966 Mary McIntyre attended a 10 day summer school art course for

Death and the Maiden oil on 100 mounted panels individua l titles inscribed on each; signed and dated 2002 1500 x 1500mm overall Illustrated (detail), Claire Fin layson, This Thing in the Mirror: Self Portraits by New Zealand Artists (Nelson, 2004), p. 63 Illustrated (detail): Elizabeth Caughey and John Gow, Contemporary New Zealand Art 4 (Auckland 2005), p. 15

beginners under the tutelage of Colin McCahon. Entering his orbit and

sense of humour to play. These works demonstrate the gift she has in

$15,000 - $20,000

abundance, the ability to achieve a likeness.

experiencing his common-sense approach to art was, in her words, 'like my hand fitting into a glove'. It was to become her first step along a path which she feels was partially pre-ordained for her life. McIntyre has painted portraits of herself, artist friends, well-known New Zealanders and members of her family, sometimes as seated models but often as participants in other tableaux in which she allows her irreverent

Extract taken from, Elizabeth Caughey and John Gow, Contemporary New Zealand Art 4 (Auckland, 2005) , pp 12-13.

42 FINE NEW ZEALAND & FOREIGN PAINTING, PRINTS & PHOTOGRAPHS

Gretchen Albrecht

John Walsh

Maze acrylic on ca nvas signed and dated '84 verso; title inscribed, signed and dated on label affixed verso 1250 x 2500mm

The Fixer oi l on board title inscribed, signed and dated 2003 verso 1190x 1190mm

$12,000 - $18,000

$18,000 - $26,000

irse for iit and

s, 'like

a path New els but !verent has in

ryNew

FINE NEW ZEALAND & FOREIGN PAINTING, PRINTS & PHOTOGRAPHS

ll Bill Har

casioand oilonboa1 titleinscri andinscri againi/1 BilfhdaY/

J05x510 111,000-

Moll(OMANIA

lS A l'itfP-EQ!AIStTf OF SI.ICCE:,.S

John Reynolds X. I. T oil stick on varn ished boa rd signed and dated 2002; title inscribed, signed and dated 2002 verso 2400 x 1200mm $12,000 - $18,000

John Walsh Mr Tui Claiming Banksia in Lyall Bay oi l on board title inscribed, signed and dated June 27 2003 1200 x 650mm

$11 ,000- $16,000

James F. Robinson Chch mixed med ia on canvas 930 x 870mm

$5,000 - $7,000

44 FINE NEW ZEALAND & FOREIGN PAINTING, PRINTS & PHOTOGRAPHS

ll Bill Ha

Meantim1 ac~icon titleinsc1 anddate1

505xl61 IJo,ooo

Bill Hammond Casio and Shacklock oil on board with collage element title inscribed, signed and dated 1983 and inscribed /'// meet you in heaven again if you wear that dress again. Birthday party 305 x 520mm $25,000 - $35,000

Bill Hammond Meantime - Organ Donor Swappa Crate 3 acrylic on paper title inscribed, signed and dated 1989 505 x 1600mm $30,000 - $40,000

FINE NEW ZEALAND & FOREIGN PAINTING, PRINTS & PHOTOGRAPHS

Allen Maddox Old Tent Transvestite oi l on canvas title inscribed , signed with artist's initials AM and dated 1.79 1220 x 1220mm Provena nce: purchased by the current owner from Denis Cohn gallery in 1979

$22,000 - $30,000

46 FINE NEW ZEALAND & FOREIGN PAINTING, PRINTS & PHOTOGRAPHS

Toss Woollaston Portrait of Gregory Lucas oi l on board signed and dated; title inscribed, signed and dated '68 verso and inscri bed 379 775 x 660mm $15,000 - $20,000

Peter McIntyre The Ballerina oi l on board signed 565 x 443mm $15,000 - $20,000

Terry Stringer Mask mixed media signed and dated '86 200 x 150mm $1 ,500 - $2,000

FINE NEW ZEALAND & FOREIGN PAINTING, PRINTS & PHOTOGRAPHS

Barry Lett Gallery 'Multiples' Complete set of twelve screenprints: Don Binney Pacific Frigate Bird 560 x 460mm Robert Ellis Motorways 560 x 460mm Pat Hanly Inside the Garden 430 x 510mm

- ..---

-.-..-..--.----.-.. -.--.--- --

Ralph Hotere Red on Black 560 x 460mm I I

~--------

Michael Illingworth Tawera 440 x 460mm Colin McCahon North Otago Landscape 560 x 460mm Milan Mrkusich Passive Element 560 x 330mm Ross Ritchie Three 430mm diameter Michael Smither Wave Invad ing Rock Pool 560 x 460mm Gordon Walters Tawa 535 x 650mm MT Woollaston Patrick Lucas 460 x 560mm Mervyn Williams Midas Finds His Soul 560 x 460mm

$8,000 - $12,000

48 FINE NEW ZEALAND & FOREIGN PAINTING. PRINTS & PHOTOGRAPHS

es' S:

Leo Bensemann Folk Tale - Did Rumpelstilzchen oil on board signed ; title inscribed, signed and dated 1981 on original artist's label affixed verso 740 x 625mm Ill ustrated : Caroline Otto, Leo Bensemann: Portraits, Masks and Fantasy Figures (Ni ka u press, 2005), p. 120 $10,000 - $15,000

Leo Bensemann Portrait of the Rhineland Brigand: Schinder Hannes oil on board signed and dated '80; title inscribed, signed and dated 1980 on original artist's label affixed verso 510 x 410mm Exhibited: Brook Gifford Gallery 1981 Illustrated: Dr. Curt Elwenspoek, leiten und Schicksale, Schinderhannes, £in rheinischer Rebell (1953), frontisp iece Reference, Caroline Otto, Leo Bensemann: Portraits, Masks and Fantasy Figures (Nikau Press, 2005) , p. 116 $10,000 - $15,000

FINE NEW ZEALAND & FOREIGN PAINTING. PRINTS & PHOTOGRAPHS

Tony Fomison I Runga i te Pa; I runga I le Urrupa; he Karanga mote po; he Karanga mo Hine nui o te Po (On the pa, on the graveyard, a call for the night, a call for Hine-nuio-te Po) oil on canvas on board title inscribed , signed and dated '84 and inscribed Started late August in Christchurch on artist's original label affixed verso; Janne Land Gallery label affixed verso 297 x 400mm $22,000 - $28,000

Tony Fomison

Of the Neo-Expressionist painters, Tony Fomison evolved the darkest and most troubling

Untitled No. 186 oil on canvas, c. 1977 inscribed #186; inscribed #186verso and #38 on original Dowse Art Gallery label affixed verso 465 x 425mm Provenance: Private collection of artist Jeffrey Harris Provenance: Private collection, Wellington Exhibited: Tony Fomison, A Survey 1961 - 1979 (Dowse Art Gallery) Reference: Ian Wedde (ed), Fomison - What Shall we Tell Them (Wellington, 1994), p. 175 Catalogue no. 543

imagery. Early on, through his study of Maori rock drawing for the Canterbury Museum ,

$50,000 - $70,000

Fomison developed an awareness of Maori and Polynesian culture. It is possible to find the influence of Maori spiritual values and beliefs in his art as well as specific motifs. The stance adopted by Fomison was very much that of the artist as outsider who speaks for the oppressed. He was a social critic whose imagery dealt with issues such as race relations, the devaluation of non-European cultures and the effects of materialism. Although Fomison made a close study of European old master painters such as Goya and Holbein , his vision is not derivative of any one source. The dark palette he preferred , close to monochrome and always fi lled with an oppressive amount of darkness, relates to the 'Black Paintings' of Goya as well as Ca ravaggio in his late phase. As in their paintings, it carries a somewhat pessimistic symbolism of a world weighted towards evil and darkness rather than spiritual va lues and lightness ... The very intensity of Fomison's alternative lifestyle, with it's emphasis on freedom from convention, indulgence in drink and drugs, fu lfils the Expressionist myth of the artist. It is a myth that, as with Clairmont, ensured that Fom ison was never short of patrons among precisely the bourgeois society he rejected. Fomison developed his painting almost exclusively within the New Zealand context. Apart from the years 1963-1967, when he was in Europe on an Arts Council grant, he painted and evolved his style in Christchurch, and after 1973, in Auckland. Michael Dunn , A Concise History of New Zealand Painting (David Bateman Craftsman house, 1991 ),

pp 128-132.

50 FINE NEW ZEALAND & FOREIGN PAINTING. PRINTS & PHOTOGRAPHS

son l;lrungalteUrruia:i! po;he Karanga moHine 1thepa,onllie grm1a~ 1igh~ acalllorHiie-n1board signed and dateo•i-i lfar/ed late August nartist'soriginallaiel anne land Galleijlat:'

000

dmost troubling bury Museum, ossible to find the cmotifs. der who speaks' ch as race rear "S AlthOugh Fom SO' olbein. his v1s10 monochrome and ' Paintings' of Goya somewhat pess1m1s' iritual values and nphasis on freed

myth of the ar. st of patrons amC'i

dcontext Apari inted aid ant. hepa

nan house. 1991

FINE NEW ZEAIAND & F REIGN PAINTING. PRINT5 & PHOTOGRAPHS

Gordon Walters Study for Rewa

Gordon Walters' Study for Rewa must be one of the artist's most alarmingly simple and, as a result, effective Koru designs. Walters' Koru paintings were first exhibited in 1966 at Auckland's New

ink on paper title inscribed, signed and dated '8 1 and dated 10.04.81

Vision Gal lery. By the time this example was painted - some 15 years later - they had reached their most accompl ished and sophisticated stage. In an oft-quoted and lucid remark, the artist

760 x 570m m

was to comment of his art: "My work is an investigation of positive/negative relationships within a

Illustrated : page 30 of thi s catalogue

deliberately limited range of forms..

$60,000 - $80,000

by the repetition of a few simple elements". Study for Rewa stands as a clear visual testament to

I believe that dynamic relations are most clearly expressed

this precept That Walters was able to extrapolate and explore so many formal possibilities through his 'deliberately limited range of forms' - the line and circle, essentially - is highlighted through a comparison of this work with the Genealogy paintings, painted roughly ten years previous. The Genealogy paintings appear like shimmering monuments to the Op Art movement - optically re lentless, charged, schizophrenic paintings. In contrast to this body of work Study for Rewa represents an altogether calmer and more restrained visual language. Further paintings such as Apu (1980) and Aranui (1982) reinforce the theory of an artist entering a refined and more austere phase. Recent exhibitions such as Gordon Walters.- Prints and Design, have served to high light the centrality of the paper medium to Walters praxis. The prepatory works lay bare, in a way that his fully rea lized paintings do not, the fastidious and method ical way that the artist worked. The just visible ruled pencil lines and compass pricks - Walters abandoned free-hand painting in his Koru works as early as 1961 - are physica l testimonies to the artist's unflinching exactitude. It is the alternating bands of black and white which predominate in Study for Rewa. The harmonious interplay in wh ich neither predominates over the other serves as a prime example of the recent reappra isal of the Koru paintings as idealist bi-cu ltu ral allegories. In Study for Rewa it is the meeting of the two white bulbs in the top left, and the black bulb and enclosed circle in the bottom right - the latter acting as an unequivocal visual stop - which serve to make the painting an overwhelming and coherent visual success. If the aforementioned recent tou ring exhibition served as a reminder that it was in comme rcial art which Wa lte rs had his earl iest tra ini ng, then this work further reinforces this with its abandonment of chance, texture and brushstrokes so as there is little to distract from the homogeneity of the overall design. Walters' Koru series are among the most important body of art works produced in this country. This is due, in no small part, to the unprecedented and generative melding of traditional Maori and Melanesian art with the European and American high modernism as exemplified by figures such as Mondrian and Frank Stella.

Ben Plumbly

52 FINE NEW ZEALAND & FOREIGN PAINTING. PRINTS & PHOTOGRAPHS

rnple and, asa res: 6 at Auckla'a s,e r - they had •ca:· c1d rema•i •·,,· rela11onsh 1ps w••. 1os1 clearly exc•~ ar visual tesiame-- ..

sibilities through• 1ighlighted throcg" a years previous \ novernent - w~ NOrk Stuoy for R, • 1rther pain' ngs s•.

l arefined and ~"'

ed to highlighl ": bare, in away•,,: 1e artist workeo. ·,. -hand painung •'. :hing exact,rude. • ·

iwa. The harrnor u xample of tne ·ec,..

and the black b,,

Ivisual stop- wh, the aforemenlor,: ihich Waite~ hao '! •chance, texture a-: era II design. Wa ie~ this country. Tn 5' aditional Maon ar· lilied by figures s,c·

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Colin McCahon

The Calling of a Christian is one of a series of works completed in 1969, each with verses taken

The Calling of a Christian water-based crayon and wash on wallpaper stock title inscribed, signed and dated 18.6.69 and inscribed / Peter 3; signed and dated 1969 and inscribed Whoever Loves Life 1570 x 552mm Reference, Colin McGahan database CM000480 (www.mccahon.co.nz) Exh ibited: Barry Lett Gal lery, October 1969 Provenance, collection of Kim Wright, one of the founding directors of Barry Lett Gallery Provenance: private collection, Auckland

from the Chapter of Peter. The words from the New English Bible have been mined for their

$50,000 - $70,000

jewels and in The Calling of a Christian the message is a simple and beautiful one: 'whoever loves life and would see good days must seek peace and pursue it'. This was not necessarily the calling of a Christian in a religious sense but a call to fellow humankind from a humanist. The words echo some of McCahon's concerns from the early 196O's when the threat of nuclear holocaust loomed large on the horizon. Opposed to nuclear weapons and concerned about the increasing tensions that would eventually lead to the Cuban missile crisis, McCahon joined the New Zealand Campaign for Nuclear Disarmament in 1961 and around the same time began work on his Gate series of paintings. In the formal arrangements of these works, planes or gates were used as spatial structures, toying with the flatness of the picture plane and suggesting movement and depth - planes for the eye to move in or out of, like gates opening or closing. In the upper part of The Calling of a Christian McCahon uses such a gate which hovers above a horizon line like a dark and oblique sun. A spiritual and a spatial symbol the gate offers both entrance and exit, a passage through the painting while the words - more directly - offer a passage of meaning. Though ii deploys some of the elements of his earlier Gate series, The Calling of a Christian is a part of a series that McCahon called 'Practical Religion'. In these works it was the written word, simple and democratic, that McCahon hoped would prove prophetic. In his artist statement for the Manawatu Art Gallery's Centenary Collection Contemporary New Zealand Painting 1971 McCahon wrote: 'Most of my work has been aimed at relating man to man and man to his world, to an acceptance of the very beautiful and terrible mysteries that we are part of. I aim at very direct statement and ask for a simple and direct response, any other way the message gets lost.' Like the more expansive paintings from the Practical Religion series such as Victory over Death 2 (1970) in which doubt and faith, and light and dark duel with the written word as both sword and armour, McCahon's own doubt in the world's future and his lasting faith in humanity are also at the crux of The Calling of a Christian. But if we are to love life and lead a fulfilled one the artist offers us only the imperative: we must surely seek peace and pursue ii.

Pennie Hunt

54 FINE NEW ZEAlAND & FOREIGN PAINTING PRINh & PHOTOGRAPHS

1th verses ta,e, nmined for me

ful one: whee,,,

ta ca to',, 1s from lheear 1 !posed lo nuclear Jally lead to the :ar Oisarmame,1

1gs. In the 'orma ures. toy1rg i •• 1es formee1e::

1ng of aChnsi ,, doblique sun A ,age lhrough lhe

of aChnst1an is a the written worn. tist stalemenl ior 1d Painti1g 197:

and man 10 °s 3re pan of a• Nay the message

'ictory over Death 1rd as both sll\lfd

in humanifyare

ad afuifi"e<I ore 1e it

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Russell Clark Picking Corn in the Hokianga oil on board signed and dated 1951

440 x 600mm Provenance: private collection, Christchurch since its original purchase directly from the artist in 1951 Illustrated: Cover of this catalogue

$80,000 - $100,000

Among Russell Clark's most distinctive and important works are his paintings and sculptures of Maori subjects made in the late 1940s and early 1950s. Though based in Christchurch at the period, Clark travelled to Northland and the Urewera on a number of occasions by car making sketches in pen and wash that he later used for illustrations and paintings of Maori life. On one occasion in January 1951 he visited fellow artist Eric Lee-Johnson, then living in the Hokianga district, and it was on this trip that the subjects for Picking Corn in the Hokianga and related images such as Hokianga Crossroads (Fletcher collection) originated. Lee-Johnson later recalled in his memoirs: 'When Russell came to stay for a week or two in 1951 , I was able to introduce him to some of the highlights of the Hokianga scene.' The strong effect of light and colour in Picking Corn in the Hokianga captures the heat glare of a mid-summer's day. Clark painted the finished works back in his Christchurch studio working up his sketches of figures and landscape into compositions based on everyday life in the region. Because of his practised skills as a draftsman of the human figure and one used to illustrating scenes of modern life, Clark was able to bring to his works an accomplished narrative dimension rarely found in other New Zealand painters. Today his paintings provide a memorable record of Maori lifestyle in a then remote and provincial part of the cou ntry. For example, Hokianga Crossroads shows a characteri stic group of Maori waiting by a cream-stand for the bus to arrive - the bus carried passengers but also mail and newspapers and was a lifeline for the isolated rural community. That painting is set in much the same landscape as Picking Corn in the Hokianga and includes the cornfield and houses as well as the volcariic hills. The pyramidshaped hill in the background of both works, known as Tamaka, was a landmark near Lee-Johnson's house at the northern entrance to the Waiotemarama - Pakanae Gorge. The group of figures in the two paintings seems to have been based on some of the same models. It was typical for Clark to work in a series at this time, as occurs with his well-known Cabbage Tree paintings. Lee-Johnson refers to Maori community gardening on the river flats at that period noting: 'Succession planting did not come into it and the sweet corn would all ripen at once. For two or so weeks there would be a wonderful glut, until the cobs hardened to the point where only powerful Maori jaws could cope with them.' A friend and patron of Clark Dr. W.B. Sutch wrote perceptively about Clark's Maori paintings for the Listener in 1954: 'Here is no sentimentalised tourist view of the Maori. Here certainly is the fun and the animated talk on the marae, but there is also the sombre resignation, the dignity of the women and the social strain put upon the Maori race by the white man's alleged civilisation. If Russell Clark's only contribution had been his Maori studies, he would have been known in the history of New Zealand art as the man who gave us eyes to see the Maori .' Sutch makes the important point that these images document a time of social change, of the passing of a way of life and set of values, and the shift of young people to the cities. Clark shows effectively the closeness of Maori to the land and the importance of the family working together harvesting the crop of corn. This is a lifestyle of simplicity and poverty but one embodying social values that Clark sympathised with and respected. He drew some of his inspiration from the comparable paintings of the Australian Aboriginals by Russell Drysdale, but translated them into a New Zealand setting. The painting is still in its original frame made by the artist.

Michael Dunn

56 FINE NEW ZEALAND & FOREIGN PAINTING. PRINTS & PHOTOGRAPHS

I sculptures of Mac,,

1at the fEflXl,ll,,,

sketches in i;en ,. ,ion in Janua~ 1951 1d it was oo ~~ tr·

iokianga Crossrooas

1en Russell came t 5hts ol the Hok0nga otures the heatglar,

; sketches of fig1:es if his practisedsk life, ClarkwasaG>: ew Zealand painters

eand prOV1nc01 pt if Maori waiting~ a ewspafErS and w:i< andSCilfE as P(k ·i Chills. The wa~ .

I near lee-Joo~'

ioffiguresintrer for Clark to wor1i ' inson refers to Ma~

l did not come into · wonderful glut, un" ~em' iori paintings f0< &,

id the anim0ted ~ • and the social strr inly contribution haa Jart as the m0ni~

iange, of the pas,ri 3rk shO\l'.i effecliiei ,ether harvest,ng •, ;ial values ihal c~~ iparable !)'lrnnng; Zealand seWng Tr,

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Colin McCahon Northland oil on canvas on board signed and dated 30/8/62 1120 x 885mm Provenance: from the collection of the late Bob and Noeline Chapman, purchased Barry Lett Gallery in 1964/1965

$200,000 - $300,000

In late 1962, after completing his highly abstract Gate series, McCahon returned to landscape painting seeking greater accessibility for his works which he felt were becoming too difficult for people to understand. The Northland paintings, of which the work under discussion is a characteristic and fine example, were the outcome. They relate back to an extensive series of Northland drawings McCahon had made a few years before and to the famous Northland Panels of 1958. In fact, one Northland panel inscribed with the words 'A landscape with too few lovers' is sometimes seen as a forerunner for these paintings because it contains the same compositiona l elements such as the segmenta l hill form to the right. However, comparatively the artist pares everything down further to a few elemental forms of sky, sea and land and uses a restrained palette with more subtle and subdued colouring. Technically, too, the Northland pa intings are different. The paintings have a thin washed application of pigment that seems to stain the surface of the canvas rather than overlay it with opaque brushstrokes. McCahon described the paintings as made on 'unsized canvas. The canvas was made sopping wet and on this oil paint was used, but only after most of the oil had been soaked out first by putting it on paper. This gives a very matt finish to the final painting, but it has to be done very qu ickly. The technique also allows a great deal of freedom.' The result is a distinctive somewhat mottled surface al lowing him to achieve a surface comparable to the 'gritty' effect he liked in his Northland drawings. Although easily comprehended, the landscape forms have been reduced to almost symbolic status and deal hardly, if at all, with specific places. They stand for his response to North land rather than for any identifiable location and this response was emotional and deeply felt. He once said: 'The real Far North of New Zealand is unlike any other part of the land. I can't talk about it, I love it too much ... Up the re is like standing on the moon. Way down below is the sea and the edge of the world.' This helps account for the personal language of muted and subtle colours of ochre, blue and grey which are powerful ly evocative and melancholic. McCahon does not depict the tourist's experience of Northland but rather evokes the feel of the land as shown in typical but unspectacular parts. This contrasts with the panoramic landscapes favoured by Ke lliher Prize landscapists or the more illustrative depictions of Northland by Eric Lee-Johnson. Yet the paintings remain very accessible and led on to his two monumenta l Landscape Theme and Variations series of the following year, now seen as a culmination of his work in th is genre. It is likely that his recent experience with painting abstract works with overtones of Malevich and Mondrian, who both favoured geometric forms, enabled him to arrive at a more reductive and austere kind of landscape imagery. This was to become his own language for representing New Zealand and some might say for inventing it. For today it is hard not to see the truth of what he saw and painted and to regard it as anything other than an important part of our cultural identity.

Michael Dunn

58 FINE NEW ZEALAND & FOREIGN PAINTING. PRINT'> & PHOTOGRAPHS

returned

1e felt were

is, of which 1e outcome.

1had made a one Northland etimes seen osrtional ative~ the aand land

ea thin mvas rather is oi' paint 1done very

sadistinctP/€

Ile to the ~to almost 1d for his jres~se WZealand is

... Up there of the world.' urs of ochre, on does not

if the land oramic • edepictions ;ible and led ~e follO'Mng JVertones of im toamve otiecome his 1venting it fo,r regard it as

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Colin McCahon AKauri Tree, Titirangi gouache and watercolour signed and dated November 2 '56 (partially obscured by mount) 665 x 540mm Provenance: from the collection of the late Bob and Noeline Chapman

$75,000 - $95,000

This lively and colourful study of a kauri tree belongs to a series McCahon made while he was living at French Bay, Titirangi, in the 1950s. The small wooden house he rented there was surrounded by native bush and young kauri trees encircled its outdoor deck. His Kauri series, like his other Titirangi works of the period, shows his response to a new environment after he had shifted from Christchurch to Auckland in 1953. At first he was very much taken by the different climate, by the constant rain, by the bright white clouds in the sky and the strength of the sunlight sparkling oft the wet vegetation. Under the circumstances it was natural for him to continue to paint landscape, as he had been doing in Christchurch, but inevitable that he shou ld move on stylistically. Contact with Auckland painters, like Louise Henderson who was knowledgeable about Cubism, helped him change his approach as did daily association with staff at the Auckland Art Gallery, such as the director Peter Tomory who became a friend and patron. While some of his first Titirangi landscapes are straightforward views of trees and houses, others, like this example, are more abstract and experimental. A Kauri Tree almost certainly dates to a later stage of the series, probably to 1957 when he was grappling with ideas derived from Cezanne, Braque and Analytical Cubism. He wrote of this phase: 'I came to grips with the Kauri and turned him in all his splendour into a symbol. There were lots of these - very uneven in quality.' Unlike some of the kauri imagery which shows recognisable tree trunks and branches this study is built up from closely bunched oval forms that interlock with one another and the surrounding sea and sky by the Cubist device of 'passage' caused by an opening in each form allowing 'a way through' to the next. All components take on roughly equal importance and traditional perspectival space is dispensed with. As with some other Titirangi paintings there is a feeling of sparkling light while the dominant blue strokes and washes of colour, recalling Cezanne, also give a South Pacific feel to the painting. The insistent repetition of the oval shapes gives movement and urgency to the work as well as suggesting wind and rain agitating the canopy of the tree. From other works in the Kauri series we know that the circular and oval shapes stand for foliage and stra ight shafts represent the tree trunks. The absence of tree trunks and branches in this study would indicate a view from above looking into the canopy of the tree rather than the customary viewpoint from ground level.

Michael Dunn

60 FINE NEW ZEAlANO &FOREIGN PAINTING. PRINTS &PHOTOGRAPHS

hon made'MI ie ouse he rented

1s outdoor deck response loa 1n 1953 Atfirst

n, by the lxight i wet vegeta · .

mdscape, as he ion st)iistica~. tedgeable atxxr. ith staff a lhe eafnend aoo

of trees and al. AKauri Tree

[. when he was lbism. He wrote ; splendour into k eofthe kaur, is bui up from ~rrounding sea lhformall0'/l1ng rportance and rangi paintings and washes of g. The insistent

brk as wel as irks in the Kaun 1straight shafts ris study wo1M 1the customa~

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Colin McCahon

This is one of a very small series of geometric abstract paintings entitled Koru made by Colin

Koru 3

McCahon in March-April 1962, a few years after he had moved to Partridge Street, Grey Lynn. In

oil on board title inscribed , signed and dated 1962; title inscribed, signed and inscribed JO Partridge St, Grey Lynn, Auckland, New Zealand. $500 verso

this little-known example the koru motif appears clearly in the upper left-hand corner and again

1210 x 805mm Provenance: from the collection of the late Bob and Noeline Chapman, purchased from the Ikon Gallery in

1962/1963 $350,000 - $450,000

indistinctly in the lower-right red area. Considering its marginal location in the painting the koru might seem too insignificant to be singled out in the title of the work. But its very appearance can be seen as marking an important shift for McCahon towards acknowledging Maori art in his work. We normally associate the introduction of the koru motif into modernist abstraction with Gordon Walters, McCahon's exact contemporary and it is worth noting in this context that McCahon purchased a koru drawing by Walters from his first show of those works at New Vision Gallery in 1966. That purchase suggests that McCahon saw the significance of Walters' achievement long before most other people did. The Walters show and his koru drawing post-date McCahon 's Koru 3 painting by several years. However, it is important to remember that Walters had been using the koru motif alongside geometric elements in his gouaches as early as the mid-1950s. But, Walters' gouaches were not exhibited at that time and it is more likely that McCahon saw his near neighbour Theo Schoon using the koru on his carved gourds and painted backdrops at his house in Home Street, Grey Lynn , a few blocks away. Schoon had been based at Home Street since 1956 and was a well-known figure whose gourd carvings featured in an article in the New Zealand Woman's Weekly in May 1962. Schoon later recalled McCahon visiting him at this period though the two were never friends and ultimately fell out. Interestingly both Schoon and McCahon preferred the organic Maori form of the koru in their art not the severely geometricised version drawn with ruler and compass associated with Walters. What McCahon is able to do by introducing the koru motif into this painting is to give a New Zealand identity to a work that derives from European abstraction. As an abstract motif, despite its traditional association with the unfurling fern-frond , the koru could be easily integrated into a relational composition with other flat, hard-edge forms. Essentially the main surface of the painting is divided into geometric forms, among them rectangles, triangles and segments. While there were a few painters in Auckland working in this manner, notably Mrkusich, McCahon derived his ideas and interest from reproductions of paintings by Malevich and Mondrian especially. In one painting of 1961 he acknowledged his debt to Mondrian in the title as well as in the imagery itself. Koru 3 along with the second Gate series reveals an emphasis on a flatter more conceptual kind of picture construction from which illusionistic space has been eliminated. In addition to the koru motif the red , black and white palette found in the painting referen ces traditional Maori art. Living in Grey Lynn in a strongly Maori and Polynesian commun ity McCahon became more aware of the bi-cultural nature of New Zealand society and increasingly introduced a Maori voice into his art by incorporating language as well as visual motifs. In Koru 3 he begins to address some of the issues raised by a bi-cultural society and to see ways for Maori and European cultures to enrich one another. This was an important work for McCahon but also for New Zealand painters as they sought to find a more inclusive bi-cultural identity than earlier nationalist agendas had allowed. Gordon Brown has pointed out also that the koru paintings were made when rehearsals for John Caselberg's 'Pakeha -Maori verse play' Duaterra King were taking place at the New Independent Theatre. McCahon was a close friend of Caselberg and a joint founder of the theatre.

Michael Dunn

62 FINE NEW ZEALAND & F REIGN PAINTINi., •~INTS & PHOTOGRAPHS

Koru made~~ Street, Grey lyn· nd cornera111ag; he painting the i:·. iery appearance r,, ~aori art in his Vllf~ traction with G«dc-

rtext that McCanco lew "1sion Ga e~ , s' achievement .,5 gby several yea·; oru motif aloogs:,

at McCahon saw hi ed backdrops al ni

sed at Home Stree: narticle in the Nei1ghim at this ~oo: hoon and McCalic:' ometricised ver~c,

1g is to give aNew ;tract motif, des~te ily integrated into a 1ace of the paint ng ts. While there~re in derived his !leas

ally. In one painting 1agery itself KCIU 3 itual kind of picture

:iainting references mmunity McCah(jl ¾]Singly introouced

, Koru 3he reg1rs

,ays for Maon aoo Cahon bu! also 10' Jentity than ean~r :oru paintings ~re a King were taking :eJberg and apnl

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Colin McCahon Gate oil on shaped board dated 1967 and inscribed /. N. R. I 780 x 630mm Provenance: from the collection of the late Bob and Noeline Chapman , purchased from the Ikon Gallery 1963/1964

$90,000 - $130,000

McCahon's Gate paintings were conceived after the artist had shifted from litirangi to Partridge Street, Grey Lynn. Their geometric forms have been related to the built-up urban environment that surrounded his inner-city house compared with the bush that was so dominant in litirangi on the city fringe where he had previously lived. McCahon himself wrote in 1972 that 'The compositions all come from a tree outside our bedroom window, and inner city roofs.' Of course, there was more to it than that and the abstract idiom used reflects his interest in Mondrian at the time and the challenges posed by his art. Thematically in the Gate series McCahon addresses the political situation caused by the Cold War and the massive build up of nuclear armaments by the United States and the Soviet Union. On a personal level he was trying to find a way through the difficulties posed by the situation and even joined the Campaign for Nuclear Disarmament. There are two Gate series, the first being a group of individual works painted in 1961 on hardboard with commercial paints such as Solpah. These works in the main are not word paintings and are painted in a limited monochrome palette. Many were not dated but preceded his exhibition at the Gallery, Symonds Street, Auckland, in August/September

1961. The second Gate series was conceived as a whole and involved collaboration with his friend the writer John Caselberg. It is more colourful than the first and is distinguished by its extensive use of text of an apocalyptic nature chosen from the Old Testament by Case Iberg. The current work is unusual in some respects combining as it does features of both series and may well have been painted early in 1962 shortly before he completed the second Gate series. It is distinctive partly because of its shaped format with the corners cut off, all at different angles. There are a few Gate paintings in a shaped format but these have curving tops and are quite unlike this example. McCahon was interested in the ways of making the imagery escape the limitations of the painting's edges, as Mondrian had done, by allowing the forms to be cut off and to imply movement into the picture space from outside. The shaped format further helps to break down the confine!'> of the picture space and give more movement and dynamism to the imagery. Unlike many paintings of the first series, this one is strongly coloured and includes a sonorous red and black combination that links it with the apocalyptic imagery of the second Gate series. In the background, behind the encroaching rectangles is a fearsome column rising from a nuclear explosion, expressive of cataclysmic destruction. This, too, is unusual in its graphic and explicit reference to nuclear war,whereas in most of the series this is referred to more obliquely. Finally the letters /.N.R.I. painted across the lower section of the painting refer to those placed on the cross at Christ's crucifixion. They stand for the words Jesus of Nazareth, King of the Jews, and here almost certainly suggest that Christian faith is our only hope in dealing with this dire predicament facing humanity. This Gate painting is a unique and remarkable work from one of McCahon's most important series.

Michael Dunn

64 FINE NEW ZEALAND & FOREIGN PAINTING. PRINTS & PHOTOGRAPHS

lted from Trtua~ to the buitt-up U!ll,i

he bush !hat was ~ cCahon hunself • lm windOII,aiiJ e ;t idiom used reflat

sart. Themaoc.1~ the Cold War aiiJ ~ eSoviet Unlil. l)i a ~ bythesituaoom

s painted in 1%1 oo

he main are rli m

, were oot dated txl in August/'3eplemre-

ved collalxiratioo wit

rand is d~tingu~ the 0~ Teslamenl ~

reatures of txxli se-6 ieted the~Ga/e corners cut off, al a· >ut these 113ve cumri

,e ways of rna~f€ It! had done, by alk!W€

3ce from outsile Ire icture space alil f ngsofthefirsl ~ connbinatiOO Iha! 1ekground, relWKI t,

~plosion, expres,rl: ~

;rr reference ID nltfl1 rally the letters 1.NR1 Lnthecrossa!Ctl6t5

eWS, and here alrr,:& this dire pr~carre"

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Gordon Walters Untitled gouache on paper signed and dated '87, dated 22-10-87 740 x 560mm

$15,000 - $20,000

Gordon Walters Rauponga Design gouache on paper signed and dated 7.2.74 and inscribed 10/25Cverso 240 x 310mm

$15,000 - $20,000

66 FINE NEW ZEAlAND & FOREIGN PAINTING. PRINTS & PHOTOGRAPHS

on Walters

Ralph Hotere Te Whiti: Shadowed Behind the Tatooed Face a Stranger Stands - he Who Owns the Earth - and he is White acrylic and ink on paper 568 x 393mm Reference: Gregory O'Brien, 'Ploughing: Ralph Hotere's "Te Whiti " Series', in Te Miringa Houaia, Gregory O'Brien and Lara Strongman (eds), Parihaka: The Art of Passive Resistance (Victoria University Press, 2001), pp. 148-153 Provenance: private collection, Dunedin $22,000 - $28,000

nga Design ieonpaper and dated /111 scnbedJOi2lC 1'~ 310mm

10-110,000

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Shane Cotton Good Tree, Bad Tree oil on canvas title inscribed, signed and dated 1999; signed and dated and inscribed Tree verso 280 x 350mm $12,000 - $18,000

Shane Cotton Tableau oil on canvas signed and dated '97; title inscribed , signed and dated verso 350 x 458mm $15,000 - $20,000

68 FINE NEW ZFA1 AND &FORE GN PAINllNG. PRINT> &PHOTG~RAPHS

·ree gned andda!ed datedand [SO

d'9);tnlein~n!,: dverso

Bill Hammond Forest Bird and Sea oil on canvas title inscribed , signed and dated 2004 600 x 400mm $50,000 - $60,000

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Frances Hodgkins

Frances Hodgkins is well-known for her Mother and Child studies. From early Nerli-inspired

Mother and Child pastel and charcoal on paper, c.1 917

Impressionist watercolours of Maori women and children to later pencil and watercolour studies

signed

475 x 493mm $65,000 - $85,000

in which she outlines her subjects in elegant lines of pencil and with soft strokes of the brush , the subject acts as a barometer for the artist's style . In Mother and Child (c .1917) evidence of the human hand moving across the work, in the hatch ing of the pastel in the background and on the garments of the mother, contrast with the rose patterning of the quilt beautifully detailed in quick strokes of line and dabs of colour. By the time this work was completed the job of painting the familial Mother and Child pairing was what Hodgkins termed her 'infant welfare'. Writing home to her mother Rachel Hodgkins from her Wharf Studio in St. Ives in 1918, she describes the works painted for an upcoming exhibition with the International Society in which she hoped to sell some of her watercolours. 'They are small pictures mostly at easy prices' she writes 'all babies & Mothers & children. Sort of Infant Wellfare idea if you can stretch the point so far - as attractive as I could make them.' Mother and Child was probably completed around 19 17 when Hodgkins was living in St. Ives and England was at war. Studies such as these, commissioned by private patrons, enabled the artist some reprieve from the grovelling hardship of life at the time. To her friend Will Field, she wrote on the 30 th of March, 1918: 'Don't send any more money, unless I ask for ii. Am doing much better now. Portraits are paying "stunt" and I have made quite a bit by the last set...What I want is a small & tidy income so that I need not have to fight for daily bread. Truly living is a fine art these days. Yesterday I sold a 12gn. baby. Item: Paint more babies 1 In fact keep the cradle ful l to quote an old friend of yours.' In the cradle of this Mother and Child portra it, the sma ll child is at its centre, his young face like a small moon reflecting the light of his Mother's love. He raises his arm as if to wave goodnight and his small expressive eyes look up at us, engaging us directly so we feel like ii might well be us standing at the end of the crib looking down on the rumpled quilt and the round and rosy cheeks of this child. Without over-articulating the mother's features, her body language speaks of the protective love she has for her child. She curves in to the child's crib like a swan tenderly protecting her nest. Th ese we re not easy times for Hodgkins, nor for England. Speaking of tl1e patrons of her works Hodgkins wrote to her own Mother: 'Dear women all of them with husbands fighting & one a prisoner who had never seen his beautiful baby.' Infant welfare these portraits may have been, but their tenderness is poignant for the times, when infants were especially precious and a mother's simple love for her child was a touching antidote to daily reality.

Pennie Hunt

70 FINE NEW ZEAlAND & FOREIGN PAINTING. PRINTS & PHOTOGRAPHS

pireo udies sh, eof and ileo

a1nng gkins 1ng ours. dren. ake

:. Ives ~the J, she

ts are

&tidy

days. quote

ce like dnighl 1twell d and guage swan

works one a been,

and a

FINE NEW ZEALAND & FOREIGN PAINTING. PRINTS & PHOTOGRAPHS

Charles Frederick Goldie

Charles F. Goldie's portrait of Takarea Te Heu Heu is a foreboding painting. Stare too

Complacency, Portrait of Takarea Te Heu Heu

long at it and you start to feel scrutinised by the sitter as her gaze returns your own

oil on canvas signed and dated 1930; title inscribed and inscribed Takarea Te Heu Heu, a chieftainess of

- as if to ask what exactly it is you wish to see in her face.

the Arawa Tribe 345 x 300mm

in most of his portraits the sitter's eyes look away from the viewer, as if she or he

Reference, Alister Taylor and Jan Glen, C. F. Goldie, His Life and Painting, (Alister Taylor,

1977), p. 264 $120,000 - $160,000

Interestingly, in the portrait Goldie has chosen to render the eyes of the subject for

is deep in reminiscences, trying to recapture in the mind a lost history. In the wellknown work Memories: Eana Te Papatahi a Chieftainess of the Ngapuhi Tribe, 19(}5 Eana Te Papatahi looks forlorn, her shoulders are hunched, her head is tilted , her eyes and mouth downcast.

Memories like many of Goldie's early paintings, is notable for the manner in which the sitter and her clothes are rendered with such attention to detail that the painting almost becomes tactile. The rug around the shoulders of the Chieftainess looks soft like the mohair it depicts, the folds of her blouse painted in rich green velvet colours the cuffs framing the sitter's exquisite hands lined with age and time and woven with the thick dark tracks of veins. Goldie's technical abilities as an 'academic' painter were no doubt due to the training he had received as a pupil of the Academie Julian in Paris between 1893 and 1898 but the photo-realism of the works were noted by critics of the time and many became increasingly critical of, what Roger Blackley has described as 'his minutely realistic portraits.' Studio props such as blankets and velvet were the tools of Goldie's trade and recur in many of his early works. In contrast later portraits are primarily head and shoulders works and the backgrounds are far less elaborate. The focus is entirely on the subject's face with moko, jewellery, tiki and cloaks given the attention to detail. These later works seem less staged and more emphasis is given to recording the characteristics of the person. In the portrait of Takarea Te Heu Heu her moko and her greenstone earrings are the only adornments that Goldie records. By far the most striking feature of the portrait is the sitter's eyes and the directness of their gaze, for they leave no answers about their owner - only questions.

Pennie Hunt

72 FINE NEW ZEALAND & FOREIGN PAINTINI,, PRINTS & PHOTOGRAPHS

a1ntmg sra,e '.lJ returns yo,,

if he sub,e:; ,., · as if she or 'le

;tory, lntllewe-

fuhi Tribe. 19'.6 ead 1s tilted. "e'

cademic' pa iie' cadem1e Jul ai <s were notec c, ~er Blackey 0as

die's rrade ,-, manly nead ,-, cus is entirely on jention to deta to recording the her moko and . By far tne ~os· of their gaze.·;·

FINE NEW ZEAlAND & FOREIGN PAINTING. PRINTS & PHOTOGRAPHS

Ralph Hotere

Hotere knows about paradise, but very much from the

This is a Black Union Jack lacquer on baby corrugated iron title inscribed; stamped R. H. and inscribed From Roger Hickin on reverse of frame 780 x 730mm including frame Provenance: from the collection of Christopher Cree Brown. Cree Brown is a Christchurch-based musica l composer who collaborated with Ralph Hotere in 1979, creating an electroacoustic soundscape to complement Hater's Black paintings.

point of what threatens it.

$100,000 - $140,000

Ian Wedde

Hotere's art has always resisted categorization and presented problems for art historians and critics. This is because, at least partially, it is deeply personal - always rooted in real events that have affected the artist. As Louise Wilton has written: "Hotere's work .. although a style of Modernism , moves beyond the latter's usual retreat from social and worldly affairs". Hotere is then, the errant, unruly Modernist: reductivist black panels which peer outwards rather than inwards; monochrome canvases punctured by reiterating text; and, in this instance, a union jack insignia neatly morphing into a swastika. Hotere is inescapably a political artist-and often activist- shaped by his membership of an ethnic minority. Throughout his career his art has been inextricable with contemporary events and has engaged, among other things: the Cuban missile crisis (Polaris), the assassination of Martin Luther King (Requiem), the death of his brother in World War Two (Sangro), and closer to home, the bombing of the Rainbow Warrior (Black Rainbow), and the building of a proposed smelter at Aramoana. At the point in time in which Hotere began to engage more frequently with issues closer to home he began using vernacular materia ls, transforming and elevating everything from No. 8 fencing wire, colonial sash windows, corrugated iron and lead head nails into aesthetic retorts to man's inhumanity to man and nature; countering the political with the poetic. All such materials are part of our make up as New Zealanders and the employment of them allowed Hotere the opportunity to exploit our consciousness on a level beyond that which traditional art media might permeate. Moreover, the incorporation and utilization of frames - themselves part of the New Zealand landscape - such as this beautifully weathered example by Roger Hickin, allowed Hotere to fundamentally question the distanced, priviledged status of the art object in society and to posit his paintings as objects in themselves. In This is a Black Union Jack, the tension between materials and styles is in itself engaging. Hotere's traditional stencilled text and ruled lines are offset by, respectively, the hand written form of the word 'Jack', and the expressive elements which upset the carefully considered NZ monogram - scuffing, dripping and scratching. The traditional Maori palette of red, black and white further heightens the latent tension introduced by the title and adds another demension to the visual commentary on the fascism inherent in aparthied.

Ben Plumbly

74 FINE NEW ZEALAND & FOREIGN PAINTING. PRINTS & PHOTOGRAPHS

1s for art -always s wntten: er's usual odern1st: 1ochrome

ssile crisis us brother mWarrior

1ith issues elevating 1 and lead

:ountenng p as New to exploit permeate. if the New

ier Hickin, sof the art

is 1n itself :spectively, rich upset ;hing. The ant tension taryon the

FINE NEW ZEALAND & FOREIGN PAINTING, PRINTS & PHOTOGRAPHS

Tony Fomison

Fomison's best paintings, during the last years of his life, were reductive, refined meditations on the origins

Night and Day oil on canvasboard title inscribed, signed and dated 1988 verso 448 x 895mm

of life. Night and Day offers a biblical sense of creation - with the whiteness of the sky replacing the earthen

$45,000 - $55,000

darkness. Like McCahon's late paintings, the work is concerned with the juxtaposition of darkness and light, with life and death. The pa inting is, essentially, a landscape dominated by an assertive diagonal hil l-line. Thinly pa inted , the landform is a veil or curtain drawn across the picture surface . A mythical face typical of Fomison's late work is subtly incorporated into the edge of the earthen form - a dreaming, sleeping, waking visage. This figure relates the work back to the artist's earlier large-scale meditations on the earth-mother, Papatuanuku. The sense of foreboding is reminiscent of one of the artist's great last paintings The Fugitive (BNZ Collection). Fomison associated wisdom with the land. He also drew from the New Zealand landscape a sense of mystery and a hidden human past. (He glimpsed this obscure pre-history in the ancient cave paintings he studied). Maori, Polynesian and Western references are suggested in Night and Day, but there is also the sense that al l of these have been washed away foreve r.

Meta ac~i lillei lorm

9Wx

IJ!,O

76 FINE NEW ZEALAND & FOREIGN PAINTING. PRINTS & PHOTOGRAPHS

,origins earthen ess and

ted, the tework is figure

liku. The ection).

sense of 1tings he also the

Milan Mrkusich Meta Grey - Light Series No. 3 acrylic on canvas title inscribed , signed and dated 1970 in stencil form verso; signed and dated '70 verso 920 x 895mm $35,000 - $45,000

FINE NEW ZEALAND & FOREIGN PAINTING, PRINTS & PHOTOGRAPHS

John Gully Cosmos Peak Lake, Wakatipu watercolour signed and dated 1878

745 x 1300mm Provenance: collect ion of David Con Hutton Provenance: private collection, Auckland

$80,000 - $100,000

The best of Gully's paintings are not so much representations ... as glimpses of some romantic poet's country of the mind, suffused with the serene colours of a mildly soaring imagination. Dr E. H. McCormick

Born and raised in Bath, England, John Gu lly emigrated to New Zealand in 1852 where, later in his life, he would go on to produce unique, large-scale Romantic interpretations of the New Zealand landscape. Working exclusively in the watercolour medium, Cosmos Peak, Lake

Wakatipu (1878), is one of the most successful and impressive that Gully completed. After initially settling in New Plymouth, Gully moved to Nelson in 1860 and it was here in 1878 that he would retire in order to devote himself full-time to painting. It was also here that Gully met J.C. Richmond who would go on to become a life-long friend and fel low travelling and painting companion. The two undertook numerous excursions deep into the heart of the South Island and it is likely that one of these trips resulted in the painting of Cosmos Peak, Lake Wakatipu.

Cosmos Peak, Lake Wakatipu is a fine example of the Romantic approach to landscape painting, of which, Gully was this country's foremost practitioner. Adhering to the John Ruskin dictate "that a painting must tell a story", the watercolour does much to convey the wonder which would have greeted many an English settler, for whom the grandeur and challenges presented by the New Zealand landscape must have made a stark contrast to the consistency of the English landscape. Gu lly's emphasis is unusual in this image as it is firm ly on the figurative content in the foreground as opposed to the atmosphere and light effects which were usually his ostensible focus. The loggers in the fw,ground serve to heighten the latent drama and add a lonely beauty to the scene as well as providing the vital narrative element to which Ruskin postulated. Although at one stage a draftman's apprentice, Gully's late feathery watercolours depart abruptly from the clarity of outlines and conventional approach which was the hallmark of the topographical watercolourists who preceeded him. The watercolour medium is, of course, ideally suited to such Sublime displays of man's insignificance in the full glory of nature and Gully grants equal importance to the lake, soft misty clouds and sky of the heavens, as he does to terra firma itself. Gu lly was, and remains, a somewhat controversial painter. He was a highly prolific artist painting Mount Cook alone 57 times - and in terms of quality his works are variable. However, his best works, to which Cosmos Peak, Lake Wakatipu unquestionably belongs, played a key role in facilitating self-belonging for nineteenth century New Zealander settlers and go a long way to capturing the majestic beauty of our land.

78 FINE NEW ZEALAND & FOREIGN PAINTING, PRINTS & PHOTOGRAPHS

FINE NEW ZEALAND & FOREIGN PAINTING. PRINTS & PHOTOGRAPHS

Brent Wong Mountain - Cloud acrylic on board title inscribed , signed and dated 1976 verso 597 x 674mm

, !11111lougl

iirnmionMark! tonmneau : Mtanvas Ii"~

~i1IJDmm

$28,000 - $38,000

111,DDD -~!,DDD

80 FINE NEW ZEALAND & FOREIGN PAINTING. PRINTS & PHOTOGRAPHS

Sydney Lough Thompson Morning on Market Square, Concarneau oil on canvas signed 445 x 530mm $28,000 - $38,000

FINE NEW ZEALAND & FOREIGN PAINTING PRINTS & PHOTOGRAPHS

Margaret Olrog Stoddart Bush Scene with Whare, Maori Figures and Clothesline watercol our and gouache signed ; inscribed Maori Study on origina l H. Fisher & Son label affixed verso 252 x 355mm $20,000 - $30,000

Rita Angus Woodville Landscape oi l on board signed 298 x 451mm $14,000 - $18,000

82_ FINE NEW ZEAlAND & FOREIGN PAINTING. PRINTS & PHOTOGRAPHS

J.S Parker

Plain Song oil on canvas title inscribed , signed and dated '90 1820 x 1205mm $7,000 - $10,000

Margare1 mrni II:: BushScene !ilb!li:1 Figuresandtloto watercolourroi:: sIgned:inm~,M: onoriginalH.fil",·l· att~edverso 251x355mm

i10,000-~IOOI

Peter Robinson Evil Doers dCrylic and oil stick on paper title inscribed, signed and dated 2002 1495 x 990mm Exhibited: Southland Museum and Art Gallery Niho o Te Taniwha, November 2003 - February 2004 Exhibited: Te Puawai o Ngai Tahu: Twelve Contemporary Ngai Tahu Artists, May - August 2003, the inaugural exhibition of the new Christchurch Art Gallery Te Puna o Waiwhetu Illustrated, In the catalogue for the aforementioned exhibition , p. 78 $8,000 - $12,000

Stephen Bambury Two Ways (Towards Centre) aluminium paint on canvas title inscribed, signed and dated 1987 verso 735mm diameter

$8,000 - $12,000

~ Ri1a Angus Woodvil e tan~~~ oilonooi rd signed

1isx41Imm \14,00D·li!OCI

FINE NEW ZEAlAND & FOREIGN PAINTING. PRINTS & PHOTOGRAPHS

The Gubbardheim Collection

Dick Frizzell Cubist Tiki Rug Study watercolour and graphite on paper title inscribed , signed and dated 30/1/92 215 x 150mm

$2,500 - $3,500

Philip Clairmont Large Still-Life with Objects linocut 6/15 title inscribed, signed and dated 1980 and inscribed edition print 1195 x 800mm

$5,000 - $8,000

Richard Killeen Island Mentality pva on card and paper title inscribed , signed and dated 18.6.87 760 x 565mm

$3,500 - $4,500

Don Binney Ka rekare charcoal and ink on paper title inscribed, signed and dated Sept/Oct 1982 355 x 420mm

$3,000 - $5,000

84 FINE NEWZEAlANO & FOREIGN PAINTING. PRINTS & PHOTOGRAPHS

Denys Watkins

Figurative Composition with Fish watercolour signed 635 x 1020mm

$2,500 - $3,500

Gavin Chilcott Floral Wallpaper, Gardens and Violets acrylic on paper title inscribed and signed verso 560 x 760mm

$2,500 - $3,500

Bill Hammond Untitled - Bird Study lithograph 29/30 signed and dated 2000 535 x 720mm

$2,500 - $3,500

Gavin Chilcott Large Urn in a Landscape - Stars and Stripes acrylic on canvas, triptych title inscribed, signed and dated 2000 verso 830 x 1870mm

$3,000 - $4,000

INE NEW ZEALAND & FOREIGN PAINTING PRINTS & PHOTOGRAPH!

Archibald Nicoll Harbour Scene oil on ca nvas on board signed 190 x 262m m $2,000 - $3,000

Richard Killeen Stack - Months and Days mixed media on paper ti tl e inscribed, signed and dated Nov 16, 1989 380 x 585m m $4,000 - $6,000

Toss Woollaston Landscape with Cottage watercolour signed 380 x 550m m $4,000 - $6,000

Peter McIntyre ACoastal View in Summer oil on board signed; original Wi lleston Gallery label affixed verso 390 x 495mm $6,000 - $9,000

86 FINE NEW ZEAlAND & FOREIGN PAINTING, PRINTS & PHOTOGRAPHS

Peter Robinson

Judgement Day acrylic on paper signed and dated '99 645 x 490mm $5,500 - $7,500

Pat Hanly I Am watercolour on paper, collage and screen print (the screenprinted section is from Inside the Garden, Pat Han ly's Barry Lett Ga llery Mu ltiple image) title inscribed, signed and dated 1970; title inscribed, dated and inscribed It is all me verso 592 x 430mm $7,000 - $10,000

Tony de Lautour Unspoken Inventory oil on canvas title inscribed , signed and dated 1997 200 x 300mm $1,500 - $2,500 91

FINE NEW ZEALAND & FOREIGN PAINTING. PRINTS & PHOTOGRAPHS

Bill Hammond Bobby's Alright oil on aluminium title inscribed, signed and dated 1986 483 x 780mm $20,000 - $30,000

Ralph Hotere Song Cycle watercolour and acrylic on paper title inscribed , signed and dated '75 378 x 278mm $1 8,000 - $28,000

88 FINE NEW ZEALAND & FOREIGN PAINTING. PRINTS & PHOTOGRAPHS

John Pule

Journey for You screenprint 44/100 title inscribed, signed and dated 2002

760 x 560mm $1,500 - $2,500

Robert Ellis Captured and Described screenprint 45/100 title inscribed, signed and dated 2002

760 x 560mm $800 - $1,400

Bobbj's lln!I\

From the Museum screenprint 45/100 title inscribed, signed and dated 2002

010na,r·.

560 x 750mm

trtleinswt,:.• ,

$1,50D - $2,500

93 Bill ~ammooo

anlial~I%;

\·

Richard Killeen

48Jx)811

110,000- ~0III

Dick Frizzell Big Egg, Little Egg screenpri nt 45/100 title inscribed, signed and dated 2002

560 x 760mm $1,500 - $2,500

Gretchen Albrecht Pounamu screenprint 45/100 title inscribed, signed and dated 2002

560 x 760mm $1,200 - $1,800

FINE NEW ZEALAND & FOREIGN PAINTING. PRINTS & PHOTOGRAPH'

Further Fine New Zealand Paintings & Prints 100

100 Sydney Lough Thompson

101 John Barr Clarke Hoyte

Pohutukawas and Maori Entrenchments, Mahurangi oil on ca nvas signed; title in scribed and inscribed 95 guineas on label affixed verso 530 x 705mm

Auckland Harbour with North Head and Rangitoto in the Distance watercolour signed 299 x 627mm

$18,000 - $28,000

$20,000 - $25,000

101

l!J

90 FINE NEW ZEALAND & FOREIGN PAINTING PRINTS & PHOTOGRAPHS

102

rte

102 Charles Decimus Barraud

1Head

103 John Gibb

Waka on Lake Wanaka with Pa Fortification oil on canvas signed with artist's initial's C. D. 8 435 x 595mm

Golden Spring, Kaiapoi oil on canvas signed and dated 1899 550 x 980mm

$22,000 - $30,000

$28,000 - $38,000

103

FINE NEW ZEALAND & FOREIGN PAINTING, PRINTS & PHOTOGRAPHS

104 Sydney Lough Thompson 1ma1ctica

View From Bormes oil on canvas signed 490 x 600mm

:,rnniason it,Jilllemscr ::'.,lf,\!%1a

$14,000 - $18,000

:;;1bli~~

;•:iart,st.Nl

!II. 1-110,00

105 Sydney Lough Thompson Early Light on the Fortified Island, Concarneau oil on board signed; title inscribed and signed verso 375 x 452mm

l lelerMcln~ toi eoearlu .:·,.arl p,,rginal~

' =1','.,:attr :!i1SJlmm

$18,000 - $28,000

!ll.!ii-111,0DI

92 FINE NEW ZEALAND & FOREIGN PAINTING, PRINT5 & PHOTOGRAPHS

son

106 Peter McIntyre Antarctica oil on canvas on board signed; title inscribed, signed and dated Feb 1965 and inscribed Official artist, NZ expedition verso 495 x 638mm

$15,000 - $20,000

107 Peter McIntyre :on ani,concameio ied verso

Coastline near Tutukaka oil on board signed ; original McGregor Wright Gallery label affixed verso 535 x 935mm

$18,000 - $28,000

FINE NEW ZEALAND & FOREIGN PAINTING, PRINTS & PHOTOGRAPHS

108

108 John Barr Clarke Hoyte

109 John Barr Clarke Hoyte

Lake Scene with Sailing Vessel watercolour signed and dated 1876 325 x 520mm

Lake Scene with Row Boat watercolour signed 220 x 470mm

$12,000 - $18,000

$8,000 - $12,000

109

94 FINE NEW ZEALAND & FOREIGN PAINTING, PRINTS & PHOTOGRAPHS

11 O Robert Nettleton Field View of Boats in a Harbour oil on canvas on board signed and dated 1961 twice 350 x 600mm Provenance: gifted to th e present owner's fami ly by the artist $5,000 - $7,000

eHo~e Boat

111 Robert Nettleton Field Boats at Dock oil on canvas on board signed and dated '61 330 x 470mm Provenance, gifted to the present owner's fam ily by the artist $3,000 - $5,000

112 Robert Nettleton Field Dingy on the Shore oil on canvas on board signed and dated '61 twice 400 x 650mm Provenance, gifted to the present owner's family by the artist $3 ,000 - $5,DOO

INt NEW LtAlAND & F REIGN PAINTING, oq1NTS & PHOTOGRAPH'

111 11 3

113 Shane Cotton Remnants (Study) mixed media on paper title inscribed, signed and dated 1991; copy of artist's CV affixed verso 380 x 580mm $3,500 - $4,500

11i

114 Seraphine Pick Male Figure and Abstract Study oil on canvasboard , diptych signed and dated '98 150 x 200mm overall $1,500 - $2,000 114

11!

115 Ian Scott Lattice No. 118 oil on canvas signed and dated '86; dated February 1986 verso 1140 x 1140mm $5,000 - $8,000

116 Ann Robinson

110

Blue Ice Bowl cast glass and metal stand 630 x 520 x 210mm Provenance: purchased by the current owner from the Dowse Art Gallery in 1989 $6,000 - $9,000

115

,11

96 FINE NEW ZEALAND & FOREIGN PAINTING. PRINTS & PHOTOGRAPHS

117 Jeff Thomson Mahoe Leaf screenprinted steel 3/10 title inscribed, signed and dated 2005 verso 1400 x 485mm $2,000 - $3,000

118 Paul Beadle St John the Baptist bronze signed with artist's stamp 230 x 100 x 100mm $3,000 - $5,000 118

119 Mervyn Williams Shaft acrylic on canvas title inscribed, signed and dated 198 1 verso 620 x 530mm $3,000 - $5,000

120 Dick Frizzell Still Life with Red Tablecloth oil on board signed and dated 74177; title inscribed verso 328 x 455mm $4,000 - $6,000

120

INI NEN £EALAND & f REIGN PAINTING PRINTS & PHOTOGR

121 Louise Henderson Foliage Study oi l on canvas signed and dated Auckland 1981 verso 76 x 1140mm $5,000 - $8,000

122 Simon McIntyre Motto II oil on canvas signed with artist's initials S.M and dated '93; title inscribed , signed and dated on label affixed verso 1653 x 1504mm $7,000 - $10,000

123 Fatu Feu'u Afio Mai Ka rika oil and oil stick on unstretched canvas title inscribed , signed and dated lulai/2002 verso 1510 x 2035mm $9,000 - $1 4,000

98 FINE NEW ZEALAND & FOREIGN PAINTING. PRINTS & PHOTOGRAPHS

124 Gavin Chilcott

124

Amphora with Landscape, Plane, Figure and Millstone oil on shaped board title inscribed, signed and dated April 1989 verso; Martin Browne Art Gallery label affixed verso 2180 x 1200mm

$3,000 - $5,000

125 James Fraser Scott Saint Sauver Cathedral, Brittany oil on canvas title inscribed and signed verso 476 x 395mm

$1 ,500 - $2,500

126 Toss Woollaston Tasman Bay (Study for the Big Blue) watercolou r signed; title inscribed, signed and dated 1991 verso, Aberhart North Holdings Ga llery stamp verso 290 x 400mm

$5,500 - $6,500

125

126

FINE NEW ZEALAND & FOREIGN PAINTING. PRINTS & PHOTOGRAPHS

127 Gretchen Albrecht Untitled - Abstract Composition acryl ic on canvas signed and dated '73 2000 x 910mm $12,000 - $18,000

128 Bill Hammond Song acrylic on textured boa rd title inscribed, signed and dated 1992 1065 x 1480mm $7,000 - $10,000 J00 FINE NEW ZEALAND & FOREIGN PAINTING, PRINTS & PHOTOGRAPHS

129 Sydney Lough Thompson The Brown Mill, Cambridgeshire oil on board signed; title printed on label affixed verso 262 x 357mm $5,000 - $7,000

130 Pat Hanly Inside the Garden watercolour title inscribed and inscribed 24 540 x 540mm Provenance: purchased by current owner from Barry Lett Galleries in June 1969 (photocopy of original invoice affixed verso) $5,000 - $8,000

131 Nigel Brown

ammonl ontexturedooa1d

;en·bedsignedaii , .991 I480mm

We Are: With Dog and Kiwi acrylic on canvas signed and dated 2000; title inscribed, signed and dated verso and inscribed I am painting 505 x 400mm $4,500 - $6,500

. $10,000 FINE NEW ZEALANI & ORI lr.N PAINTING, PRINTS & 'HOTOGRAPHS

101

132 Philip Clairmont

132

Self Portrait and Dream oil on collage on board title inscribed , signed with artist's in itials P C. Tand dated '76 - '77 645 x 400mm $4,500 - $6,500

133 Ralph Hotere Blue Squares screenprint 2/4 title inscribed, signed and dated '65 650 x 390mm $3,000 - $4,000

134 Paratene Matchitt Figures in Abstracted Landscape mixed media on paper signed and dated Jan '62; origi nal newspaper review from exhibition in which picture was shown affixed verso 740 x 600mm Exhibited: One ma n show at 29 Pictures, Ham ilton Art gallery, ea rly 1960s $4,000 - $6,000

133

102 FINE NEW ZEALAND & FOREIGN PAINTING. PRINTS & PHOTOGRAPHS

134

135 Doris Lusk

135

Tidal Stream oil on board title inscribed , signed and dated Dec. 1983 verso; inscribed Exhibited C. S. AAnnual Summer Exhibition Decemer (sic) Cat No. 88 600 x 680mm $4,000 - $6,000

136 Robert Mcleod Sick Yellow Green oi l on canvas title inscribed, signed and dated 20 Jan 1982 verso 1438 x 1438mm $6,000 - $9,000 136

137 Alan Pearson The Hitchhiker oil on canvas signed and dated 1970 verso 710 x 710mm $5,000 - $7,000

138 Geoff Thornley Untitled Painting acrylic on paper on canvas title inscribed, signed and dated 1972 verso 735 x 710mm $3,000 - $5,000

138

137

FINE NEW ZEALAND & FOREIGN PAINTING, PRINTS & PHOTOGRAPHS

103

139 Edward Fristrom Hagley Park, Christchurch oil on board signed; John Leech Gallery label affixed verso 200 x 275mm $3,200 - $4,200

140 Isobel Field ABush Farm watercolour, c. 1900 signed 212 x 320mm $4,500 - $6,500

141 Charles Blomfield Milford Sound oil on canvas title inscribed and priced 3.30-0 in pencil on stretcher in artist's hand 345 x 520mm $4,000 - $6,000

142 John Barr Clarke Hoyte Sailing off the Coast of Waiwera watercolour certificate of authenticity from Auckland Art Gallery affixed verso; details of provenance affixed verso 347 x 530mm Provenance: originally from the col lection of Andrew Hanna , prominent Auckland barrister and solicitor in the late 19th century; passed by descent to the present owner $6,000 - $9,000

]04

INF NEW ZEAIANO ~ F'REIGN PAINTIN(, ~INTS & PHOTOGRAPHS

143 Pat Hanly Figures in Light cardboard print 6/6 title inscribed and dated '64 405 x 500mm $5,000 - $8,000

144 Pat Hanly Summer Garden watercolour and pastel on paper title inscribed, signed and dated '70 475 x 585mm $12,000 - $18,000

145 Peter Stichbury Untitled - After Caravaggio's Entombment of Christ acrylic on board signed and dated 1995 verso 1470 x 1215mm $6,000 - $9,000

FINE NEW ZEALAND & FOREIGN PAINTING. PRINTS & PHOTOGRAPHS

105

146

146 Hermina Arndt The Housekeeper oil on canvas signed verso; McArthur & Co original certificate of authenticity affixed verso 1070 x 680mm $10,000 - $15,000

147 Gordon Walters Kura screenprint 55/150 title inscribed , signed and dated 1982 670 x 518mm $5,500 - $7,500

148 Gavin Chilcott and Bill Hammond Plate Design acrylic on paper signed and dated 1991 verso 600 x 800mm $2,000 - $3,000

147

151

I06 FINE NEW ZEALAND & FOREIGN PAINTING, PRINTS & PHOTOGRAPHS

Foreign Paintings and Prints

149

149 Marcus Stone In the Garden oil on panel inscribed Marcus Stone, R. A on original mount; inscribed No. 63 on label affixed verso 192 x 90mm $3,000 - $4,000

150 Georges Roualt Jesu Sera en Agonie Jusqu'a la Fin au Monde aquatint etching signed with artist's initials G. Ra nd dated 1922 on the plate 582 x 412mm $3,000 - $5,000

151 Tracey Emin Sometimes I Feel Lonely But it's Ok etching 106/200 title inscribed, signed and dated 2002 460 x 505mm $4,000 - $6,000

150

151

t i

•

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r ., --\~

FINE NEW ZEAlANO & FOREIGN PAINTING. PRINTS & PHOTOGRAPHS

107

ill

154

152 Jacques Francois Carabain L'Eglise St. Pierre and Paul, Anvers, Belgique oil on canvas signed ; artist's name and title inscribed on original brass plaque mounted to the frame; original 'Charles Manteau , Bruxelles' label affixed to frame verso 770 x 600mm $65,000 - $85,000

108 FINE NEW ZEAlAND & FOREIGN PAINTING. PRINTS & PHOTOGRAPHS

153

153 John Griffier Figures and Cattle Set Among Medieval Ruins oil on ca nvas signed; inscribed b. 1645 John Grittier, d. 1718 on origina l plaque mounted to frame 580 x 1000mm

154 Arnold Marc Gorter River Landscape with Grazing Cattle oil on canvas signed 610 x 780mm $12,000 · $18,000

$35,000 · $45,000 154

flNE NEW ZEALAND & FOREIGN PAINTING. PRINTS & PHOTOGRAPHS ) 09

155 Emile Vernon The Flower Garden oil on canvas signed and dated Paris 1913; Christie's label affixed verso 640 x 530mm Provenance, purchased by the current owner from Christie's in London in 1997 $20,000 - $30,000

156 Adolfo Belimbau La Farfalle oil on canvas signed 580 x425mm Provenance: purchased by the current owner from Christie's in London in 1997 $15,000 - $25,000

110 FINE NEW ZEALAND & FOREIGN PAINTING. PRINTS & PHOTOGRAPHS

157 Teto Lessi

157

A Domestic Life oil on board signed 540 x 350mm

$3,000 - $5,000

158 A. Vernazza Woman and Child oil on canvas signed 540 x 380mm

$1,000 - $2,000

158

159 Henry Perronet Briggs Portrait of a Lady oil on canvas signed and dated 1843 and inscribed R. A 595 x 490mm

$2,000 - $3,000

160 A. Sani Grandpa's Darling oil on canvas signed; title inscribed and inscribed A. Sani on original mount 705 x 555mm

$2,500 - $3,500

160

159

FINE NEW ZEALAND & FOREIGN PAINTING. PRINTS & PHOTOGRAPHS

111

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218 · 253 ·

!:JSIPAJEDLEFT: 118

112 FINEJEWELLERY & WATCHES

Day 2

Rare and Valuable Watches, Fine Antique and Modern Jewellery, Accoutrements Wednesday 5th April. Two Sessions 2.00pm and 6.00pm 2.00pm - Note start time Lots

1000 - 1200 Affordable Antique , Estate & Modern Jewellery (List Available at Viewing)

6.00pm Lots

200 - 225

Wrist & Pocket Watches

Lots

226 - 247

Ac coutrements

Lots

248 - 252

Jewellery of New Zealand Interest

Lots

253 - 372

Fine Antique & Modern Jewe llery, Loose Diamonds

ILLUSTRATED LEFT: lot 218

lot 311

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

Franck Muller Wristwatch

5.53ct Loose Diamond

lot 329

Lot 225

provided In the gemologist's report, It shall be assumed that the buyer has inspected

Ring Set with 6.48ct of Diamonds

PATEK PHILIPPE wristwatch

the report and Is buying in acceptance of 11. Unless otherwise stated, all stones have

lot 312

better evidence, any significant difference between the catalogued description and that

been assessed for weight, colou r or clarity mounted and the descriptions given in the catalogue or report are therefore based on estimates which are limited in accu racy.

I. 73ct Loose Diamond

Whe re an actual weight is given the stone will have been weighed loose, however wh ile

lot 327

the grading of a stone loose will minimise error margins 1t shall be accepted by the

3 .13ct Sohtare Diamond Ring

buyer that all re ports and descriptions remai n opinions and not matters of fact.

f NE JEWEL'.UY & WATCH[

113

DAY TWO: WEDNESDAY 5TH APRIL 2.00PM

AFFORDABLE ANTIQUE, ESTATE & MODERN JEWELLERY An interesting and varied selection. Separate list avaliable free of charge at viewing.

DAY TWO: WEDNESDAY 5TH APRIL 6.00PM 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.

200 LONGINES, AGentleman's Stainless Steel Wristwatch. Rectangular curvex style case, gatelink stainless strap with deployant clasp. Silver face with polished batons and date window. Quartz movement. As new with original box and spare links. $500 - $600

201 GRUEN, An 'Alpinova' Silver Cased Travelling Watch/ Clock. Continental 900 silver slim rectangular case with hammered finish. The cover sliding back to allow movement to pop up to vertical for bedside use. Manual lever movement functional , but requires attention.

206 ROLEX, ALady's 18ct Yellow Gold Oyster Perpetual Datejust Wristwatch Enhanced With Diamonds. Ref: 69178 s/n Tll7675 (1996). Gold face with Roman numerals in relief on pave diamond band , sweep second and date window. President bracelet. Pristine as new appearance, with original box and guarantee certificate. $1 2,000-$14,000

see colour illustration page 117

207 ALady's 18ct Yellow Gold Cased Open Face Fob Watch. Keyless cylinder with handset button on band. Gold 'telephone dial' style face with Roman numerals. Case enhanced with engraving. $200 - $300

208 AUDEMARS PIGUET, AGentleman's 18ct Yellow Gold Automatic Wristwatch. Ref B 12223. Oval outline case and integrated 18ct yellow gold mesh bracelet. Black face with AP at noon, date window at 3, baguette diamond at 6 and round diamond at 9. Self winding movement. With a presentation box. $9,000 - $10,000

see colour illustration page 117

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209 OMEGA, ALady's Bracelet/ Watch Set With Diamonds. 18ct white gold case and integrated strap, the watch and sprung cover set with round modern brilliant and baguette cut diamonds. The cover release operated by sliding the fourth diamond-set link. Manual mec~anical movement with back crown. Silver face with polished batons. With original presentation box.

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$1,000 - $1,500

$175 - $275

202 CARTIER, ALady's Rolled Gold Cased Tank Wristwatch. Classic rectangular Cartier 'Tank' design. White face with Roman numerals. Manual mechanical movement, blue sapphire cabochon end stone to crown. Black crocodile strap. $600 - $800

210 RO LEX, ALady's 18ct Yellow Gold Oyster Perpetual Date just Wristwatch With Diamond Indexes.

$7,000 - $8,000

see colour illustration page 117

203 ROLEX, AGentleman's Stainless Steel And Gold Oyster Perpetual Datejust Wristwatch.

211 ALady's 9ct Yellow Gold Cased Open Face Fob Watch. Keyless cylinder with handset button in band. Decorative gold face with Roman numerals. Case enhanced with engraving.

$3,500 - $4,000

$200 - $300

Circular outline case of stainless steel enhanced with gold milled decoration to bezel. Automatic 25 jewel movement exposed under glazed back. Engine turned silver face with mystery second hand and hour window which also acts as minute indicator by rotation around dial. Screw down crown, water resistant 5ATM_ With original box and papers dated 25/10/03. $1,200 - $1,800

205 ROLEX, AGentleman's 18ct Yellow Gold Yachtmaster Oyster Perpetual Date Wristwatch. Ref 166288, sin K323785 (c2001/2002). Blue face with luminous indexes, sweep second and date window. Rotating outer bezel. 0ysterlock bracelet. Excellent condition. With original rosewood box and spare link. $16,000 - $18,000 see colour illustration page 117 114 FINEJEWELLERY & WATCHES

.!fAAmM~ll

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Ref 16013 s/n 9768136 (cl987). White face with Roman numerals in gold relief, sweep second and date window.

204 JEAN MARCEL, AGentleman's Automatic Wristwatch With Interesting Mystery Time Display.

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Ref: 6917 sin 6147453 (cl980). Gold face with diamond indexes, sweep second and date window. Very good appearance. With original box.

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212 BVLGARI, ALady's "B Zero I" Wristwatch Set With Diamonds. Circular outline stainless steel case, the bezel set with diamonds. Quartz movement. White face with polished indexes. While leather strap. As new. With certificate from Partridge Jeweller's dated 15.12.04. $2,500 - $3,000

see colour illustration page 117

213 ROLEX, AGentleman's Stainless And Gold Cased Oyster Perpetual Datejust Wristwatch. Ref 16233 s/n X374655 (cl991). Taupe Jubilee face with Roman numerals, sweep second and date window. Black crocodile strap with Rolex buckle in rolled gold. $3,250 - $3,750

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214 ROLEX, AGentleman's 1Bct Yellow Gold Oyster Perpetual Day-Date Wristwatch With Diamond Bezel And Indexes. Ref 18208 S/N: L743569 (cl989-90). Gold face with diamond indexes, day and date windows, sweep second. Non factory diamond bezel. President bracelet. $13,500 - $15,000 see colour illustration page 117

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215 CARTIER, ALady's 1Bct White Gold 'Rivoli' Wristwatch Enhanced With Diamonds. Circular outline case with diamonds to bezel and lugs, diamond end-stone to crown. 18ct beaded bracelet. Quartz movement. Stepped silver face with Roman meridian numerals. Ref: 1981-1 c27591. As new appearance. $4,500 - $6,500

ow Gola dmeshbrac,,. ndatiandrc;: ox.

see colour illustration page 117

216 ROLEX, AVintage Oyster Perpetual 'Bubble Back' Wristwatch . Ref 6284, CAL A296, case marked 1st quarter 1955. Silver face with polished batons and sweep second. Black crocodile strap. Bi metal case, stainless with gold indexed bezel and gold crown. $3,500 - $4,000

~iamonas. mgcoverset1li releaseo~rat1J ovement1mt,:1 :ationbit

see colour illustration page 117

217 CHRONOSWISS, AGentleman's Stainless Steel Cased Automatic 'Delphis' Wristwatch. Circular outline drum style case with milled bezel. Glazed back revealing movement. Engir,e turned silver face with 24 hour window, flyback minute hand and subsidiary seconds. Numbered 4294. With original box and papers.

-~etual ~ate

$5,000 - $6,000 see colour illustration page 117

218 FRANCK MULLER, AGentleman's Limited Edition 1Bct White Gold Cased Wristwatch.

·oo Watcl. facewithRu 1r

Ref: 2851-S6 s/n 78/200. "Cintrees Curvex", tonneau outline case. Midnight blue guilloche enamel face with Arabic numerals, subsidiary seconds and twin "large" date windows. Automatic movement. This collector's watch, in a limited production of just 200 pieces is no longer available new. Asuperb investment opportunity and a magnificent time-piece. Black crocodile strap with 18ct white gold buckle. Valuation certificate available on request. $12,500 - $15,000 see colour illustration title page

220 RO LEX, ALady's 1Bct Yellow Gold Oyster Perpetual Datejust Wristwatch With Alternative Ruby And Diamond Bezel. Ref 69278 s/n 984 3496 (c l 987/88). White face with pol ished batons, sweep second and date window. Textured indexed bezel and textured mid links to President bracelet. With alternative non-factory bezel channel set with a line of round modern bril liant cut diamonds together with a baguette cut ruby at each quarter. $7,000 - $8,000

221 JAEGER - LECOULTRE, ALady's Jewelled Cocktail Bracelet/ Watch. 18ct yellow gold gadrconed case with swagged lugs and shaped mesh strap. The watch fitted with a sprung hinged cover set with a pave dome of diamonds with in a border of round cut rubies, the lugs chen ier set with further diamonds. White face with Arabic quarters and polished batons. Crown fitted to case back, mechanical movement. In the original box from Kutchinsky of Knightsbridge. $2,000 - $3,000

222 LUCERNE, ALady's Bracelet Watch Of 14ct Yellow Gold Set With Sapphires And Cultured Pearls. Circ ular outline case with sprung cover enclosi ng mecha nical movement watch. Mother of pearl face with Arabic numerals. The cover set with a circlet of sapphires and pearls about a central pea rl. Integrated three row ro pe-link brace let with box clasp. Gemologist's report an d val uation available on req uest. $500 - $700

223 CHOPARD, ALady's 1Bct Yellow Gold Cased 'Happy Diamonds' Wristwatch. Ref 20/5405YG s/n 231149. Ci rcular outline, the glazed bezel with 3 captu red free moving diamonds. Bow motif lugs, each set with a baguette cut diamond . Quartz movement. Black leather strap. With original box an d wa rra nty dated 17-8-05. As new appearance. $3,000 - $4,000 see colour illustration page 117

224 BVLGARI, AGentleman's Aluminium Cased Automatic Wristwatch. Ref: AL 38A L 30157. Circula r outline case. Silver face with black batons, sweep second and date window. Rubber bezel signed BVLGAR I, rubber and meta l strap. With origina l box and papers dated 15.12.2004. As new. $2,750 - $3,750 see colour illustration page 117

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219 An Art Deco Period Lady's Wristwatch Set With Diamonds And Black Onyx. Octagonal outline case of platinum set with lozenge shaped black onyx cabochons and old-cut diamonds. Silver face with Arabic numerals. Manual mechanical 17 jewel movement by Ellis Watch Co. $1 ,000 - $1,500 see colour illustration page 117

1sec ~ist er

225 PATEK PHILIPPE, AGentleman's Automatic Calatrava Wristwatch With Complications. Ref 5015 si n 3050676 Automatic movement cal 240PSIRM Laut. 18ct yellow gold case, hobnail bezel, hinged back with movement exposed under glazed cuvette. White porcelain face with Arabic nu merals, subsidiary seconds, power reserve, moon phase window and moon age dial. Brown crocodile strap. Unblemished cond ition, with origina l rosewood box, setting stylus an d cert ificate. $32,500 - $35,000 see colour illustration title page

FINE JEWELLERY & WATCHES

115

ACCOUTREMENTS

226 ASovereign Case Of Rolled Gold. Circular outline with embossed decoration to front cover.

237 A9ct Yellow Gold Vesta Container. Rectangular outline with armorial engraving to the front. Hallmarks for Birmingham 1901.

$400 - $500

$175-$275

227 ASovereign Case Of Rolled Gold. Circular outline with engraved decoration to front cover.

$175 - $275

238 ADouble Sovereign Case Of 9ct Yellow Gold. Ova l outline, the front cover with monogram and date: Aug 17, 1907. The interior fitted with sprung dispensers for ful l and ha lf sovereigns. Hallmarks for Chester 1907.

$500 - $600

228 ARolled Gold Vesta Container. Rectangular outline enhanced with engine turned decoration. With original wax vesta matches.

$80 - $100

239 An Unusual Vesta Container. Rectangular outline in si lver plate, the sides made from translucent panels in the style of blue banded agate.

$60 - $80

229 An H.M.S. Rochester Souvenir Sterling Silver Vesta Container. Rectangu lar outline with oval cross-section, the lid engraved 'H.M.S. Rochester', decorated with pineapple cut engraving.

240 An Unusual Horseshoe Motif Table Vesta Container. Si lver plate with black (bakelite?) insert.

$60 - $70

$60 - $100

241 AFrench Vesta Container Decorated With Enamels. 230 ASterling Silver Vesta Container. Rectangular outline with hexagonal cross section, enhanced with engraving. Hal lm arks for Birmingham 1910.

Rectangular outline in brass with ribbed striker plate to one edge. The sprung lid hand decorated with a dancer holding a fan in a wooded landscape, in enamels on porcelain. Inner lid engraved 1895.

$60 - $80

$650 - $850

see colour illustration page 127

231 ASovereign Case Of 9ct Yellow Gold. Circula r outline enhanced with foliate engraving, monogram to front cover. Hallmarks for Chester 1912.

$400 - $600

232 An Asprey & Co Sterling Silver Vesta Container. Circula r outline, monogram engraved to front. Marks for Asprey & Co and hallmarks for London 1901.

$175-$225

233 ASilver Vesta Container.

242 An Edward VII Coronation Souvenir Vesta Container Of Pressed Bakelite. Rectangular outline in the form of a book, the cover bearing a cameo portra it of the King, the back with a garter insignia within rose and thistle motifs.

$150 - $250

243 ARussian Imperial Period Silver Snuff Box. Rectangular outline decorated with chequerboard niello. 84 zolotniks. Assay mark for Moscow cl879, maker's mark indistinct.

$325 - $425

Rectangular outline with engraved floral and diamond motifs.

$60 -$80

234 APill Container Of Sterling Silver. Rectangular outline in the form of a book, the cover enhanced with a floral motif in gold , the interior fitted with a divider.

244 GARRARD & Co, A9ct Yellow Gold Powder Compact. Circular outline with removable gauze and mirror fitted to lid. En gine turned engraved decoration, the thumb-piece set with a line of calibre cut blue sapphires. Total weight 103g.

$600 - $800

$80 - $120

245 AVictorian Sovereign. 235 ASlim 9ct Rose Gold Cased Cigarette Lighter. Rectangular outline with engine turned decoration. Lighter fluid fuelled. Hallmarks for London 1929.

Dated 1887, Sydney mint, in a free-mount rope-edged circular pendant mount of yellow gold

$160-$200

$200 - $250

246 APair Of Cufflinks Made From US $1 Gold Coins. 236 AVesta Container Of 9ct Yellow Gold. Rectangular outline with monogram to front.

$400 - $500

116 FINE JEWELLERY & WATCHES

The pairs of coi ns joined by figure-of-eight links. 7.6g

$150 - $200

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lainer.

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FINE JEWELLERY & WATCHES

117

247 ATe lescopic Propelling Pencil With Enamel Case.

254 AStylish Bracelet Of 18ct Yellow Gold Mesh.

Continental 800 silver-gi lt, the pencil contained in a cylindrical case enhanced with purple enamel gu illoche.

The wide band of !Bet mesh secured by a clasp of Art Deco influenced geometric design. 78.3g. Gemologist's report and va luation available on request.

$200 - $250

$1,500 - $2,000

NZ INTEREST JEWELLERY

see colour illustration page 121

IWile ~race ;:·;,1n,;i-0

248 ACarved Greenstone Moebus Ribbon By Barbara Salt. The nephrite jade (greenstone) carved into the paradoxical single sided two surface moebus ribbon. Provenance: Stated by vendor to have been purchased from the artist.

$350 - $450

255 An Attractive And Interesting Necklace Of Tsavorite Garnets. The necklace of 9ct yellow gold bead s suspending at even intervals a line of 31 pendeloque briolette cut tsavorites graduated in size from the centre and well matched for colour. Gemologist's report and valuation available on request.

$1 ,750 - $2,750

~10-11110

l!racelel 01 •-,!,r.cha1n ·:!1

249 ASovereign Case Of 9ct Yellow Gold Set With Greenstone. Circu lar outline, the hinged lid set with a polished circu lar panel of greenstone.

$550 - $750 see colour illustration page 121

256 ABracelet Set With Amethysts. Flat polished gate links of 14ct yellow gold with four textured circular discs at even intervals, each disc set with a round cut amethyst. 40.8g. Gemologist's report and valuation available on request.

$600 - $800

250 ABracelet Length Fob Chain With AGold-Bearing Quartz Pendant. The single and double row chain of yellow gold Byzantine links (tests approximately 14ct) suspending a natural nugget shaped piece of gold bearing quartz.

$250 - $350

251 IDA HUDIG, ANecklace And Pendant Earring Suite. Open scroll wire design with bezels shaped to individual stones in 14ct yellow gold. Set with faceted green tourmalines, cabochon pink tourmalines and faceted colourless quartz, topaz and beryl. 14ct X link neck chain . Marks: Chain and centra l pendant 3HS (Ida Hudig-Stigter during 1943-49) and Dutch assay mark. Earri ngs stamped with unidentified maker's mark (previously observed by us on other pieces from that period). Gemologist's report and valuation available on req uest. With fitted presentation box and copies of correspondence.

$5,000 - $7,000

see also following lot

•H11nionaal1 ·· iiiinires An :,:t;HSO. ; :.,~g111n

::n:1:',1 11.~•11.150

257 An Amethyst Pendant On Chain. Designed as a compan ion to the previous lot, the 17.5mm round cut amethyst rub-over set above a disc of textured 14ct yellow gold. With 14ct serpentine link neck chain. 46.3g. Gemologist's report and valuation available on request.

$700 - $900

258 ACollar Necklace Of 18ct Yellow Gold. Articulated wire mesh with stylized thistle and disc overlays. 55g. Gemologist's report and valuation available on request.

$800 - $1 ,200

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259 ABracelet Of 18ct Yellow Gold Chunky Curb Links.

see colour illustration page 121

Hollow section 30.9g.

HarvelOpi

Provenance, Purchased directly from Ida Hudig by current owner in Wellington, 1974. Letter from current owner reports that she was told by Ida Hudig that it was made cl 948 for an exhibition in Europe. Until purchased by current owner it had remained in Ida Hudig's personal collection. See Also, "Ida Hudig-Stigter Master Jeweller" Feature essay Webb's Sale 258, p4.

$550 - $750

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252 APendant Of Greenstone Carved As ASeed Pod By Barbara Salt. The carved nephrite jade (greenstone) suspended by a plaited cord enhanced with black pearl slides and finia ls. Provenance: Stated by vendor to have been purchased from the artist.

$350 - $450

FINE ANTIQUE & MODERN JEWELLERY, LOOSE DIAMONDS

253 An Interesting Charm Bracelet. The 9ct rose gold curb link chain, secured by a heart shaped pad lock clasp, suspends 4 seal fo bs, a gold watch key, a circu lar locket and a gui lloche enamel egg.

$750 - $850 see colour illustration page 121

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260 An Edwardian Brooch Set With Diamonds And Pearls. Double barley-twist bar design in 15ct yellow gold , each bar half-set with a line of seed pearls. The bars supporting a serpentine crossover set with a line of 9 old cut diamonds graduated from the centre. With original box.

$750 - $850 see colour illustration page 127

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261 AVictorian Collar Necklace Of Sterling Silver Filigree. Designed as four graduated rows of filigree flowerheads , the smallest row at the neck. In an impressive fitted box from Court Jewellers: Howel James & Co of Regent St. The box dated Jan 17 1882.

$2,000 - $2,400

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262 ANecklace Of 14ct Yellow Gold. Colla r style circular wire and cross joiner designed links graduated from the centre with serpentine leaf motif overlays on one side allowing alternative use recto or verso. 380 mm. 40.78g. Gemologist's report and valuation available on request.

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$600 - $800

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118 FINE JEWELLERY & WATCHES

263 ABracelet Of 14ct Yellow Gold.

1encedgoome equest

Designed as a companion to the previous lot. 29.48g. Gemologist's report and va luation ava ilable on request.

$450 - $650

264 AWide Bracelet Of 18ct Yellow Gold. !vorite

Lozenge shaped bright-cut links. 51.5g.

$850 - $1,250

1alsalinioiJI entreandwell ion request.

265 ABracelet Of 9ct Yellow Gold Prince-Of-Wales Links. The Albert chain doubled to form a two row bracelet secured with a dog-clip clasp. 29.4g,

$300 - $400 ulardi~sat Gemologists

266 AFashionable Cross Pendant Set With Coloured Sapphires And Diamonds. Designed as 6 rectangular sections in 18ct yellow gold, each set with a radiant cut pink, blue or green sapphire bordered by diamond brilliants. With 18ct yellow gold trace neck chain. Gemologist's report and valuation available on request.

$1,500 - $1,750

cutametl~t lserpentine,in1 on request.

267 ABar Brooch Set With Rubies And Half-Pearls.

268 ACarved Opal Cameo Pendant. The carved semi-black jelly opal cameo of a young lady in profile, mounted on an oval black onyx panel and set in a frame of 14ct yellow gold. 30 x22 mm. With trace rolled gold chain.

$375 - $475

.inks.

269 ACarved Opal Cameo Pendant. The carved milk opal cameo of a young lady in profile, mounted on an oval black onyx panel and set in a frame of 14ct yellow gold. 25 x 18 mm. With trace rolled gold chain.

Pearls. -setwitla ne ritialineol!od

$375 - $475

270 ALong Single Row Necklace Of Cultured Pearls. The semi-round 9 - 9.5 mm cream cultured pearls of matched size secured with a clasp of lOct ye llow gold set with an oval lapis lazuli cabochon. 800 mm.

$600 - $800

filigree. rllestrowat James&Cool

271 ASingle Row Necklace Of Cultured Pearls With ADiamond Clasp. The round cream 7.5 - 3mm cultured pearls graduated from the centre secured by an oval ajoure clasp of 9ct white gold set with seven senaille cut diamonds. 480 mm.

$200 - $300

edlromtle llernativeuse lionavailaile~

The 3.5 - 4.5 mm pearls of natura l off round shape and matched size, some 292 in all, strung in three rows of simi lar length, secured by a clasp of silver set with rose and Swiss cut diamonds. 450 mm. Gemologist's report and valuation available on request.

$2,800 - $3,200

274 ASouth Seas Cultured Pearl And Diamond Ring. The semi-baroque 13-15mm silver-white pearl set in 18ct white gold above a tiered ground of baguette and brilliant cut diamonds. Gemologist's report and valuation available on request.

$1,000 - $1,500

275 ADainty Necklace Of Woven Seed Pearls. The pearls strung to form open oval 'links' secured by a circular clasp of rose gold set with a button pearl. 430 mm.

$450 - $650

276 ANecklace Of Diamonds And Pearls. The single row of fresh water pearls secured by a reeded clasp of 18ct yellow gold centred by a 'V' shaped panel of 18ct yellow gold set with bri lliant and baguette cut diamonds and suspending a single round dark grey cultured pearl. Gemologist's report and va luation available on request.

$1,500 - $2,000

Marquise outline in 18ct yellow gold with a rope-work border, centered by a graduated line of 7 round cut rubies alternating with 6 half-pearls.

$275 - $375

g. Gemolc1i;II

273 AThree Row Necklace Of Natural Pearls.

272 ABrooch Set With Pearls And Diamonds. Designed as a posy of two tulips in 18ct white and yellow gold, one set with a round white cultured pearl the other set with a black pearl, each within a stamen border of diamonds. Gemologist's report and valuation available on request.

277 APair Of Emerald And Pearl Drop Earrings. Each 18ct yellow gold stud set with an oval cut emerald suspends by fine chain a 10.8mm round white cultured pearl pendant.

$450 - $550

278 ATwo Row Necklace Of Cultured Pearls. The slightly off round 8.5mm rich cream cultu red pearls of matched size secu red by a clasp of 9ct white gold quatrefoil design set with marq uise cut crysoprase and round cut white sapphires (one crysoprase deficient) 380 mm .

$400 - $500

279 An Edwardian Brooch Set With Amethysts And Half Pearls. Shield shaped outline in open floral and scroll wirework set with four round cut amethysts and rows of half-pearls, suspending a further amethyst drop.

$375 - $475

280 ALine Bracelet Set With Aquamarines And Diamonds. Designed as a line of 14 rectangular links in 18ct white finished gold, each set with an emerald-cut aquamarine, separated by smaller links each set with 5 round modern brilliant cut diamonds. Gemologist's report and valuation available on request.

$2,000 - $2,400

281 APair Of Solitaire Diamond Earstuds Of Approximately 1.30ct Total. The round modern brilliant cut diamonds assessed as m/o Sll/2 are set in 14ct ye llow gold coronet mounts. Gemologist's report and va luation available on request.

$2,000 - $3,000

$500 - $700 FINE JEWELLERY & WATCHES

119

282 AThree Stone Diamond Ring. The round modern brillia nt cut fine white diamonds graduated from the centre (0.44ct with sides 2=0.58ct) stated to be F, SI are set in a bri dge of 18ct yel low gold and platinu m. Certificate from Part ridge Jewel lers avai lable on request.

$1 ,750 - $2,750

290 APair Of Solitaire Diamond Earstuds Of Total Approx 0.90ct. The light champagne coloured round modern bril liant cut diamonds assessed as NIP, Sll/2 are set in 14ct yel low gold coronet mounts. Gemologist's repo rt and valuation avai lable on request.

$800 - $1 ,000

283 AMarquise Outline Estate Ring Pave Set With Diamonds. The platinum ring pave set with 23 old mine cut diamonds having an estimated TOW1.50ct. Gemologist's report and valuation available on request.

$2,400 - $2,800 see colour illustration page 123

291 AThree Stone Diamond Estate Crossover Ring. The round early European bri lliant cut diamonds of simila r size and estimated TOW 0.7 lct are set in a crossover of 18ct white and yellow gold. Gemologist's report and va luation avai lable on request.

$850 - $1 ,000

284 AFlower Motif Ring Set With Diamonds. Designed in the manner of Va n Cleef & Arpels as a bunch of eight flowerheads in 18ct yellow gold, each centred by a round modern bril liant cut diamond. TOW approximately 0.50ct.

$500 - $800

292 ADiamond Cluster Estate Ring. Ci rcula r outline in 18ct wh ite and yellow gold set with old mi ne and early European cut diamonds, some 25 in all, centered by the la rgest stone. With original bakelite ring box from Ernest McFeat of Karangahape Rd.

$650 - $850

285 ARing Set With ARadiant Cut Diamond Of Approximately 0.82ct And Other Diamonds. Hand fin ished contemporary design in platinum and 18ct yellow gold centered by the ra dia nt cut diamond, assessed as H/I, VS2+, good make. The shou lders set with 12 channel set baguette cut diamonds. Gemologist's report and valuation available on request.

$3,750 - $4,750

293 ACocktail Ring Set With Brilliant And Baguette Cut Diamonds. The band of 18ct white fi nished gold with a wide arced centre panel close channel set with a row of baguette cut diamonds between pave diamond cushion borders. TOWapproximately 1.46ct. Gemologist's report and va luation ava ilable on request.

$2,750 - $3,250

286 AStriking Ring Set With Brilliant And Baguette Cut Diamonds. The broad band of 18ct white finished gold designed as a line of 5 adjoining squares, each framed by four baguette diamonds with bri lliants at the corners and centred by a further brill iant. TOWapproximately l.72ct. Gemologist's report and valuation available on request.

see colour illustration page 123

294 ARing Set With ASolitaire Diamond Of 1.02ct. The round modern bril liant cut diamond assessed as I/J, Sl2 is set in a ring of 18ct wh ite gold. Gemologist's report and val uation ava ilable on request.

$4,000 - $5,000

$2,800 - $3,400

287 ABar Brooch Set With AFlowerhead Cluster Of Old Cut Diamonds. The 15ct yel low gold knife-edge bar set to one end with a flowerhead cluster of 8 round mine cut diamonds with an estimated TOWapproximately 0.90ct.

$750 - $850

295 ARing Set With AVariety Of Gems Including APear Shaped Diamond. The rectangular outline bezel of 18ct yellow gold enclosing a leaf, bead and wirework design set with a round cut blue sapphire, oval ruby cabochon, oval cut peridot, square cut emerald, a cultured pearl and the diamond of roughly 0.40ct. Gemologist's report and valuation available on request.

$1 ,000 - $1 ,200

288 ATennis Style Line Bracelet Set With Diamonds. 18ct yel low gold Q shaped links, each rub over set with a ro und modern bri lliant cut dia mond in white gold . TOWapproximately l.75ct H/I VS. Gemologist's report and valuation available on request.

$2,700 - $3,200

296 A"Rolex" Style Bracelet Set With Diamonds. 18ct yel low gold 'President' style links, each central panel set with 6 round modern bril liant cut diamonds, some 252 in all, with an estimated TOW approximately 1.89ct. Gemologist's report and va luation available on request.

$1 ,800 - $2,200

289 ANecklace of Rubies and Diamonds With Matching Earrings. Asi ngle strand of grad uated faceted ruby beads suspends an en hancer/pendant of rib bon bow and drop design in 18ct wh ite fin ished gold set with some 118 round modern bri lliant cut dia monds to 5 pendeloque pol ished ruby drops. The si ngle drop earrings of matching design. Gemologist's report and va luation avai lable on req uest.

$2,250 - $2,750 see colour illustration page 127

120 r rH JEWEL ERV & WATCrlF,

297 ANecklace Set With ASolitaire Diamond Of 1.18ct. The heavy necklace of 14ct yellow gold sq uare section Byzantine links is rub-over set at the mid point with the round modern bri lliant cut diamond assessed as FIG, Sl2. Total weight 64.75g. Gemologist's report and val uation avai lable on request.

$7,500 - $8,500 see colour illustration page 121

ids assessed a; l'sreliJrtand

ndeslimal,d Gemolog1;!;

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FINE JEWELLERY & WATCHES

121

298 ARing Set With AMarquise Cut Diamond Of Approximately 1.35ct. The diamond assessed as KIL, Si l is set in 18ct white gold and platinum together with 6 further bril liant cut diamonds and 16 baguette cut diamonds at the shou lders. Gemologist's report and valuation available on request. $7,000 · $8,000

see colour illustration page 125

305 APair Of "Chandelier" Pendant Earrings Set With Diamonds. Each designed as a bar and loop suspend ing two chains and a lozenge outline articulated drop with a five line chain tassel fringe , all set with round modern brilliant cut diamonds, some 122 for the pair with an approximate TDW l.84ct. Gemologist's report and valuation available on request. $2,600 · $3,200

see colour illustration page 127

299 APair Of Ruby And Diamond Pendant Earrings. Each designed as a fall of three diamonds from the stud to two concentric oval panels. The outer panel set with a continuous line of round modern brilliant cut diamonds, the inner panel set with an oval cut ruby within a border of further diamonds. Gemologist's report and valuation available on request. $2,750 · $3,250

306 ARing Set With AMarquise Cut Diamond Of Approximately 1.1 ct Together With Baguette Cut Diamonds. Marqu ise outl ine in platinum, centred by the marquise cut diamond assessed as F/G, Sl2, good make, the 28 similar quality diamond baguettes forming a fan array border. TDW 3.0ct. Gemologist's report and valuation available on request. $8,000 · $9,000

300 KUTCHINSKY, An Enamelled And Jewelled Lion Motif Brooch. 18ct yellow and white gold with amber-red enamel, set with cabochon emeralds and diamonds. The lion with legs and claws extended appearing to have just leaped to its current resting place. Minor bruising to enamel on tail. Signed Kutchinsky and with London hal lmarks for 1969. $3,500 · $4,500

see colour illustration page 123

301 ATennis Style Line Bracelet Set With Approximately 5.50ct of Diamonds. Designed as a line of 40 articulated circular links of 18ct yellow gold , each set with a round modern brilliant cut diamond . TOW approximately 5.50ct. Gemologist's report and valuation available on request.

see colour illustration page 125

307 APendant And Earrings En-Suite Set With Diamonds And Seed Pearls. The pendant of open oval outline in 14ct white gold , designed as a double border of diamond brilliants enclosing a pendeloque and wire spray motif set with further diamonds, suspends a tassel fri nge of seed pearls. The bale set with further diamonds and a single seed pearl. With three strand 14ct gold chain. The pendant earrings of matching design fitted with wires and notched clips. The diamonds (187 in all , with one small stone deficient) have an approximate TDW 3.lct. Gemologist's report and valuation available on request. $2,500 · $3,500

308 APair Of Solitaire Diamond Earstuds Of TDW 2.06ct.

$5,800 · $6,800

The round modern brilliant cut diamonds stated to be H/112+ are set in 18ct white gold four claw mounts. Certificate from Partridge Jewellers.

see colour illustration page 121

$5,500 · $7,500

302 An Impressive Emerald And Diamond Cluster Ring. The emerald-cut emerald of vibrant appearance and estimated weight 8.0ct is set in 18ct yellow gold within a two row border of round modern brilliant cut diamonds further enhanced with two panels of diamond baguettes. The diamonds, 40 in all, of good quality, have an approximate TDW 2.04ct. Gemologist's report and valuation available on request.

see colour illustration page 127

309 ABrooch Set With ASolitaire Diamond Of Approximately 1.50ct. The tapered bar of platinum centred by the round modern brilliant cut diamond assessed as H, 11. Gemologist's report and valuation available on request.

$10,000 · $14,000

$7,000 · $8,000

see colour illustration page 121

see colour illustration page 123

303 An Elegant Fringe Collar Necklace Set With Diamonds. Rectangular box links of 18ct white finished gold , the centre section of 20 each set with a round modern brilliant cut diamond and separated by curved bar links, set with lines of brilliant cut diamonds, to form a fringe. TDW approximately 4ct. Gemologist's report and valuation available on request.

310 ALoose Diamond Of 0.70ct. The round modern brilliant cut diamond in a sealed container stating it to be 'C' (equates to 1/J) Pl (11). $1,200 · $1,800

$10,000 · $12,000

see colour illustration page 125

304 APendant/ Enhancer Set With Diamonds. Designed in the manner of Chopard's Happy Diamonds. Circu lar outline, the glazed compartment with 5 captured free moving diamonds, continuous lines of diamonds to inner and outer borders and to cross-over bale. 18ct white finished gold , TDW approximately 2ct. With five strand 18ct white gold fine chain necklace. Gemologist's report and valuation available on request. $5,000 · $6,000

see colour illustration page 127 122 FINE JEWELLERY & WATCHES

311 ALoose Round Brilliant Cut Diamond Of 5.53ct. The round modern brilliant cut diamond with Gem lab diamond report stating it to be colour 0-P, clarity VS2, of very good cut and finish , and actual weight 5.528ct. An impressive stone with excellent fire and bri lliance, and offered with a very real istic estimate. Gemologist's report and valuation avai lable on request. $35,000 · $45,000

see colour illustration title page

Witn

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FINE JEWELLERY & WATCHES

123

312 ALoose Pendeloque Cut Diamond Of 1.73ct.

320 APendant Set With ASolitaire Diamond Of 0.50ct.

The pear shaped diamond with Gem lab diamond report stating it to be colour F, cla rity VS! , of very good make and actual weight l.73lct. Gemologist's report and va luation avai lable on request.

The round modern brilliant cut diamond stated to be J, SI is set in a simple pendant of 18ct wh ite gold, suspended by an 18ct wh ile gold trace cha in. Certificate from Partridge Jewel lers avai lable on request.

$21 ,000 - $23,000

$1,000 - $1 ,500

see colour illustration title page

321 AGood Diamond Full Eternity Ring. 313 APair Of Loose Diamonds Of 0.27ct Each. The round modern brilliant cut diamonds assessed as 0.27lct E, 11 and 0.268ct F Sl2/l l. Gemologist's report and valuation available on request. $500 - $800 (pr)

The hand made band of platinum set with a continuous line of square step-cut diamonds of very good quality and estimated TDW2.55ct. Gemologist's report and valuation available on request. $3,000 - $4,000

see colour illustration page 123

314 APair Of Solitaire Princess Cut Diamond Earstuds. The diamonds assessed as G/1, Sl2 with an approximate TDW 0.43ct are set in platinum. Gemologist's report and valuation avai lable on request. $800 -$900

315 ABangle Set With ALine Of Diamonds. 18ct white finished gold hinged design, the upper section set with a line of 25 round modern brilliant cut diamonds having an approximate TDW 2.5ct. Gemologist's report and va luation avai lable on request. $3,800 - $4,400

see colour illustration page 127

316 AParticularly Good Necklace Set With Diamonds. Designed as a continuous line of arced links in 18ct white finished gold joined by flowerhead clusters, all set with round modern brilliant cut diamonds. Gemologist's report and valuation available on request.

322 AThree Diamond Ring Centered By AVery Good Quality Pendeloque Cut Diamond Of 1.25ct. The central diamond assessed as G/H, VS!, very good make is set in 18ct yellow gold with two well matched pendeloque cut side stones of approximately 0.23ct total. $10,000 - $12,000

not received in time for illustration

323 AThree Stone Diamond Ring Centred By An Emerald-Cut Diamond Of 1.21 ct. The central diamond assessed as 1/J, VS2 is set in a ring of 18ct white gold with two fancy ha ll-round cut diamonds assessed as approximately 0.20ct each, F/G VS2. Gemologist's report and valuation avai lable on request. $7,000 - $8,000

see colour illustration page 125

$16,000 - $18,000

see colour illustration page 123

317 ARing Set With AGood Quality Solitaire Diamond Of 1.01 ct. The round modern brilliant cut diamond with Japanese certificate stating ii to be colour H, clarity VS! and of good make is set in a ring of 18ct yellow gold. Gemologist's report and valuation available on request. $7,000 - $8,000

see colour illustration page 121

318 An Estate Ring Set With ADiamond Of Approximately 1.50ct. The ea rly European cut diamond assessed as KIL, Sl2 is set in an Art Deco style ring of platinum , the stepped shoulders enhanced with single-cut diamonds. Gemologist's report and va luation available on request.

324 AParticularly Good Mesh Bracelet Encrusted With Diamonds. Designed as a line of inter locki ng flowerheads with in shaped borders, the design created from open slightly convex 18ct white gold marquise shaped links set with lines of bri lliant cut diamonds, joined by rings to provide a soft and flexible mesh. Gemologist's report and valuation available on request. $6,000 - $7,000

see colour illustration page 125

325 An Impressive Five Row Diamond Ring. The broad ring of 18ct white fin ished gold split into five ba nds of altern ating height, each set with a row of ro und modern brill iant cut dia monds. TDW approximately 4.2ct. Gemologist's report and valuation ava ilable on request. $8,500 - $9,500

see colour illustration page 123

$7,500 - $8,500

see colour illustration page 125

319 ARing Set With Baguette And Brilliant Cut Diamonds. The band of 18ct white and yel low gold set with pairs of baguette and brilli ant cut dia monds in an altern ating sequence to form a dou ble row. TDWapproximately l.1 9ct. Gemologist's report and valuation avai lable on request. $1 ,750- $2,000

see colour illustration page 125

124 FINE JEWELLERY & WATCHES

326 ABracelet Set With ALine Of Diamonds. The hoop shaped mid-section set with a line of 17 round brilliant cut diamonds graduated from the centre to a gate-link bracelet with a concealed clasp. 18ct white gold. Gemologist's report and val uation avai lable on request. $4,000 - $5,000

see colour illustration page 123

50ct in asimple ace chain.

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FINE JEWELLERY & WATCHES ] 25

327 ARing Set With AGood Solitaire Diamond Of 3.13ct.

334 ARing Set With AFine White Solitaire Diamond Of 1.00ct.

The round modern brilliant cut diamond assessed loose as colour G, clarity Sl2, very good make is set in a ring of platinum. Gemologist's report and valuation available on request.

The round modern brilliant cut diamond assessed as F/G, Sil is off-set in a twin shank design rin g of 18ct white and yellow gold. Gemologist's report and valuation avai lable on req uest.

$37,000 - $42,500

$7,000 - $8,000

see colour illustration title page

see colour illustration page 123

328 AStriking Bangle Set With Diamonds. Five row hinged design in 18ct white finished gold , the bands of diamonds opening at uneven intervals. The diamonds, some 170, all brilliant cut with an estimated TDW 3.45ct. Gemologist's report and valuation available on request. $6,800 - $7,400

see colour illustration page 125

335 ABridge Ring Set With Rubies And Diamonds. The band of 18ct yellow gold set with two pendeloque cut rubies of good colour, a matching oval cut ruby and two early European round cut diamonds of approximately 0.22ct each. Gemologist's report and valuation available on request. $1,600 - $2,000

see colour illustration page 121

329 An Impressive Ring Set With APrincess Cut Diamond Of 2.86ct With Other Diamonds To Total 6.48ct. The Princess cut diamond described in a Gem lab report as colour H, clarity SI I , very good make, is set in a hand made ring of platinum designed as three bands set with a reported total of 3.62ct of round modern brilliant cut diamonds of good quality to the central large stone. Gemologist's report and valuation available on request. $32,000 - $36,000

see colour illustration title page

330 ADiamond Bracelet Of Art Deco Design. Articulated plaque and half circlet links with oval joiners in 18ct white finished gold set with lines of round modern brilliant cut diamonds having an estimated TDW 3.4ct. Gemologist's report and valuation available on request.

336 An Eternity Or Wedding Ring Set With Baguette Cut Diamonds. The row of diamonds close channel set in 18ct white finished gold. TDW approximately 0.95ct. Gemologist's report and valuation available on request. $1,650 - $1,850

337 AStylish Wheat-Sheaf Motif Brooch Set With Diamonds. Designed as free-flowing 18ct yellow gold ribbed wires caught by a girdle tie of white gold set with a line of diamonds, and scatter set with round cut diamonds of various sizes up to around 0.80ct. Gemologist's report and valuation available on request. $4,500 - $6,500

see colour illustration page 121

$4,500 - $5,500

see colour illustration page 125

331 ARing Set With AFine White Diamond Of 2.03ct And Other Diamonds. The round modern brilliant cut diamond of 2.03ct assessed as ideal cut, F, 11 is set in 18ct white gold with four round modern brilliant cut shoulder diamonds of good quality and estimated weight l.24ct, TDW 3.27ct. Gemologist's report and valuation available on request. $17,000 - $19,000

see colour illustration page 125

332 ABracelet Set With Rubies And Diamonds. Designed as a line of crescent shaped bars of 18ct white gold set with round modern brilliant cut diamonds, joined by 6 pendeloque outline clusters of diamonds, each centred by a heart shaped ruby of rich colour. Gemologist's report and valuation available on request. $3,750 - $4,250

333 APair Of Pearl And Diamond Cluster Earclips. Circular outline in 18ct white gold, tiered dome design. Each centered by an 8.2mm round cultured pearl set within a double border of round modern brilliant cut diamonds. Gemologist's report and va luation available on request. $3,500 - $4,500

see colour illustration page 127

126 FINE JEWELLERY & WATCHES

338 APair Of Hoop Earrings Set With Over 3ct Of Diamonds. The 39mm diameter hoops of 18ct white finished gold set with continuous lines of diamonds to the sides and a line to each front about three larger diamonds. Gemologist's report and valuation available on request. $6,000 - $7,000

see colour illustration page 123

339 ABangle With AChannel Set Line Of Diamonds. 18ct yellow gold hinged design , the upper section close channel set with a single row of 25 diamonds having an approximate TDW l.7ct. Gemologist's report and valuation available on request. $3,500 - $4,000

see colour illustration page 127

340 ANecklace Set With ASingle Row Of Diamonds. Circular and bar links of 18ct white finished gold in a 'V' shaped collar, the lower section set with 21 round modern brilliant cut diamonds. The centre stone of approximately 0.58ct, the others of matched size and TDW approximately 3.2ct overall TDW approximately 3.8ct. Gemologist's report and valuation available on request. $7,500 - $8,500

see colour illustration page 125

O! 1.00ct

1-selina Heportand

good diamonds 1ailableon

Cut

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!mon~s.

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FINE JEWELLERY & WATCHES

127

341 ALine Bracelet Set With Rubies And Diamonds. Designed as a line of alternating bar, circular and oval links of 18ct white finished gold. Each of the 7 oval links set with an oval cut ruby, the other links outlined with brilliant cut diamonds, some 140 in all. Gemologist's report and valuation available on request. $2,250 - $2,500

see colour illustration page 123

349 ABelle Epoque Period Diamond Set Panel And Matching Clasp. The panel of ova l outline in approximately 14 / 18ct white and yellow gold enhanced with flora l openwork and white enamel, set with 9 major old cut diamonds (O.49ct to O.13ct) together with further old cut, senaille and pendeloque diamonds. The matching clasp similarly set and centred by an old cut diamond of around O.52ct. TDW around 4ct. From the estate of a prominent Viennese family. $4,000 - $6,000

342 APair Of Earrings Set With Diamonds. 18ct white finished gold Creole design, each set with a close channel set row of diamond baguettes bordered by round brilliant cut diamonds. TDW approximately O.87ct. Gemologist's report and valuation available on request. $1,000 - $1,400

11,c~lace A ..,•,:ncedes11 ,:r;:~~smal :·.,:ierround1 .i:&1~11owgoli ·-·i:•screwfitt ~0-11,100

11wo Row D

. s:'l1ou, ...·. •1fi\l),

350 ATwo Row Tennis Style Line Bracelet Set With Diamonds. Designed as two rows of articulated tubular links, each collet set with a round modern bril liant cut diamond, the diamonds having a TDW of over 2ct. Gemologist's report and valuation available on request.

;:;;::;Mulder :deonreQU 1uoo -11,ooo

$3,250 - $3,750

343 AGood Wedding Or Eternity Ring Set With Baguette And Brilliant Cut Diamonds. The slightly tapered band of 18ct white gold centred by a close set row of baguette cut diamonds between raised borders of brilliant cut diamonds. Gemologist's report and valuation available on request.

351 ADouble Band Crossover Ring Set With APrincess Cut Diamond Of Approximately 1.07ct And Other Diamonds.

$1,200-$1,500

The two bands of 18ct white finished gold intersecting to form a cross, pave set with brilliant cut diamonds and centered by the 'solitaire' Princess cut diamond. Gemologist's report and valuation available on request.

see colour illustration page 123

$7,750 - $8,250

see colour illustration page 123

344 An Attractive Ruby And Diamond Two Stone Twist Ring. The round modern brilliant cut diamond of approximately l.12ct, assessed as light champagne VSl+, is set in a twist of 18ct white and yellow gold with a deep red ruby of similar size. Gemologist's report and valuation available on request. $4,750 - $5,750

see colour illustration page 125

352 AVery Stylish Necklace Encrusted With Some 7ct Of Brilliant Cut Diamonds. Solid crescent and loop bars of 18ct white finished gold , mildly graduated from the centre, the mid section pave set with round modern brilliant cut diamonds. 78.4g. Gemologist's report and valuation available on request. $12,500 - $15,000

345 ARing Set With AFine White Solitaire Diamond Of 1.17ct. The round modern bri lliant cut diamond assessed as E/F, Sl2/ll , good make is set in a crossover ring of 14ct yellow gold. $7,000 - $8,000

see colour illustration page 121

346 AFashionable Cross Motif Pendant Pave Set With Diamonds. The Latin Knight's cross in 18ct white gold pave set with round modern brilliant cut diamonds suspended by an "anchor" cable link chain also of 18ct white gold. Gemologist's report and valuation available on request. $4,800 - $5,400

see colour illustration page 127

347 AFive Band Dress Ring Set With Diamonds. The splayed bands of alternating heights in 18ct white finished gold each set with a line of round modern brilliant cut diamonds of TDW approximately l.22ct. Gemologist's report and valuation available on request. $1,600 - $1,800

348 APair Of Pendant Earrings Set With Diamonds And Blue Topaz. Articulated hook and double circlet drop design with tassel fringe, all set with diamonds, the arger circlet suspending a briolette cut blue topaz ball. Gemologist's report and valuation available on request. $2,000 - $2,500

see colour illustration page 127 128 FINE JEWELLERY & WATCHES

see colour illustration page 125

353 ANecklace Set With Cognac And White Diamonds. Afall of three articulated pear shaped loops of graduated size, outlined with white diamonds, the lower two each enclosing an articulated drop set with a pendeloque cut cognac diamond, is suspended from a fine chain set with small cognac coloured brilliant cut diamonds at even intervals. 18ct white finished gold. Gemologist's report and valuation available on request. $4,000 - $5,000

see colour illustration page 127 see also following lot

354 APair Of Pendant Earrings Set With Cognac And White Diamonds. Designed as companions to the previous lot. 18ct white finished gold. Gemologist's report and valuation available on request. $4,000 - $5,000

see colour illustration page 123

·-,-.ncmoden •

·_· .. ,.•nl sdJIIL

,..e::·,,aat 11.!00 -11,200

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355 AStriking Cocktail Ring Set With Cognac And White Diamonds. The band of 18ct white finished gold spreading to a broad fan-shaped curved dome pave set with round modern brilliant cut cognac coloured diamonds divided by lines of white diamonds. TDW approximately 2.6ct. Gemologist's report and valuation available on request. $2,750 - $3,750

see colour illustration page 123

ll,l0D-11,501

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ll,510-11,00

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356 ANecklace And Earring Suite Set With Diamonds. The necklace designed as a geometric fan in 18ct yellow gold, the arms of the fan separated by small bril liant cut diamonds and the axis set with a lozenge array of four larger round modern brilliant cut diamonds, suspended by a cable link chain of 18ct yellow gold with 9ct rings and extension. The earrings of matching design with 9ct screw fittings . Gemologist's report and valuation available on request $800 - $1,200

357 ATwo Row Diamond Bridge Ring. iamonds.

:ha over1ct

Two rows of 4 round modern brilliant cut diamonds of similar size (around 0.20ct) and colour (F/H) are set in 18ct yellow gold with three single cut accent diamonds at each shoulder. TDW approximately Uct Gemologist's report and valuation available on request $1,600 - $2,000

358 ARing Set With ADiamond And Four Emeralds. ss Cut onds.

[ paveset

diamond.

The round modern brilliant cut diamond of around 0.50ct is set in 18ct white and yellow gold with four round rut emerald side stones. Gemologist's report and valuation available on request

The 18 x 12.5 mm oval cut amethyst set in a ring of 18ct white and yel low gold within a half-border of 12 round single-cut diamonds.

Jatedfrom diamonds

$450 - $650

1edwrth •twitha with small !finished

The round modern brilliant cut diamonds graduated from the centre, assessed as I/J SI , with a TDW approximately 0.97ct are set in a bridge of 18ct yellow gold and platinum. Gemologist's report and valuation available on request

361 ARing Pave Set With Diamonds. The band of 18ct yellow gold pave set with brilliant cut diamonds in a cartouche outline panel. Gemologist's report and valuation available on request $1,000 - $1,400

A diamond set bow at the pin suspends an articulated pendeloque open outline drop with a line of collet set diamonds about an inner pearl and diamond articulated pendant 14ct white gold and platinum. $1,200 - $1,500 see colour illustration page 127

363 ATennis Style Line Bracelet Set With Diamonds. The sin gle line of 40 18ct white gold heart motif links each set with a round modern brilliant cut diamond. TDW approximately l.20ct. Gemologist's report and valuation available on request. $1,300 - $1,500

1ite idcuNed JOndsdivided

reportand

see colour illustration page 123

366 APair Of Solitaire Princess Cut Diamond Earstuds Of Approximately 0.80ct Total. The diamonds assessed as J/L VS2/Sll, good make are set in 14ct yellow gold. Gemologist's report and va luation available on request $1,250 - $1,500

367 ARing Set With Two Rows Of Princess Cut Diamonds. The tapered band of 18ct yellow gold close channel set with two rows of 8 Princess cut diamonds having a stated TDW l.04ct. $1,600 - $1,800

368 ARing Set With AFine White Diamond Of Approximately 1ct. The round modern brilliant cut diamond assessed as F/G, SI2 is set in a ring of 18ct white and yel low gold. Gemologist's report and valuation available on request. $6,500 - $7,000

362 ADainty Edwardian Diamond And Pearl Brooch.

Wnite

$2,500 - $2,800

360 AFive Stone Diamond Bridge Ring.

$1,500 - $1,800

Designed as a line of circular links with bar joiners, the lower section rub-over set with 57 brilliant cut diamonds and caught to fall at slightly unequal lengths to oval cut ruby drops. 18ct white finished gold. Gemologist's report and va luation available on request.

$1,800 - $2,200

359 ARing Set With An Amethyst And Diamonds.

:t Of

365 ANecklace Of Diamonds With Two Ruby Drops.

364 ASpray Brooch Set With Diamonds. Flowing ribbon and comet tail design in 18ct white gold set with round modern brilliant and single-cut diamonds. Gemologist's report and valuation available on request.

369 ALava lier Style Necklace Set With Diamonds. The flat Figaro link chain of 14ct yellow gold enhanced with bright cut white gold is centered by a scroll 'wing' mid section that suspends an articulated drop, all set with diamonds about the major old European cut stone of approximately 0.60ct. Gemologist's report and valuation ava ilable on request. $2,800 - $3,400 see colour illustration page 121

370 An Open Filigree Band Of White Gold Set With Diamonds. 18ct white finished gold , the wide band pierced with quatrefoil and double lozenge designs, set with some 58 round modern brilliant cut diamonds having an estimated TDW 0.80ct. Gemologist's report and valuation available on request. $1,250 -$1,500

371 ARing Set With ACognac Coloured Diamond Of Approximately 1.03ct. The round modern brilliant cut cognac coloured diamond set in a ring of 18ct white finished gold within a border of brilliant cut white diamonds, the shoulders enhanced with a further two rows of white diamonds. Gemologist's report and valuation available on request. $3,800 - $4,200 see colour illustration page 125

372 ARing Set With ACitrine Of Around 12ct. The cushion outline oval cut citrine rub-over set in a ring of 14ct yellow gold. Gemologist's report and valuation available on request $350 - $450

$1,500 - $2,000 see colour illustration page 127

FINEJEWHLERY & WATCHE.

129

~a~ J oeco

'ne 1~ursa lots lots lots JiS _ots LOIS

lots

Illustrated

130 DECORATIVE ARTS & ARTEFACTS

Day 3

Decorative Arts 'The New Zealand Sale' Thursday 6th April 6.00pm Lots

400 - 462

Maori Artefacts & Folk Art

Lots

463 - 487

New Zealand Paintings, Prints & Photography

Lots

488 - 525

New Zealand Studio Pottery & Ceramics

Lots

526 - 552

Items of New Zealand Interest

Lots

553 - 579

Decorative & Applied Arts

Lots

580 - 604

Sculpture & Furniture

Lots

605 - 626

Antiquities & Pac ific Artefacts

Illustrated left: A Model Whare Fascia, Circa 1890, Lot 407. A Carved Overmantel Mirror Frame, Lot 406.

DECORATIVE ARTS & ARTEFACTS

131

Registered Artefacts Anumber of items offered in this sale are constrained under the Antiquities Act 1975. These are marked in the catalogue either Y number or Y registered. They may only be purchased by and delivered to a Registered Collector. Application forms are available at Webb's or from the Ministry of Culture and Heritage. You may purchase before obtaining your certificate and Webb's will store the items until the certificate is granted and presented, however you must pay immediately after your purchase. Delivery will not be made until the procedure is complete. Further information on the Act may be found on the Ministry's website www.mch.govt.nz/antiquities/

400 ATokotoko (Walking Stick) Attributed to Jacob William Heberley [Hakopa Heperil 1849-1906 Of dark stained wood with in laid paua shell and bone. The hand le carved as a ma le figure with stylized body and natura listic head bearing ma le tattoo, the eyes are inset with bone. The head extends into a loop handle, typical of sticks made by Heberley, incised with kowhaiwhai pattern and uniting to the stick with a manaia head. The male figure stands above two bulbous mouthed manaia heads which in turn surmount zones of rauponga and kowhaiwhai pattern , interspersed by profile janus weku mask heads. L.920mm Cf. Te Papa Collection, Wellington, ME.12066, a similar walking stick c.1872. Hastings Cultural Centre Collection , 717, a similar walking stick dated to 1896. American Museum of Natural History, New York, 80.1-1642, a tekoteko with similar manaia heads. Reference: The Records of the Auckland Institute and Museum , Volume 28, pages 69-148, 1991, Roger Neich . See further detai l lnFocus section of this catalogue page 23 Yregistered

$3,750 - $5,000 Illustrated left and detail below

~ lnucepti1

horess lnslahu sl!~erthes 401

Thelahuk1~

-•sc1oalwi 11,,ranga

,·,Niama 12:·1,and

::1:wso 401

AWooden Walking Stick with Portrait Bust Finial Possibly made of taraire timber. The knob finial carved as a bust of a Maori male with incised moko detail and a generous moustache. The combination of these details would seem to indicate a late 19th century manufacture. Similar examples are recorded. L.880mm. Y registered

$1,200 - $1 ,500 Illustrated right and detail above right

132 DECORATIVE ARTS & ARTEFACT~

ustrateda,

at the items euntil the

402 An Exceptional Quality Kahu Kiwi Fine dress cloaks (korowai) produced by Maori were named after their ornamentation, hence one where a certain feather type predominates the cloak gains the name of the bird. This kahu kiwi is produced from fine selected flax (muka) hand prepared and woven. Additional bias weft rows are inserted in the body of this cloak to give form for the cloak to sit over the shou lders. Reference: Te Rangi Hiroa , The Coming of the Maori , page 174. The kahu kiwi has the following oral provenance: A gift on the c.1863 marriage of Mere Ngamai [Mere Kapa Ngamai 11] and James Robson, a sawmi ller from Greytown, Waira rapa. This cloak was given by the bride's grandfather Rawiri Motutere (d.1869). Motutere, also known as Rawiri Kowheta and Maweuweu, lived at Koangaumu at lilahi Bay and Ngauranga (Wellington) and was a chief of Te Ali Awa (Taranaki and Wellington) Mere Ngamai II , also known as Mary Harrison was the daughter of Mere Kapa Ngamai I (d.1852) and James Harrison (d. circa 1845) an American (Boston?) whaler who lived on Kapiti Island . 1070 X 1450mm. Y registered

$65,000 - $85,000 Illustrated above

DECORATIVE ARTS & ARTEFACTS

133

403 APre-European Mere Pounamu (Nephrite Hand Club) The matt polished blade feathers to a fine narrow edge around the upper section while thickening around the slightly reduced grip. A stone tool drilled, oblique 'hourglass' hole of considerable size pieces the grip, above a swollen ridged butt knob. The stone is of kawakawa variety, dark green with black flecks and lighter streaks, almost translucent at the thinned edges. The smaller size has anecdota lly been referred to as a 'fighting' mere rather than carried as a badge of rank, however study of mere recorded in the Bulletin of the Auckland Institute and Museum ,(no.12, 1982, Catalogue of Maori Artefacts ...) records sizes between 222mm up to a massive 490mm and would seem to indicate that manufacture was determinate on availability of suitable material. This hypothesis would seem to be borne out by the more uniform size of patu onewa , generally between 300 - 400mm. 19th century mere examples appear to become more uniform in size. 18th century. L.250mm . Y registered

$15,000 - $20,000 Illustrated left

404 APre-European Mere Pounamu (Nephrite Hand Club) Of kahatea variety nephrite, dark green with darker flecks and striations, visually opaque. The elon gated blade reduces to a barely discernable grip which is pierced with an oblique hourglass hole, and swells to a ridged butt knob. This mere was found buried in two pieces and has been rejoined with a gold inlay at the fracture point in the manner of Oriental porcelain restoration . L.39 l mm. Yregistered

$5,000 - $8,000 Illustrated left

"o 1noverma1

,:,·ms ''." !811.1

405 An Unusual Maori Sculptural Carving of Fire-starters Of dark stained light wood. Th e piece represents two figures working a fire plough. The male works the kaurima, the female holds the kaunoti. Unattributed to a carver, however in Arawa style the figures are tattooed across their backs and limbs with pakati notched lines and spirals. Their thickset heads are detailed with moko and inset with paua eyes. The kaunoti sides are carved with manaia heads and spirals while the upper surface is entirely decorated with rauponga.

·,:.1a;,.as hrua Hlrameis • manne ,6a:eocaff

,rn~m

W.510mm

~M0-16 $2,500 - $3,500 Illustrated below

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J34 DECORATIVE ARTS & ARTEFACTS

reducedgni iestoneisol stud1olme1e s11esbe!V!~n !ablematena: l9thcinlu~

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406 An 0vermantel Mirror Frame attributed to Tene Waitere (1868 - 1940) Waitere was ta~ght carving by his elder realtives at Rotorua and was subsequently employed by the manager of the Geyser Hotel at Whakarewarewa, as a professional carver from 1892. In a workshop there he carved architectural pieces for the hotel as well as for the thermal area. He was involved with carving on many houses at Rotorua including Hatutapu , as well as gateways and palisades at Whakarewarewa. Significantly to this item he carved massive mantelpieces for the Grand Hotel, Auckland, and the Grand Hotel, Rotorua.

1alehollsthe ;atinotcheil ithmanara

This frame is based around the fascia ca rvings of a wha re whakiro. The barge boards (ma ihi ) are carved with pairs of contorted manaia fi gures, supported on figurative uprights in the manner of whakawae (door jambs) flanked by panels of conjoi ned rauru spiral s. The lower panel replicates the papaekaiawha threshold board. Beneath the barge boards is a gable board detailed with multiple manaia heads flanking a standing figure. The central koruru mask is missing. This frame was stored for decades in a shed in Parnell. W.2075mm. Y registered

$4,000 - $6,000 Illustrated above

407 AModel Whare Fascia Circa 1890, by an unattributed carver This fascia was stored as the item above in Parnell. The infill body of the piece is made of 5 ¾" tongue and groove boards with fluted moulding that is attributed to the Kauri Timber Co from the late 19thC. The barge boards are carved with multiple mania figures supported on conventional amo with ancestral figures . The threshold board is carved with alternating ruru heads and manaia figures and elevates a central ridgepole support post carved with four standing human figures in the manner of a tekoteko or poutokomanawa. The pole is flanked by a representative doorway and window. As with the previous lot the koruru mask from the gable apex is absent. W.2430mm. Y registered

$6 ,000 - $7,000 /flus/rated page 130 and detail here

DECORATIVE ARTS & ARTEFACTS

135

408 ASandalwood Glory Box with Maori Carving and New Zealand Centennial Crest The 1940 celebrations of the Treaty of Waitangi generally sidelined Maori culture over a nationalistic imperative, hence objects such as this folk art centennial piece are rare. The carver has appropriated this iconic unmarried woman's trousseau box as a medium to display low relief carved panels of rauponga and repeating tiki plaques framing an invented crest with Southern Cross, ferns , kiwi and the centennary's dates. The front is carved with a pare (lintel) shaped plaque incorporating the tiki image again along with manaia figures. W.900mm

$3,750 - $4,750 llustrated left

409 An Ink Drawing by Major General Horatio Gordon Robley, c.1865 Inscribed verso: 'Exact tracing/ of a portion of tattooed (left) Thigh Skin / The Pattern is "PUHORO" / and resembles the specimen/ in Dumont D'Urvilles Voyages. The study of a complex asymmetrical design is rendered in black ink and brown wash on a sketch pad leaf. Framed to display the inscription verso, which is accompanied by a sketch in ink over pencil of a left thigh and buttock to indicate the tattoo's placement and orientation. 220 x 180mm

$3,000 - $4,000 Illustrated left

410 An Ink Drawing by Maj. Gen.HG Robley, c.1865 inscribed 'No.6 Maori Rafter Pattern', the study of a complex symmetrical kowhaiwhai design is rendered in red and black, outlined in black on a sketch pad leaf. 250 x 150mm

lll AKaiuHur ~·re and i:anodrei

$3,000 - $4,000

Atnooo

Illustrated left

n.t,to(swa ';,tr,~1un, ,,·u~i:::k u',2°tsfe srnbr

·,;sa,t

>,a::cc ,rt!Dflll.

IO!Jx!OIJ

110,000-1

I us/rated a

136 DECORATIVE ARTS & ARTEFACTS

laland edMaon isfoliart cunmarned panels ,I with ·1scaijed gainalong

, c.1861 ihSlin TI0nl srendered playthe encilofa ntation.

netncal ona

411 AKahu Huruhuru (Maori Full Feather Cloak) A rare and beautiful example of a full feather Korowai or Maori cloak. Crafted in an ancient and traditional geometric pattern by three Ngapuhi women from the Far North (198996) and dressed with old family feathers of the now protected kereru (native wood pigeon) and kiwi. A taniko border of hand weaving in black and white poutama pattern defines the neck which is tied by two plaited muka cords. Three horizontal bands of cock, pheasant and pukeko (swamp hen) feathers decorate the shoulder and are set above a central inverse triangle of keruru feathers flanked by triangles of russet cock pheasant and white belly feathers (underdown). The centre is divided by a horizontal band of kiwi feathers above two central squares mirrored in dark and light set between three lines of the iridescent keruru neck feathers undercut with further white puku down and a further full width band of deep blue pukeko feathers. The lower section is finished with further full width bands of various feathers and , at the remu hem, kahu (native hawk) feathers. This rare korowai by nature of its feathers is registered under the Wildlife Act by the Department of Conservation, the ownership of such items being prohibited under the Act unless authorised . This exotic cloak combines traditional designs with an unmatched selection of old, rare and important bird feathers in what is now globally recognised as a unique New Zealand art form . 1013 x 1013mm

$20,000 - $30,000 Illustrated above

DECORATIVE ARTS & ARTEFACTS

13 7

412 A Good Contact Period Taiaha Of richly patinated deep brown wood. With whorl carved tongue issuing from a mouth with carved teeth, the ring eyes set with paua shell (two absent). L.1575mm. Yl0104

412

$1 ,000 - $1,500 Illustrated left

413 A19th Century Taiaha Of dark red-brown wood. The tongue and head blocked out and with minimal carving. The mouth with incipient teeth. An old label is affixed to the notably slender shaft at the neck, with an illegible inscription.

413

L.1690mm. Yl0105

$1 ,200 - $1 ,500

111 llatel!th Toeupperse ~~eoanoi 1,:;eobya

.strafed~

415 AWhalebone Wahaika by an Unknown Carver Of late 19th Century manufacture, th is example displays similarities to wahaika made by Jacob Heberley, most notably the highly protruding manaia figure on the blade edge. This figure is larger than those on traditional wahaika and indicates that this club is purely ceremonial and non-combative. The interpretation of the manaia however is different to those attributable to Heberley, as is the absence of the side notch, and points to a number of carvers working contemporaneously. The butt knob is a highly worked contorted and compressed figure, the style of which, traditionally, would appear as the terminal of a paddle. L.368mm. Yregistered

$2,500 - $3,000 Illustrated left

416 AWhalebone Patu Of considerable size, the broad blade reducing to a small grip pierced with a square cut thong hole. The flattened butt knob with incised lines, possibly later applied. L.426mm. Y07603

$2,000 - $3,000 Illustrated above left

417 A 19th Century Kahu Kiwi With kiwi feathers covering the entire surface of the woven candlewick foundation, along with some other bird's feathers scattered across a section 180mm deep beneath the upper hem.

417

11,100.11

414 ATewhatewha

$1,000 - $1,200

~11JtulaS ~- 1ierab

11,lOO•li

L.1215mm. Yl0106

416

m1Whalebon

Illustrated left

The mid brown wood with good patina; the blade distention pierced on the lower edge for feather attachment, slightly chipped to the top corner.

415

11,100-13

111 1Pre-[uro 1:,,etooe!l ":•eneaopo

M'erwas rno-19)~

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1us/rated 1

411 !Nephrite rnkawaka

l10H31 .sl•ared

mIPounam dtool~

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~00-lll , us/rated,

mllangiwa

900 x 1100mm. Yregistered

;r,1sucen1

$5,000 - $7,000

1100.11

Illustrated left

mAlangiw2 Totareral

418 ALarge Greywacke Adze Blade Hawkes Bay type, quadrangular section with allover pecked finish , slightly polished at the bevel. Two incipient knobs bulge slightly from the poll area. L.255mm. Y registered

418

$300 - $400

,: \OOilt

1100-13

!1! A~rge C easyrnrr ~- lOmm

Illustrated left

~00-11 138 DECORATIVE ARTS & ARTEFACTS

:from a

419 An Argillite Patu 0newa Of typical well proportioned spatula shape, the reduced grip pierced with an hourglass thong hole above a five ridged butt knob. Some tra uma chips to blade edge.

L.317mm. Y registered

$2,500 - $3 ,500 420 AWhalebone Patu Of spatula shape, reduced grip area, flattened butt knob pierced with a straight drilled hole. The bone considerably coloured with age. One small section scorched. L.361mm. Y5045

nimal otab~

$1 ,500 - $2,000 421

ALate 19th Century Carved Wood Wahaika The upper section of the blade carved with fine ridge and notches centered on a circ le; the lower section simila rly carved and with a figure carved in conventional position to the blade edge, the butt knob carved as a head, pierced by a square cut thong hole. L.397mm . Y8784

$1 ,500 - $2,250 the lower

Illustrated right

421

422 APre-European Pounamu Hei Tiki. Ex the George Wooller Collection Stone tooled , mid-green stone. Modeled with head angled to right shoulder, hourglass suspension hole through forehead , posed in flexed stance with hands to thighs. No sex ind icated. Wool ler was a renowned industrial ist who formed a large collection of tiki, subseq uently selling the majority in the mid-1970s. This is one of two tiki that were ke pt and bequeathed to family on his death . H.75mm. Y registered wahaila ureonthe indicates mofthe absence ·aneous~. styleof

$2,500 - $3,500 Illustrated right

423 ANephrite Kuru Pendant Of slender shape tapering slightly to either end. Mid-green colour with some black striations, matt surface polish, hourglass hole. L.97mm. Y10100

422

$300 - $400 Illustrated near right

424 ANephrite Kapeu (Hockey Stick) Pendant Of kawakawa variety stone drilled with an 'hou rglass' suspension hole. L.lOOmm Y registered 1itha blylater

$200 - $300 Illustrated far right

423

425 APounamu Hei Tiki Metal tooled, modeled in flexed stance to above. Cracked across the abdomen - $elbows and repaired with a si lver metal frame to the back. H.96mm

$300 - $500 Illustrated right

ction

426 ATangiwai Kuru Pendant Translucent bowenite. Attached label inscribed "Old Maori ear pendant, New Zealand". L.61mm. Y registered

$100 - $200 427 ATangiwai Toki (Bowenite Adze Blade) Toki are rather unusua l in this materia l as opposed to neph rite. The softer nature of the stone wou ld reinforce the likelihood that this is from a tokipoutangata (ceremonial adze). L.122mm. Y216

$200 - $300 1tly rea.

428 ALarge Canoe Anchor Stone The asymmetrical sedimentary stone with a pecked and dril led hourglass section lashing hole. W.430mm. Y registered

425

$500 - $700 DECORATIVE ARTS & ARTEFACTS

139

lfolklrtCa 429 AContact Period Korowai The muka ground decorated with a repeat spread pattern of dark dyed, plied thrums (hukahuka, many absent. Additionally scattered woolen pompoms enha nce the body which is framed by looped woolen yarn borders, in red blue and yellow colours. Some with highly fugit ive dye. Some staining. The upper hem with dyed plied muka collar, considerably worn and additionally purple and white wool whipping along with turquoise wool plaited ties. 1120 x 1470mm. Y4069

$2,000 - $3,000 Illustrated left

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~,, .1100 ~ ID innnishe - -·•·a da ';..~.;t;pal .. ' 1

430 AContact Period Flax Cape With remnants of hukahuka thrums and flax tags scattered across the body, a collar of plied thrums and borders of green, black and yellow wool. Some losses, staining and holes. 780 x 1070mm. Y registered

$300 - $600 431

APiu Piu With broad waistband decorative woven with yellow and black dyed repeat diamond pattern

$250 - $300

«I j1ounamu c,tgreensn 1~r~wax.

~0-1100 '1 110th Cenb ,:,tooed.

432 APiu Piu With simple plaited waistband, the thrums with geometric scutched pattern

429

$250 - $350 433 APiu Piu Similarly patterned to above

$250 - $350 434 APiu Piu with scutched and dyed rolled thrums suspended from a plaited waistband (many loose).

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$120 - $200 435 AFolk Art Whare Model Possibly manufactured for intended use as a letter box, the dark sta ined timber model has a later plywood hinged rear flap door and 'floor' lining. Marked underneath in ink: "Te Paea " this model may be a fanciful representation of the whare of Te Paea, also known as Guide Sophia, which sheltered reputedly 62 people during the 1886 eruption of Tarawera . W.500mm

$1,500 - $2,000 Illustrated left

«l liowenitf 11:cfeatures

·:omplete.

1100 -13( ~ IPre-Eun

Gim1q,a1

:·--:,ncM 436 AModel Storehouse (Pataka) of Stained Rimu The inspiration for this folk art piece may well have been from publicity surrounding the presentation of a number of pataka models to English royalty at the turn of the 19th century. One carved by Heberley was given to HRH the Duchess of Cornwal l and York during the visit of George V and her in 1901; a second was presented by the government to Edward VII on his coronation in 1902. This r~ther unusual model is of the building's porch (mahau) and fascia with carving to the paepae, maihi and amo inspired by traditiona l influences. The whole is surmounted by a particularly tall tekoteko figure. H.820mm

«l l!e1hrit1 8-0lh10th(

1100-11

Illustrated left

«I IPalisad

A tekoteko stands on the head of a koruru at the gable apex, supported on similarly carved uprights, the eyes inlaid with mother of pearl. Mid brown stained kauri. H.730mm

$500 - $750 438 AFolk Art Carved Wood figure of a Maori Man Modeled kneeling, challenging with a taiaha. By an unknown carver, similar smaller examples sold have been marked under the base Hoko Pai (Good Buy). H.480mm

$500 - $700 Illustrated left

140 DECORATIVE ARTS & ARTEFACTS

~10-~

$2,750 - $3,250

437 AFolk Art Carved Maori Meeting House

438

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140q[

«! Atarved Mooeled1n which 1s c,

439 AFolk Art Carved Wood figure of a Maori Woman

yabsent. Jers,in liedmuta llaited

450 ACarved Wood Tiki Figure

A companion piece to above. Modeled sitting on a rocky outcrop holding a pair of poi. H.550mm

Dark stained, modeled in flexed stance, chin to chest, hands to abdomen which is carved with a koruru head . H.555mm

$500 - $700

$450 - $550

440 An Unfinished Ancestral Figure Carving Cylindrical, dark wood, with janus headed figure surmounting another similar. Incomplete pakati detailing and ring eyes. H.235mm

451

ACarved Kauri Ancestral Pou Panel Incised initials VMT (unknown carver) verso. Vertically rectangular, carved in high relief with a stylized weku headed figure standing with hands clasped to its abdomen surmounting a manaia figure. Both with inset paua shell eyes. H.

$200 - $300

ind I

$700 - $1,000 441

APounamu Hei Tiki, Ex the George Wooller Collection Dark green stone, modeled with head slightly to left shoulder, ring eyes inset with red wax, flexed stance with hands to thighs. Cf. Lot 422. H.130mm

452 APatu Aruhe (Fern Root Pounder) of dense black wood; the ovoid shaped pounder head on a slender reduced grip with slight butt knob. L.353mm. Yl0103

$400 - $600 $180 - $220 442 A20th Century Pounamu Hei Tiki Metal tooled, modeled in stance as above. H.97mm

$300 - $400 443 APa Kahawai (Trolling Lure) The wooden shank set with a paua shell section. Both the snood lashing and the lashing of the bone point replaced with cotton. L.120mm

$300 - $500 444 APre-European Nephrite Toki Of quadrangular section, the top slightly arched between poll and bevel. The underside with partial polishing out of natural surfaces. L.140mm. Y registered

$300 - $400

453 AWooden Patu of spatula shape, the butt with a ridged finish and pierced with a countersunk hole resembling of nephrite mere. Mid-brown wood . L.380mm

$500 - $600 454 AFolk Art Wooden Wahaika Carved from burr timber, the blade with an elongated figure to one side, the plain grip with a straight drilled thong hole. L.383mm

$300 - $400 455 An Early 20th Century Wooden Patu Of slender spatula shape, in red-brown timber, relief carved to either side with a ruru head with paua inset eyes above two conjoined rauru spirals, the plain grip has an infilled thong hole, the butt knob is carved as a profile head , again with paua eyes. L.400mm.

445 ABowenite (Tangiwai) Hei Tiki IOOd iful leduring

The features - $flexed legs, ring eyes, right hand to mouth started but incomplete. Dark transluscent stone. No suspension hole. H.75mm

$200 - $300 446 APre-European Nephrite Toki Of thin quadrangular section with slight bevel to the top blade edge and more pronounced bevel underneath . Traditional lapidary scarfs appear on each of the side walls. L.14lmm. Y6253

$700 - $800 456 AWhalebone Kotiate Of small size and with unfinished detail. the blade sides grooved but with no sinus cutouts, the butt knob with an incipient head. L.215mm

$400 - $600 457 ALarge Gourd Decoratively incised with kowhaiwhai and koru patterns. H.460mm

1fa sgiven resented g'sporch whole is

$350 - $450 $700 - $800 447 ANephrite Heart Pendant and Small Tiki Both 20th Century

$100 - $150 448 APalisade Finial Carved as a naturalistic human head , with open mouth and defiant extended tongue. Red painted. Some decay and worming. H.420mm

458 Four Stone Adze Blades Three small, quadrangular section, the fourth, and largest of oval section. L.134mm. Y registered

$120 - $200 459 ALarge Collection of Adze Blades Along with blade portions, worked stones, gum pieces, etc. Y registered

$400 - $600 1eeyes

449 ACarved Wood Tiki Figure Modeled in flexed stance, chin extended to chest and hands to abdomen which is carved with an upside down koruru head. H.300mm

$300 - $400

$500 - $700 460 APair Folk Art Kiwi Carved Book Ends In kauri , with green stained grass. L.220mm

$125-$175

1ebeeo

DECORATIVE ARTS & ARTEf/, 'T

141

461

An Ebony Souvenir Walking Cane

470 AHenry inkelmann Photograph A male group picnicking on "Crocodile Rock Whangaroa" signed, wooden framed with title on the frame. c.1908. 675 x 855mm

Fitted with a silver collar, engraved "From the Wreck of The Boyd, Whangaroa Harbour, raised 1917". The Boyd sank in 1809 after being plundered and burned by Maori. 66 people were massacred. The upper shaft is carved with trellis and spira ls, capped with a silver plate pommel. L.850mm

$350 - $500

$600 - $1 ,000 471

462 A20th Century Maori Carved Wakahuia The shallow elongated oval box with domed lid , all over spiral carved in relief, the lid with two opposing heads, their tongues co-joined to form the handle, the base with co-joined manaia figures in low relief to the sides. L.570mm

472 $400 - $800 463

$3,000 - $4,000

APanoramic Photograph by RP Moore

$400 - $600

Built in 1892 originally named "Miowera" she was wreaked in the Cook Islands. Framed. 230 X 330mm

$150 - $250

An angler weighing in a striped marlin. Photographer unknown. 260 x 190mm

$100 - $200 476

ANew Zealand Albumen Print Old Motu Road between Opotiki and Gisborne, titled verso. 382 x 300mm.

$300 - $400 477

APortrait Photograph of the Maori Chief Patara

$400 - $600 478

$150 - $250 467 AWatercolour of a Maori Woman, attributed to Charles Palmer 479

AWhites Aviation Aerial Photograph of Tauranga Looking towards The Mount and Mayor Island ; hand coloured, early 1950s. Framed. 512 x 768mm

$400 - $600 $150 - $225 468 An Early 20th Century Coloured Lithograph by Walter Wright

liH100

mlnOilPairr ·-, ~dHa

!rn0-115 ~! !Patricia :t~fO

·11na,co~ P,mud

1600-11,1 .ilrated ij! Aleo ~ng

::·,·:as

,·~,a10~

1500-180 .strated

!!O Anlanfirt ~'h1rnnan ':,:er Jg

1100 -13( iiflted

A portrait of a chief with moko and two huia !eaters in his hair, his shoulders wrapped with a taniko bordered cloak. Signed and dated '29. 240 x 172mm

$100 - $200 469 APhotograph Attributed to Henry Winkelmann

142 DECORATIVE ARTS & ARTEFACTS

i !Vanity fa

480 An Etching by Gwen Miller of a Maori Chief

$200 - $400

$450 - $800

11,000 · SJ

AWhites Aviation Aerial Photograph of Waihi, 1955 Hand tinted, framed. 510 x 614mm

The homestead and surrounds, Karekare, West Coast, Auckla nd. From a Waikato col lection of photographs that comprised examples principal ly by Winkelmann. Original frame. Early 20th Century. 436 X 538mm

~I !Pastel an li·~fra

;!)""

$400 - $600

Of a Maori canoe race on Lake Rotorua, offshore from the Ohinemutu Pah and church site. Mounted, unframed. 456 x 968mm

160-1100

475 ANew Zealand Albumen Print

Full facial moko tattoo emphasized. Framed. Early 19th century. 365 x 305mm

with moko, her chin resting on her fo lded arms surrounded by nikau pa lms and ferns. Oval mount, glazed and framed. 472 x 370mm

Atterlolni

B1!11 e1

466 AHand Coloured Cartoon Lithograph by Trevor Lloyd "The Neglected East Coast Railway" published June 26, 1913 in response to the government's indecision on commencing a railway line connecting the East Coast. Mounted on card. W.508mm

1~ Hlromoln

474 APhotograph of the USSCo MV Matai on the Waitemata, c.1908-16

Published by the Auckland Weekly News, dated April 4, 1912. "Hoisting Sail on the Old Sh ip", Sir Joseph Ward sitting on the Treasury chest, afloat in a waka, his awards being cast into the sea. Mounted on card . W.508mm

$400 - $600

m-1115

Maori women and children group titled 'Maori 's washing in hot pool, Rotorua ' framed and mounted under glass. Slight deterioration lower right corner. Framed. 652 X 810mm

$800 - $1,200 465 AHand Coloured Cartoon Lithograph by Trevor Lloyd

,w,10IN~

$600 - $900

473 A Large Hand Coloured Photograph

464 Two Hand Coloured Cartoon Lithographs by Trevor Lloyd Published by the Auckland Weekly News. One titled "A Suggestion for the Reception of our Gift Dreadnought: Why Not Send Auckland's Fleet to Meet HMS New Zealand 7" Published April 17, 1913, in response to the Royal Navy allowing the HMS New Zealand to visit New Zealand. The other dated May 1913 "A Visit of Inspection, New Zealanders Admire Their Ship". 510 x 660mm

·•J ln[ngravil

=:•risa ::".a a~

$2,000 - $4,000

'Interior of a Native Village or "Pa", in New Zealand ...'

1rno-1m

Titled "Okahumoko Bay, Whangaroa "Harbour. Signed and dated 1908, framed matching the above. 675 X 865mm

'Queenstown on Lake Wakatipu, Remarkables in background', hand coloured, signed, entitled. Framed. 360 X 1115mm

ARare Hand-coloured Lithograph by John Alexander Gilfillan, cl852. In a well detailed scene a group to left includes abreastfeeding woman and men playing checkers, while to the right a family is gathered round a cooking pot. Untrimmed. Closed tear neatly repaired centre of top margin, through to print, another tail right. Reference, Early Prints of New Zealand, Ellis pg 136-138, records that only 50 copies were printed, all bearing the word 'Proof', and that the original painting is lost. Mounted, laid on board. 930 x 820mm. Image 640 x 480mm.

AHenry Winkelmann Photograph

Jl ioeclarati in-ulram -~fl'Jfatin!

481

A Gouache Painting by an Unknown Artist

!!J llen tast

lt·,~are :pf,rcl9 ~00-16[ JSfrated

A historisizing view of the first encounter between Tasman and Maori. The work depicts the ramming of a small boat by a waka taua. Tasman's vessel the Heemskerk stands off behind the scene in which four of the party were killed. Tasman named the site Murderer's Bay. Unsigned. 420 x 660mm

4!1 Aloi S:.nccipe

$500 - $1,000

11,IOO-I JS/rater1

ooden

482 ADeclaration To The New Zealand People by George VII A rim u framed photolithograph dated May 12th 1937 depicting the royal fam ily withi n a kowhaiwha i border incorporating the New Zealand and British coats of arms. 885 x 625mm

$100 - $175 08,framed

483 An Engraving from Cook's Second Voyage Reprinted by Alex Hogg 'A Man of New Zea land' and 'A Woman of New Zealand ', mounted 293 x 416mm. Together with a smaller work from the same voyage, a copy by Alex Hogg after the original Sydney Parkinson engraving from the voyages unofficial account.

$75-$125 coloured,

484 AChromolithograph -The Eruption of Mt Tarawera After John Gully from Wa kefi eld's 'New Zeal and Illu strated' publi shed 1889. Framed. 402 x 562 mm $60 - $100 485 APastel and Gouache by Joseph Gaut of the White Terraces

Rotorua' ,mer.

Signed. Framed. 390 x 735mm

$2,000 - $3 ,000

1908-16

489

486 AVanity Fair Chromolithographic Print of Richard Seddon By 'Spy', entitled "King Dick". Dated 1902. 320 x 185mm $60 - $100

JOk

487

An Oil Painting On Canvas of a Calf in a Rural Landscape The body painted as an advertisement for 'Anchor, Ancalf Standard ... Milk Replacer Ca lf Food '. Framed. 530 x 682mm

$100 - $150

x190mm

488 APatricia Perrin Stoneware Onion Jar

490

Wheel thrown grout textured surface, two pinched lugs to the sides to secure a rope handle, the wide mouth with original cork stopper, raised on four pinched feet. Decorated with thickly appl ied dri bbled glazes. Impressed P Perrin, and incised 9/66 (probably a date). H.265mm

mm.

$600 - $1 ,000 Illustrated x305mm

489 ALeo King Earthenware Slip Cast Pot Spherical shape with an eccentrically placed dished well and opening, the exterior matt brown glazed , the well crazed ivory and speckled ash matt glazed. Reputedly a Fletcher Brownbuilt award winning piece. D.230mm

$500 - $800 Illustrated

490 An Ian Firth Group of Three Conjoined Wall Vases With iron and tenmoku glazes; of graduated size and of Han dynasty pan mouthed form. The largest with shoulder lugs and rope suspension. Late 1970s. H.220mm

491

350s

$200 - $300 Illustrated

491 ~oulders 11mm

ALen Castle Hanging 'Spike' Bottle Stoneware with umber pigmented surface. Impressed dot and circle patterning to the rim and well. Impressed cipher. c.1970s. H.290mm

$400 - $600 Illustrated

.The

492 AJohn Crichton Designed Charger

vessel were

Spun copper with mosaic tiling in mustard , black and white effects and lemon. Labeled verso. Minor glaze chips.

$1,100 - $1 ,600

492

Illustrated DECORATIVE ARTS & ARTEFACTS

143

l~~eS!OI 493 AJohn Crichton Designed Charger

~,1200,,'t

.,,cnihe

Spun copper with glass mosaic tiling in varied greens, white and lapis blue some infused with iridescent copper and gold. 0.412mm

:.;:·r110~

$1 ,100 - $1,600

lli1·µ50

Illustrated

494 A Royal Daulton Maori Art Jardiniere, circa 1910 Applied with a band of Maori masks interspersed with oval Kia Ora panels on a cobalt band flanked by spiral bosses and kowhaiwhai plaques, all on an agate glazed ground. Impressed and incised manufacturers marks. H.190mm

$2,500 - $3,000 Illustrated

495 ARoyal Daulton Maori Art Whisky Flask

i 1sarrt8ri( ·,;

...,,

•"'ilsedde ;;:::HJ4

~,o.µ51 Iii Athester ! ~i;e: thrown ,~- 1g,Jga

With applied masks and Kia Ora plaques in brown decorating the shoulder of the baluster shaped bottle. H.235mm

1150.µ01 $800 - $900 Illustrated

!:, HuieAda ·,:,.,g~a\

496 ARare Daulton Maori Art Plate With a central pattern from the Maori Art range as a frame to a portrait of a Maori woman and child. Bordered by a kowhaiwhai pattern in red and black, on a yellow ground. Some minor scratches and small glaze rim chip. 0.260mm

$900 - $1 ,500 Illustrated

497

ALen Castle Discoid Wall Vase

:-,~aie,

!!0-1140 Iii Aloia Ran Whdene JR,nc1chm1

•,l•:..1

Press moulded stoneware, with concentric moulded surface pattern, white burning clay and umber pigmented. c.1970s. 0.230mm

$600 - $800

~! An£anyl1

Illustrated

498 ALen Castle Stoneware Press Moulded Discoid Wall Vase The impressed decorated exterior washed with burnt umber and manganese dioxide pigments. Two pinched suspension lugs to the rear. Impressed cipher. 0.150mm

495

$400 - $6D0

Iii Alohn Ra1 Oitapenng

rnMoot U·a~ed.

499 ASmall Len Castle Stoneware Circular Bowl Press moulded, half discoid form. Burnt umber pigmented exterior with an overspray of white burning slip. Saturated iron glazed interior with semi-matt talc overglaze. Impressed cipher. 0.130mm

$200 - $300 500 A David Brokenshire Stoneware Vase Wheel thrown with wide everted ri m. The exterior walls shallow gouged. Giazed with a thick midn ight blue over manga nese dioxide pigment. H.170mm

$90 - $160

II' ICrownl ltuM:a° ·:mtot

,":-:t,. lea

Im-~ 111 ICrownl Ofta uste, "Dsenwc 1

501

AStoneware Squat Circular Vase With wide mouth, stamp patterned impressed exterior with manganese dioxide pigmenting. Incised cipher of an unidentified maker. 0.170mm

$90 - $150 502 AJim Greig Stoneware Leaf Bowl Press mou lded with slightly inverted lip with ra ised ri ms. Light ash glazed wel l and deep blue speckled over iron glazed lip. Incised cipher L.210mm

497

$100 - $160 503 AJim Greig Stoneware Leaf Bowl similar to above $100 - $160

144 DECORATIVE ARTS & ARTEFACTS

oosc,·edn

1110-~

lil AlulietP

'"Pressid ofbrnwn s blJeSaltg

lloo-1: Ill !Charle: oiibong ·inunder

perand

504 ALarge Stoneware Floor Pot

515 ABarry Brickell Stoneware Fatboy Jug Applied coiled rim and conjoined spout, with applied handle to the side (with firing stress cracks) the exterior surface sl ightly ribbed, saturated iron underglaze ash overglaze. Im pressed Brickell cipher together with an unattributed cipher. H.200mm

Of slab built 'pod' form. The interior walls heavily textured and partially ash glazed. The exterior yellow ochre and umber pigment was hed . Unmarked but thought to be an Yvonne Rust/ Margaret Milne collaboration piece. H.585mm

$300 - $450 $400 - $600 505 ABarry Brickell Terracotta Lidded Crock Wheel thrown cylindrical form , reeded shoulder with applied arching lugs, impressed decorated. Iron pigment exterior glazed, glossy terracotta interior glazed. H.340m m

bosses mm

516 AMirek Smisek Salt Glazed Bowl Raised on a small ring foot, decorated with a wide triangular stamp impressed band encircling the exterior. 'Gravel ' salt glazed. D.l 70mm

$350 - $500

$300 - $450 506 AChester Nealie Wood Fired Anagama Pot

517 AMarianne De Trey (UK) Earthenware Bowl Painted to the wel l with a rooster. Wax resist decorated in earthy and coba lt blue glazes, a brushed band to the exterior. Raised on a ring foot. Im pressed scallop shell cipher. D.250mm

Wheel thrown of ovoid form with slightly tapering wide neck, small applied arching lug at the shoulder. Unmarked. H.250mm

15mm

$250 - $400 $150 - $250 507 ALuke Adams Majolica Lidded Storage Jar Tapering walls of pentagonal section moulded with mandarin figures. Possible lid marriage. Printed oval stamp. Lid crack. -0bya '60mm

518 AHillside Salt Glaze Stoneware Teapot Incised pod decorated, mid blue salt glaze. Impressed mark. H.160mm

$80 - $120

$80 - $140 508 AJova Rancich Baluster Vase

519 ABarry Brickell Sculpture Heavily grogged terracotta. The piece implies the contoured hills and val leys along with the snaking track of the potter's Driving Creek Railway. D.470mm

With wide neck, deep blue glaze with deeper blue streaks. Impressed J.Rancich mark. Small glaze imperfection to exterior, rim glaze chip and small hairline. H.135mm

$900 - $1,500 $400 - $500 520 ALen Castle Triple Herb Pot 509 An Early John Parker Stoneware Squat Circular Wide Lipped Bowl

spension

With umber pigment wash , tenmoku rim and exterior. Impressed cipher.

Each of the bell shaped bowls luted to a central core, rutile glazed and incised ribbing. Small foot chip. Impressed cipher. cl 968.

$100 - $160

$400 - $500

510 AJohn Radford Style Porcelain Vase Of tapering teardrop section. Decorated with female form in glossy black and a red foot on an unglazed porcelain body. The interior with gloss black glaze. Unmarked . H.270mm

521

ALen Castle Avian Rimmed Bowl With semi matt talc sea green interior and white firing clay exterior. Chip to beak. c.1980s. D.220mm

$800 - $900 $150 - $300 522 ALen Castle Stoneware Bowl :urated

511

ACrown Lynn Art Vase Attributed to Daniel Steenstra , underglaze decorated with three stylized yellow flowers to the exterior wall, three purple flowers opposing, black and green effects. Teal crown . Crown Lynn base mark. H.170mm

$250 - $400 512 ACrown Lynn Hand Potted Type Vase Of baluster form , three lathe finished ribs encircle the neck; six lathe finished ribs encircle the lower third of exterior surface. Palest blue/ grey glaze. Glaze obscured mark. H.235mmv

$200 - $400 513 AJuliet Peters Stoneware Salt Glazed Baluster Pot Impressed wheel motifs encircle the blue glazed shoulder above a broad band of brown saltglaze, the lower third decorated with encircling ribbing and deep blue salt glaze. Incised mark together with incised #5. H.220mm on

$300 - $500 514 ACharles Holmes Stoneware Slab Built Pot of oblong section, the exterior surface incised textured feldspar over saturated iron underglaze. Impressed cipher. H.256mm

With saturated iron glaze inside and semi matt talc sea green overglaze. Tenmoku exterior. Impressed cipher. c.1980s. D.230mm

$450 - $550 523 ADoris Dutch Discoid Pebble Decorated with applied grog and oxides. Impressed cipher. c.1974. D.115mm

$55 - $100 524 ADoris Dutch Discoid Pebble Decorated with stamped and sgraffito patterns and burnt oxides. Impressed cipher. c.1974 . D.125mm

$55 - $100 525 ABarry Brickell Stoneware Wine Jar Squat circu lar, saturated iron and ash glazed, this vessel with two mouths, one for filling and grasping, the other for pouring is apparently related to Korean l 7thC changgun wine containers. Im pressed cipher. D.205mm

$400 - $500

$300 - $500 JECORATIVE ARTS & ARTE ~l

145

Ill 1!aNefol 11 caitain -:Je~fiOI

526 AColonial, Native Timbers Glove Box by William Norrie Inlaid to the top with a star configuration reserved on burr totara, the front with five lozenge shaped panels, the left one (rata) absent, raised on double bun feet. Inscri bed beneath with a key of the various timbers used. Unsigned but repeating styl istica lly other examples sold by Webb's. Notably Aug 1997 sale #207, one similar that contained Norrie's business card. W.290mm

ji,nfigures an!caN~ ,o:, 19J9 u !adlmea ;.:1c1,e1t

$1 ,000 - $1 ,250

-,1n111an

;,r;esof

Illustrated right

526

527 ANew Zealand Timbers And Rimu Smoker's Cabinet The paneled door front of a central burr kauri diamond within rimu and burr totara surrounds, opening to revea l a rimu lined interior with rewarewa carved pipe rests above a rimu shelf with two rewarewa fronted drawers below. The exterior with side panels of burr kauri, burr puriri to the rear. Raised on turned feet. H.394mm

,;~ma~~

$1 ,500 - $2,500

l!I0-11.

528 ANew Zealand Colonial Native Timbers Compendium. By an unknown cabinermaker. The hinged top inlaid with two demi-lunes and a circle of various timbers. The front with two arched doors of burr kauri opening to reveal four open pigeon holes and two graduated drawers. The draws and doors with turned ebony handles inset with mother of pearl rondels. The carcase principally kauri . W.425mm

$2,500 - $3,000 529 ANew Zealand Woods Inlaid Games Table Top Circular, concave edged, with central inlaid parquetry games board within a border of triangular parquetry shapes inlaid of various timbers including rewarewa, rimu, kauri, southern beech. Split to the side. D.590mm

$450 - $550 530 A 1930s Dance Hall Mirror-Ball Light The globe's surface covered with geometric mirrored panes, hobnail amber glass, moulded pale green and opalescent squares and mirrored pyramids secured by strips of lead. c.1930s. Reputed to have originally been instal led into the bal lroom of an hotel in Wellington. Some loss of si lvering to some mirror backs. The mirror ball comes complete with a period spotlight and mechanized coloured gel filter. D.550mm

$1 ,500 - $2,500

lletol!W

Cake fork! Ci~a 19JO

531

ABrass Plaque Comm emorating the Openi ng of the

lii !M aoriPo

Auckland Municipal Swimming Baths Dated 1912, from the Shelley Beach Road Baths, demolished in 1959 to allow the construction of the Harbour Bridge. 702 x 610mm

$500 - $750 532 Two Folk Art Chip Carved Small Chests Easch with three drawers, one of dark stained kauri, the other of varnished rimu, each fitted with brass knob handles, shaped upright backs.H.395mm

!Case!~ '•Hggnesl dsasgr

$350 - $600 533 ASatin Ribbon and Set Gold Wa istcoat Band Maker MJ Grieve. With a monogrammed gold shield engraved with fern leaves, suspending a tooth pendant. L.248mm

$100 - $160 534 ARare Royal Daulton "Discove ry" Antarctic Exped ition 190 1 Crested Dish With fluted rim trimmed in deep blue with gilded rim, the crest decorated with a penguin standing on an ice shelf. Daulton Burslem mark. Rd No72067. Small firing stress crack on rim . D.230mm

~00-11, 11D IKaun fn

16,odKCI

1110-131

~I lwoPiece:

~1 ICastPla tnamrn

$2,750 - $4,000 535 AKauri Coffee Table painted by Colin McCaho n One of at least three coffee tables that furnished the Auckland City Art Gallery's cafe from the mid-1950s. Painted with an amoebic cellular design in black and brown. The tables wera originally sourced from the Auckland Public Library 900 x 900 x 510mm.

$2,000 - $3,000 Illustrated left

Nl.Dresse

1110-111

Ill HhipCa1 liilhanll1a

1110-111 Ill A~iltei D;:c·ateo

t:,s. '='ir,ice: ,t1btiona

1100. 13

146 DECORATIVE ARTS & ARTEFACTS

536 ANaive Folk Art Carved Inkstand

545 ASovereign Ware New Zealand Timbers Small Circular Side Table

by Captain Gilbert Small,

The top decorated with a 'Maori chief' in pokerwork and pai nt effects. H.505mm D.290mm

modelled from a single block of timber, carved with grotesque contorted Maori figures. The uppermost section chisel led to accept an inkwell (absent) and carved in relief with Small's initials and a crest. Incised signature and date 1939 under the base along with the inscription: "Whaka Puni, named Tawhiti (meaing Far Away) ". Small carved some extraordinary folk art items subsequent to his return from WWI and while stationed as a morse operator on Tiri Island during WWII. Cf. Webbs Catalogue 237 Lots 525-550 for other examples of Small's work. W.430mm.

$500 - $750 546 An Oak Presentation Mallet with silver shield plaque, initialed WFM dated 20/3/ 13, presented to the Prime Minister William Massey. Family provenance. H.200mm

$100 - $175 $1, 000 - $1,500 547 537

ASet of Twelve Sterling Silver and Greenstone Handled

With shagreen grip, brass mou lded lions head with trailing mane mount, raised crown and anchor on the brass hilt, the design repeated on the blade. Marked 'GPinson.Mount St, Auckla nd, NZ' at the ricasso. Engraved brass mounts and black leather scabbard. German made. L. 942mm

Cake Forks and Coffee Spoons Circa 1930. Marked JS&S for Joseph Swindell & Son. In velvet and satin lined case, marked inside the hinged lid for Stewart Dawsons retail ers.

$500 - $750

$950 - $1,1 00 538 AMaori Portrait Tile by Sherwin & Cotton , featurin g a 'photographic technique ' portrait of Guide Bella. One of a series including two Maori Chiefs and two Maori Guides, commi ssioned when the four travelled to England to meet Queen Victoria. Designed by George Cartlidge. Repaired. W.151 , H.219mm

to allow

548

$100 - $150 549 APorcelain Wall Plate with Maori Decoration Sepia transfers on ochre ground, unmarked. D.236mm

$50 - $100

539 ACased Kiwi And Egg the egg nestled in dried tussock, amongst a pun ga log and dried punga fronds as ground cover. W.620mm

550 AGary Nash Large Bubble Gum Glass Vase Of squat ovoid form , clear aqua- blue glass splattered with multi coloured globules, some within the walls, others raised on the exterior surface. Signed and dated '90. H.275mm

$800 - $1,000 nleaves,

540 AKauri Framed Glazed Cased Half Model of a WWII Destroyer

$400 - $600

Signed KC Bing dated 27.5.53. Handbuilt. W.610mm

$250 - $300 541

Two Pieces of Kauri Gum

ARuth Castle Woven Cane Circular Bowl Form partially peat stained with reinforced cane rim. D.390mm

$325 - $450 1ished 95mm

ANaval Officer's Dress Sword

551

AFolk Art Poker Work Storage Box Hinged lidded , of sq uare secti on. Th e side panels decorated with poppies, the front panel with flowers framing a bird in the Art Nouveau style. Artist unknown. H.400mm

$30 - $50 ated lo/2067

$400 - $600 542 ACast Plaster Maori Doll With articulated limbs and head . Marked to the back of th e neck "Wellingotn NZ". Dressed in linen cloak and flax skirt. H.270mm

552 AFolk Art Wall Mounted Newspaper Holder Attributed to Jane Brenkley, painted and poker worked with a bird and yel low kowhai flowers. H.270mm

$150 - $200 $200 - $400 543 AChip Carved Photograph Frame lesignin JPublic

With an Otago school girl 's Certificate of Competancy (1924) affixed verso.

$150 - $200

553 AFine Old Mahogany Decanter Case, the deep hinged lid revea ling an interior fitted with three glass deca nters with gi lt decoration to their shoulders along wih two tin caddies. Inside the lid a keyhole frame accepts two glasses. W.245mm

544 AKnitted Polyester Loose Fitting Cardigan Type Woman's Top Decorated with a geometric screen printed design by Frank Carpay for Kendall s, Auckland , circa 1977. Size 18.

$900 - $1 ,200

Reference: Frank Carpay, by Douglas Lloyd Jenkins, Hawkes Bay Cultural Trust exhibition associated publication, pgs 66-67.

$200 - $300

DECORATIVE ARTS & ARTEFACTS

14 7

554 AFrench Nouveau Bronze Bust of Lucrece by Emmanuele Villanis, c. 1900 Polychromatic patina. Raised on a pyrimidal plinth, with the title on the front panel and stamped seal mark of the Societe Des Bronzes De Paris on the rear panel, numbered 3973. Signed on the sleeve edge. H.370mm

l64 A6eOI london bordere :eitD.

$3,750 - $4,750 Illustrated left

555 AMinton's Majolica Monkey Garden Seat, c.1860 The monkey modeled squatting, cradling a fruit in each hand , raised on a woven base, later inset in to a conforming wooden base. It supports a seat modeled as an upholstered cushion, deep blue glazed with white and yellow tassels, upon it's head. Some restoration. H.490mm

$1 ,500 - $2,000

11,!0[

lil !Clar Yel,OW onacr with g1

0112n

Illustrated

l1,30I 556 APair of Minton's Art Nouveau Tile Jardinieres Each of square section with four 6" square tiles held in moulded brass frames. The tiles block printed in brown and blue with scenes and characters from the Tales of King Arthur, designed by John Mayr Smith (1839- 1912)

$1,500 - $2,250

554

Illustrated

lii ACla1 With~ and gr Ye,low flffi ~

557 AGeorge Ill Sterling Silver Meat Skewer London 1772, by John Lambert. Plain quadrangular section blade with anthemion and ring finial. L.305mm

H.2251

11,50

$450 - $600

mACla 558 APair of George Ill Table Spoons London 1819, by WEley & WFearn. Double struck, Hourglass pattern .

Thell! diamo band

$150 - $225

mi.

559 A 19th Century Sailors Double Shell Valentine Hinged and glazed octagonal wooden case opening to reveal coloured shells arranged in geometric patterns. A central heart outlined with seeds and the wording "Home Sweet Home". D.232mm

$2,000 - $4,000

11,5(

5ii ACla

Illustrated

The~ paintr groun

560 ALacquer Plate

S3,0I

The surface chinoiserie transfer decorated under lacquer, serpentine rimmed , raised on short pedestal foot. D.290mm llO ARo

$100 - $150 561

AGouda Pottery Deep Bowl With everted rim, the interior painted with stylized floral reserves to the well , outlined in ochre. Base marks Peggy, #363. Rim glaze chips and hairline. D.254m

$300 - $500 556

Dfb back

11,0

rn AR1 Balu

562 ASterling Silver Cigarette or Cigar Box London 1901, maker's mark FH. The hinged lid presentation engraved to Capt. Valentine Blake 1902.W.200mm

016

160

$400 - $600 563 An Art Nouveau Sterling Silver Mounted Photgraph Frame Embossed with a cherub and poppies. Chester 1908, by Walker & Hall. W.160mm H.225mm

ll1 AW

Deer lnci:

$500 - $650

lit

148 DECORATIVE ARTS & ARTEFACT~

ii m a~ol

564 AGeorge Ill Sterling Silver Salver

573 AWilliam Moorcroft Baluster Vase With a ruby lustre glaze. Impressed marks and original paper label. c.1922. H.155mm

London 1781, by Richard Rugg. Circular with the rim embossed with a hop bordered edged with beading, monogrammed to the centre, raised on three feet. 0.281mm

Imm

$800 - $1,500 $1,800 - $3,000 oa hwhite

574 AWilliam Moorcroft 'Natural Pottery' Ribbed Baluster Vase 565

AClarice Cliff Original Bizarre Octagonal Bowl

In green and brown tonings with a lustre vase. Impressed facsimile signature and marks. c.1935. H.185mm

Yellow deep blue triangles outlined in green contrasting rich tangerine painted on a cream ground to the interior of wide yellow, painted cream glazed bands with green borders, tangerine painted to the well. Back stamp. c.1925-1936. 0.212mm

$1,300 - $2,000

$200 - $350

575 AWalter Moorcroft 'Anemone' Pattern Jardiniere On an ivory ground. Impressed factory mark, Walter Moorcroft painted initials. H.175mm 0.175mm

in brown

l-1911)

566 AClarice Cliff Bizarre Cylindrical Vase With everted rim , the exterior painted with a wide encircling band of orange and green triangles, outlined in brown, painted yellow geometric shapes. Yellow painted band above, orange painted below. Green painted interior rim , on a cream ground . Black back marks, impressed# 195 c.1925-1936. H.225mm

imm

$2,500 - $4,000

567 AClarice Cliff Bizarre Ware Small Cylindrical Vase The exterior painted with a wide encircling band of triangles tangerine diamonds outlined in brown below a green painted band, a deep blue painted band encircles the lower third. Gold back stamp, impressed #196 c.19251936. H.160mm

$1,500 - $3,000 terns.A

568 AClarice Cliff Bizarre Ware Hexagonal Vase The squat body painted blue below a tall tapering hexagonal section neck painted in simple geometric patterns of triangles and diamonds on a cream ground. Gold back stamp and impressed #17. c.1925-1936. H.225mm

$3,000 - $5,000 loot

570 ARoyal Daulton Blue and White Children Series Jardiniere

$900 - $1,500

576

ARoyal Cauldon Three Handled Cup The three panels painted with long horned cattle in a highland landscape, on an ivory ground , signed D.Birbeck. Gilded moulded acanthus handles and interior, raised on a pedestal base gilded with a trel lis and dot design. Unmarked. H.l 76mm

$550 - $800

577 ABlack Forest Oak Carved Plaque Rectangular, of two stags fighting, one with its head and antlers thrust under the chest of the other lifting the upper body, carved in deep relief. Late 19th Century. Some minor losses and antler absent. W.490mm

$150 - $250

578 AVictorian Period Four Piece Sterling Silver Tea and Coffee Service London 1864-67 maker's mark WH. Of baluster hexagonal section. The sides decorated with finely engraved panels, the pots with scroll handles, each piece raised on four pad feet. Coffee pot H.275mm.

$1,800 - $2,500

Of baluster form, decorated with a mother and child in a landscape. Teal backstamp.H.165mm 0.195mm

$1,000 - $1,600 arls

571

ARoyal Daulton Flambe Thatched Cottage Landscape Vase Baluster form with a wide mouth. Base marks, impressed #7787. H.165mm 0.160mm

579 ALarge Gentlemans Hide Suitcase Fitted with five silver capped toilette jars, each initialed SJH , London hallmarks 1918, together with two brush sets and a custom cased razor set, manicure set and writing compendium. Presented to Samuel Jackson Hanna from the Brother Officers of the Dungar Brigade 1919. With canvas outer protector. W.610mm

$400 - $650 $600 - $1,000 100mm

572 AWilliam Moorcroft Macintyre Inverse Baluster Vase Decorated with stylized 'apple blossom ' pattern with a ruby lustre glaze. Incised signature. c.1907. Note restoration to lip. H.205mm

$800 - $1,200

DECORATIVE ARTS~ ARTEFACTS

149

590 ACi

580 ACarrara Marble Sculpture by Chauncey Bradley Ives (American 1810 -1894) A classical study of a young gypsy woman; seated holding a tambourine. Signed CB Ives, Fecit, Romae. Ives, from Connecticut had a studio in Florence. H.1430mm

581

With grad

11,!

$5,000 - $8,000

591 AHI

Illustrated left

wall ha~ pedl

ARegency Rosewood Breakfast Table With oblong tilt top with ovolu bead edge moulding, raised on a gun barrel column from a quatrefoil plinth base on brass castors. 1480 x 1160mm H.715mm

$2,300 - $4,000

11.1

1!1 ASI The ope1

582 ARegency Small Proportioned Chiffonier In Mahogany With two doors set with grille inserts backed by wire mesh panels, flanked by split pilasters. The top with a panel back and single shelf supported on slender turned columns.W.900mm H.1250mm

$2,000 - $2,500

ISO 593 U The

ISSI

583 AMahogany Wellington Chest In Mahogany of seven graduated drawers with bun handles flanked by flat pilasters with foliate carved capitals, the right hand one hinges to lock the drawers. W.600. Hl 190mm

11, 594 AC

$3,500 - $4,000 584 ARegency Mahogany Astragal Glazed Bookcase Cabinet The tall upper section with double doors enclosing adjustable shelves, raised on a cabi net base with two doors with envelope veneered fascias. One of the shelves with cut-outs to act as a gun cabinet. W.1010mm H.2410mm

$8,000 - $10,000 Illustrated left

Wrt

gra1

IJ,

11/u,

595 A6 WI

sec par

585 APair Of French Louis XV Style Fauteils The carved and gilt frames decorated with acanthus and stylized floral cresting

$800 - $1,000 586 An Edwardian Card Table Burr walnut veneered , fold-over top raised on square section tapering legs

$400 - $500 587 ARegency Mahogany Card Table With oblong fold over top raised on a gun barrel column from a quatrefoil plinth supported on claw feet. W910mm H.725mm

$3,500 - $4,000 588 A 19th Century Oak Silver Chest With steel strapping, binding and heavy clasp lock to the hinged lid. The lid stenci l painted with inscription "H.Colman, Auckland, New Zealand. W.810mm H590mm

IJ, 596 A! Rai

591 AI In

11 598 An Wi

IJ 599 A

$800 - $1 ,000

Illustrated following page right

589 ASmall Proportioned Mahogany Chiffonier

600 A

With flame mahogany panel doors below a cushioned drawer, carved pilasters above turned feet, upstand back, surmounted by a shelf and carved decoration, interior fitted with single shelf. W.755 Hl220mm

$2,000 - $3,000 584

150 DECORATIVE ARTS & ARTEFACTS

Illustrated following page right

601 A

590 AColonial Solid Mottled Kauri Scotch Chest With central hat drawer set with burr Totara panel framed in Rewarewa, flanking smal ler drawers and three graduated depth, full width drawers all with carved cup handles. Wl 220mm H.1250mm

$2,500 - $3,000 591

ANew Zealand Colonial Kauri Set of Tea Drawers, wall mounted , comprising two open shelves above two rows of ten drawers, each zinc lined and with amber glass handles. Each drawer with gilt lettering pertaining to the tea brand and the quality. Surmounted by a shaped pediment. Original dark staining. W.1550mm, H.735mm

inth

$2,000 - $3,000 592 ASecretaire aAbbatant The fal l veneered in birds eye maple and figures timbers. The drawers in kauri Rimu and Totara burr. The fall opens to reveal an open cavity with a frame of inlaid timbers and satinwood fronted smal l drawers. H.1400mm

Iha

588

$800 - $1,200 593 AKauri Bedroom Compendium The combination unit includes a single mirror fronted door wardrobe to the left of the chest of five drawers which is surmounted by an open shelf and double doored cabinet. W.1830mm H.2120mm

$1,250 - $2,000 594 AColonial Cedar Scotch Chest Of Drawers With double ogee fronted wide drawer, above a central hat drawer flanked by pairs of sma ll drawers over three graduated full width drawers, all with turned handles, flanked by bobbin turned columns.W.1140mm H.1 260mm

$3,500 - $4,000

10 Imm

Illustrated right

595 AGood New Zealand Colonial Scotch Chest in Australian Cedar with kauri carcase. Attributed to an unidentified Dunedin maker. Raised bobbin turned columns, the upper section with full width double ogee draw, above two small central draws flanked by hat draws with quatrefoil panels. The lower section with three large drawers. all with turned rosewood handles. W.1170mm H.1540mm

$3,500 - $5,000 596 AMahogany Snap Top Supper Table Circa 1810

589

Raised on ring turned baluster from a tripod base. The oblong top with rounded corners. 830x625mm H.710mm

$800 - $1,200 597 AProvincial Hepplewhite Style Elbow Chair In ash with vase shaped splat pierced with gothic tracery fretwork.

$250 - $400 598 An Oak Chippendale Style Carver Chair With vase shaped fretwork splat and drop in upholstered seat.

$300 - $450 tion

599 AMahogany Snap Top Wine Table Raised on a slender baluster column from a tripod base. 0.530mm H.690mm

$600 - $1,000 600 AGeorgian Oak Snap Top Wine Table Raised on a ring turned baluster column from a tripod base. 0.520mm H.740mm

$800 - $1,200 601

AProvincial Tenon Jointed Stool

594

With curved top on stretcher joined legs. W.475mm H.510mm

$90 - $120 DECORATIVE ARTS & ARTEFACTS

151

602 AProvincial Fruitwood Stool

615 AMelanesian Bird Spear

Tenon jointed curved seat on stretcher joined legs. W.430mm H.405mm

Palmwood with multiple barbed point. L.3000mm

$90 - $120

$100 - $150

603 ATurkish Hall Runner

616 AGood Patinated Polynesian Island Billet Club

Hand knotted wool pile on wool foundation, decorated with eleven conjoined medallions on a red field, framed by two borders. W.980mm L.4990mm

the shaft finely decorated with bands of notched triangles, remnants of white pigment. Sourced from the islands late 19th Century by the vendors grandfather. L.486mm

$400 - $600

$200 - $300 604 ALions Skin With Full Head Mount Paws with claws, shortish mane indicating a younger specimen . L. 2960mm

617 A20th Century Ceremonial Paddle Probably West African. The shaft terminal carved with a flattened plaque incorporating a lizard, the shaft with a chain link or torso and limbs bifurcated section, the blade with conforming lizard piercing. L.1500mm

$3 ,000 - $4,000 605 APhoenician Mask Of Baal God of Wind modeled in a benign state, an architectural wall insert piece. Excavated in Lebanon, restored with one small section inset. H.190mm

$400 - $500 618 ASoloman Islands Paddle Club

$1 ,000 - $2,000

Elongated paddle form with medial midrib on the blade section. L.1270mm

606 APhoenician Terracotta Wine Amphora c.1400BC, excavated in Lebanon. Repair at the neck. H.245mm

$250 - $350 619 An Aboriginal Billet Club

$400 - $600

Of torpedo shape with incised zig-zag decoration. L.760mm

607 Two Grecian Late Period Pottery Fragments Head of a bearded man with head cover and a female head c.200AD, together with a Grecian early period fragment c.200BC and a shell distaff spindle.

$200 - $300 620 An Old Tongan Kava Bowl Raised on four tapering legs, three with repairs, the large gently dished bowl with old age crack to the well. 0670mm

$200 - $300

$600 - $700

608 A 15th Century AD Jewish Seal Red stone Safadic Jewish. Probably ex Iraq. L.29mm W.15mm

$200 - $400 609 A Roman Terracotta Figure of a Street Vendor c.lOOAD. Excavated in Israel. H.135mm

$150 - $250 610 AJudaic 2nd Bronze Age Period (1500-1700BC) Wine Chalice Of ovoid form supported on a spreading foot, excavated Magida (Armageddon) (Northern Israel) Note: slight professional restoration. H.120mm

$400 - $600 611

ALuristani Charioteer's Bronze Lance Head

AU Al

621

ATorpedo Shaped Wooden Flask Incised with alternating ridged panels, with integral suspension lug. Possibly a Zulu or neighbouring south-eastern tribe snuff container. L.182mm

With

$150 - $250 622 AFijian Gata Club Of heavy dark wood and typical gunstock shape, the triangular section head with flutings, the shaft with chequered patterning. L.990mm

$600 - $700 623 A PNG Pearl Shell Breast Plate (Kina) Suspended from a tinted red woven ficus fibre band . W.190mm

Mowb

and loam Joi

$100 - $200

600 - 800BC. L.220mm

624 AMangaian Turret Adze $150-$180

of a young scribe with long hair. Late period 100 - 300BC. W.68mm H.125mm

With small basalt blade lashed with delicate coir bindings to a turret handle. The handle's upper third of octagonal section with fine chevron and diaper surface carving, the lower part of tapering square section with pierced walls. Some faults. H.390mm

$150 - $250

$1,400 - $2,000

612 APtolomeic Terracotta Statuette

613 AMediterranean Society Origin Pilgrim Vessel

The vessel formed as the head and headdress raised on an armless body. Used for ceremonial drinking of palm wine. H.330mm

$600 - $1,000

$100 - $200

614 AMediterranean Society Two Handled Pottery Vessel Possibly Graeco influenced , clOO - $200BC. The handles terminate on the body with modeling of digits. Partially turquoise and blue copper glazed. H.130mm

$300 - $500 152

625 An African Kuba (Zaire) Figured Cup

Possibly Graeco influenced 100 - 300BC. With applied motifs to the shoulder, modeled lug handles to the sides. Turquoise glaze remnants. H.180mm

IE JRATIVE ARTS & ARTE,AC -

626 AWest African 19th Century Currency Bracelet Bronze cast, geometric patterns of diamonds and circles. 0.80mm

$100 - $200

Joir

MOWBRAY C OL L ECTABLES

AUSTRALASIA'S LEADING PHILATELIC AUCTION GROUP, INCORPORATING: J.R. Mowbray, Philatelist John Mowbray International

Sold hy 11., in 1999/or S/25,OOO a record pricl'j0r a used Nl'·zv 7.caland sfamp.

Stanley Gibbons Australia

1ly

With over 20 sales a year, we offer something for all collectors! Visit our online catalogues at: www.mowbraycollectables.co.nz Mowbray's make regular inspections of quality stamps and collections within New Zealand and Australia. To arrange an appointment contact in the first instance: John Mowbray (New Zealand): +54 (0)6 364 8270

Sold hv 11, in 2OO4.fhr SI I 2,000 11 r<'Cord

prit1·j(/r ,1j(/n•ign .1/amp in Australasia.

Danny Jurd (Sydney) : +51 (0)2 9299 1300 Tony Corbiserio (Melbourne): +51 (0)3 9670 0086 le. Is

Join our mailing list to receive our free catalogues! email: join@mowbrays.co.nz

>h: +54 (0)6 364 8270 Fax: +54 (0)6 364 8252 Mowbray Collectables Ltd . PO Box 80, Wellington, New Zealand . Ph:

AUCTION DEPARTMENTS Managing Directors: Peter Webb Ann Webb Administration Reception Manager: Sharlene Reily Administration & Financial Manager: Chris Alsop Accounts Manager: Trish Shann Assistant: Suzanne Stevenson Accounts Administration: Karen Troon

DOI

MOBILE

E-MAIL

524 6804 529 5603

021 867 263 021 522 366

pwebb@webbs.co.nz awebb@webbs.co.nz

1mporta

in t11e n

Regislli N. ntenc

sreily@webbs.co .nz calsop@webbs.co.nz tshann @webbs.co.nz sstevenson@webbs.co.nz ktroon@webbs.co.nz

524 6804 524 6805 529 5604 524 6804 524 6804

Fine Arts General & Fine Arts Manager: Sophie Coupland Head of Department: Ben Plumbly Assistant: Jessica Pearless Assistant: Leyla Xanthos Design Manager: Nikki Harmer

Webb'sh and thOSl

529 5601 529 5609 524 6804 524 6804

021 867 264

on leave bplumbly@webbs.co.nz jpearless@webbs.co.nz lxanthos@webbs.co.nz nharmer@webbs.co.nz

Decorative Arts Head of Department: Ross Millar Administration Manager: Fiona Innes Assistant: Steve Galpin

529 5607 529 5608 524 6804

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Jewellery Consultant: Christopher Devereaux

529 5606

0274 764 186

cdevereau x@webbs.co.nz

Wine Consultant: Simon Mickleson

529 5600

027 277 8777

wi ne@webbs.co.nz

rmillar@webbs .co.nz finnes@webbs.co.nz sgalpin@webbs.co .nz

desk

Buying

1, Floor Ensuretl me lot~ Be awan 1406%, llieamd

surethai Make yo

ttyou m: than you

to Ille al atterme rryoor bi abmdill!

2, Salei \llierei declare bid is Ii opl)J(lur pay for however

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Bethunes@Webb's Rare Books Manager: Miriam Shaw Cataloguer: Jan Dickens

529 5602

021 613 645

bethunes@webbs.co.nz

3. Abs! Webbs

accept 1

Estate Clearances, Colonial Sales & Collectables Manager: James Hogan Floor Manager: Steve Galpin Valuations & Commercial Head of Department: James Parkinson Assistant: Kate Williams

lotswil

524 6804

0274 867 261

jhogan@webbs.co.nz

ano er bidding. •ns

to hoo

524 6804

0274 867 265

jparkinson@webbs.co .nz k.williams@webbs.co.nz

For all general enquiries please phone 00 64 (09) 524 6804, e-mail auctions@webbs.co.nz or freephone 0800 22 00 77

Webbs

anyreS{

18 Manukau Rd, Newmarket PO Box 99251, Auckland, New Zealand ph 09 524 6804 fax 09 524 7048 auctions@webbs.co.nz www.webbs.co.nz

Absent1 ttyourt at reS{1 forlhe

It YO\lr I mit ar

vendor ~lhea

opem~

atlhe/ 154 CATALOGUE INFORMATION

A GUIDE FOR BUYERS Webb's have set out the following information for the benefit of first time buyers and those who are unfamiliar with auction procedures. Important note: Please refer to full conditions of sale for buyers printed in the reverse of this catalogue and displayed in the saleroom. Registration All intending buyers must complete a bidding form available from the reception desk Buying at Auction 1. Floor Bidders Ensure that you have registered and obtained a buyer number before bidding on the lot or lots you have chosen Be aware that a buyer's premium of 12.5%+GST on the premium , a total of 14.06% , is payable by all buyers in addition to the hammer price. At some sales the amount of the buyers' premium may be more or less than 10%. Please make sure that you are aware of the amount of the buyer's premium. Make your bids clear, preferably by holding up your buyer number card. If you make a mistake e.g. the auctioneer takes a bid from you at a higher level than you had intended, or you realise that you had bid on the wrong lot, call out to the auctioneer immediately so that the bidding can be adjusted. Waiting until after the hammer falls is too late. If your bid is the highest and the lot is knocked down to you then you have entered a binding obligation to pay for that lot. 2. Sales Subject to Vendor's Consent Where your bid is the highest, but still below the reserve, the Auctioneer may declare you to be the "buyer subject to Vendor's consent". This means that your bid is held as binding and will be communicated to the Vendor at the earliest opportunity. If the vendor accepts then there is a contractual obligation for you to pay for the lot. If the vendor does not accept, you are released from any obligation, however you will have first right to negotiate with the vendor through Webb 's until an agreement is reached, and Webb 's will not present other offers to the vendor until your negotiations are ended. 3. Absentee Bids Webb 's will endeavour to ensure that your bidding instructions are executed, but accept no responsibility or liability for failure to do so. Lots will be bought as favourably as is allowed by bidding in the sale room and any reserve imposed by the vendor. Please note that Webb's cannot guarantee that another bidder will not be successful at your limit if, in the course of competitive bidding, someone else bids your limit first. Absentee bids are accepted by written instruction which can be sent by fax (e-mailed absentee bids are not accepted) up to I hour before the commencement of the sale.

Absentee bids will be executed on the following basis: If your bid limit is equal to or above a reserve, the Auctioneer may open the bidding at reserve on your behalf and will bid thereafter only in response to competition for the lot. If your bid limit is below a reserve, the Auctioneer may open the bidding at your limit and if there are no further bids in the room may sell to you "subject to vendor 's consent". In the absence of a reserve the Auctioneer may exercise your bid in advance of any opening bid or may open the bidding on your behalf at the Auctioneers estimate, at the Auctioneer's sole discretion.

Telephone Bids The same conditions as above apply to telephone bidders. Webb's will telephone the number you have given several minutes before the lot you have request comes up for sale. If your phone is engaged or we are unable to make contact the auction will proceed without your bidding. Our staff will ask you to hold when we have made contact. They will then tell you that your lot is about to come up. The bids will be relayed to you and you can enter the bidding at any time by making your call. Please note that the bidding at many auctions can be fast and furious. The auctioneer will not favour a phone bidder over and above buyers who are attending the auction by giving them more time to bid. You will need to establish your limit and make sure that you bid clearly and promptly. Telephone bids are only accepted for catalogued sales and on items with estimates over $500. Pre-Sale Estimates Estimates printed in the catalogue or given verbally are intended as a guide only and can be subject to revision nearer to the time of a sale. Webb's staff are available during pre-sale viewing times and by appointment to assist prospective bidders with estimates and any aspect of the auction procedure. Condition Reports Webb 's staff will provide condition reports for out of Auckland buyers. However, please note that no 6 in the Conditions of Sale for Buyers will still apply despite the obtaining of a condition report. Payment Payment for all items purchased is due on the day of sale immediately following completion of the sale. If ful l 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. Cheques will be accepted but must be cleared before delivery of goods will be given. Credit cards are not accepted. Packing and Freight Webb 's do not pack goods in house. However, we will arrange for your items to be packed and shipped by a professional agent. All costs associated with packing and freight are payable by the purchaser. Insurance In Transit Webb's insurance does not cover any pieces while in transit. Insurance must be organised by the purchaser. If insurance is required it can be purchased through Webb's broker but must be negotiated prior to the item leaving Webb's. Valuation Service Webb 's provide free market appraisals on Monday mornings from 9am-1 pm or at other times by appointment. Webb's appraisers will come to your home to view and appraise larger items.

Webb 's will provide valuations for insurance, matrimonial division, family division etc. Please enquire at reception for charges. Valuation charges are refundable on occasion when goods are subsequently offered for sale within a reasonable period.

CATALOGUE INFORMATION ] 55

co~

BIDDING SLIP

1, Bidl auctiom

FOR ABSENTEE BIDDERS ON LOTS IN WEBB 'S SALE NO. 276 4 - 6 APRIL 2006

arise as again a

BUYER NO.

Please bid on my behalf at the above sale for the following lots up to prices recorded below. These bids are to be executed as cheaply as is permitted by other bids, or reserves if any.

wh~hd No pen

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 sale 276, a buyers premium of 12.5% will be added to the hammer price and that G.S.T is charged on the premium.

auc n1

On major lots customers may prefer to bid by telephone. Please enquire regarding this service which Webb 's carry out at no charge.

2, Resi impose

Lot No.

Catalogue Description

Bid*

Catalogue Description

Lot No.

Bid*

3. Regl

gMng tl

by bidd

1nterpre

4.BUI purchai price (U

5, Pay immedi

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must~ acceptE

6. Lob

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.

descnp

nor s ora

Mr/Mrs/Ms

Initials

wflate~

Surname/Company

Blr/ers

Home Ph.

Postal Address:

Bus. Ph.

Mobile

Facsimile

to their

Email address

deem81

7.Wel the sal1

8. Col

Street Address:

immed

Contact Name:

Webb 's will do its upmost to carry out bidding instructions for absentee bidders. It will not be responsible however, if circumstances prevent ii doing so.

Webbs

1s not (

ordest

storagE

Any rte

Arecei

9, Uci 18 Manukau Rd , Newmarket PO Box 99251 , Auckland, New Zealand ph 09 524 6804 fax 09 524 7048 auctions@webbs.co.nz www.webbs.co.nz

O!the1

SIGNED

that rte Act.

10, F; lake a 156 CATALOGUE INFORMATION

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 his agent to impose a reserve. 3. Registration. Purchasers shall complete a bidding card before the sale giving their own correct name, address and telephone number. It is accepted by bidders that the supply of false information on a bidding card shall be interpreted as deliberate fraud. 4. Buyers' Premium. The purchaser accepts that in addition to the purchase price Webb's will apply a buyer's premium of 12.5% of the hammer price (unless otherwise stated) together with GST on such premium. 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. Cheques will be accepted but must be cleared before delivery of goods will be given. Credit cards are not accepted. 6. Lots sold as Viewed. All lots are sold as viewed and with all errors to description, faults and imperfections whether visible or not Neither Webb's nor its vendor are responsible for errors of description or for the genuineness or authenticity of any lot or for any fault or defect in it and make no warranty whatever. Buyers proceed upon their own judgement Buyers shall be deemed to have inspected the lots, or to have made enquiries to their complete satisfaction, prior to sale and by the act of bidding shall be deemed to be satisfied with the lots in all respects. 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 delivery of any lot 9. Licences. Buyers who purchase an item which falls within the provisions of the Antiquities 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 1o. 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. c. To resell the lot by public or private sale. Any deficiency resulting from such resale, after giving credit to the purchaser for any part payment, together with all costs incurred in connection with the lot shall be paid to Webb's by the purchaser. Any surplus over the proceeds of sale shall belong to the seller and in this condition the expression "proceeds of sale" shall have the same meaning in relation to a sale by private treaty as it has in relation to a sale by auction. d. To store the lot whether at Webb 's own premises or elsewhere at the sole expense of the purchaser and to release the lot only after the purchase price has been paid in full plus the accrued cost of removal , storage, and all other costs connected to the lot e. To charge interest on the purchase price at a rate 2% above Webb's bankers' then current rate for commercial overdraft facilities, to the extent that the price or any part of it remains unpaid for more than seven days from the date of the sale. f. To retain possession of that or any other lot purchased by the purchaser at that or any other auction and to release the same only after payment of money due. g. To apply the proceeds of sale of any lot then or subsequently due to the purchaser towards settlement of money due to Webb's or it's vendor. Webb's shall be entitled to a possessory lien on any property of the purchaser for any purpose while any money remains unpaid under this contract h. To apply any payment made by the purchaser to Webb's towards any money owing to Webb's in respect of any thing whatsoever irrespective of any directive given in respect of, or restriction placed upon, such payment by the purchaser whether expressed or implied. i. Title and right of disposal of the goods shall not pass to the purchaser until payment has been made in full by cleared funds. Where any lot purchased in held by Webb's pending i. clearance of funds by the purchaser or ii. completion of payment after receipt of a deposit, the lot will be held by Webb's as bailee for the vendor, risk and title passing to the purchaser immediately upon notification of clearance of funds or upon completion of purchase. In the event that a lot is lost, stolen damaged or destroyed before title is transferred to the purchaser, the purchaser shall be entitled to a refund of all monies paid to Webb's in respect of that lot, but shall not be entitled to any compensation for any consequent losses howsoever arising. 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

CATALOGUE INFORMATION 15 7

PRI(

PRICES REALISED

rlN EA

FINE ART, JEWELLERY & DECORATIVE ART SALE 274 6 - 8 DECEMBER 2005

LOI

Lot

FINE ART

001 002 005 006 007 008 009 010 013 017 018 019 020 022 023 028 030 031 034 036 039 040 041 044 046 047 048 049 053 055 056 058 059 060 061 065 069 073 078 079 080 081 082 083 084 088 089 093 094 095 098 103 104 105 106 107 lll

112

560 1,800 1,700 1,600 5,000 3,500 1,200 1,500 4,200 2,600 5,100 3,000 5,000 7,415* 1,200 4,500 9,500 3,500 1,600 8,500 3,500 3,600 12,000 13,000 14,400 15,000 10,000 10,000 10,000 75,000 50,000 84,000 85,000 15,000 50,000 40,000 50,000 15,000 17,000 14,500 12,500 10,500 10,000 6,750 4,000 12,000 8,000 7,000 6,000 4,000 3,000 2,900 4,790* 4,790* 4,790* 4,790* 1,200 2,000

158 CATALOGUE INFORMATION

Lot

117 119

123 124 125 126 128 131 132 133 134 136

1,000 1,600 6,500 1,400 1,500 1,500 18,000 1,200 1,000 1,000 2,000 2,500

JEWELLERY

200 300 201 175 202 3,300 204 200 205 650 206 550 207 10,500 210 6,500 212 600 213 325 215 225 216 700 218 225 220 500 225 36,000 226 2,000 230 300 231 250 232 325 233 250 234 275 235 450 236 325 237 570 238 375 239 325 241 200 242 275 243 100 245 400 249 140 120 250 251 120 252 9,000 253 650 1,100 254 255 4,500 256 400 1,800 258 259 200 260A 650 750 261 262 465 264 400 267 2,250 268 350

Lot

650 272 300 273 400 1,500 274 275 475 276 1,300 277 400 278 500 279 3,000 280 160 281 700 283 700 284 350 285 400 1,950 286 289 3,500 292 3,550 294 2,300 296 250 297 3,500 2,100 300 2,800 302 2,600 303 4,500 305 306 4,250 307 875 1,800 309 1,600 311 1,300 312 313 3,000 314 1,000 2,300 318 319 550 3,000 320 322 900 2,300 323 324 400 750 329 3,800 330 6,400 331 1,750 333 334 3,750 335 3,700 337 1,700 2,000 338 1,000 339 340 1,200 343 4,750 7,700 344 345 28,000 346 16,500 348 12,500 350B 14,000 350C 17,500 351 5,000 352 106,000 5,000 353 356 17,750 357 7,500

358 361 364 365 367 368 373 375 377 379 380 382 384 385 386 390 393 395 396 397 398 399 401 402 407 409 411 413 416 417 418 419 420 421 422 424 425 426 427 428 429 430

23,000 3,000 3,000 3,800 4,300 3,000 1,200 1,600 4,500 500 1,100 2,600 2,500 5,000 3,500 600 1,600 2,000 2,800 1,650 350 1,400 1,500 1,400 1,500 2,500 500 6,000 600 700 1,250 700 2,500 600 3,700 1,400 400 700 9,000 400 900 1,400

460 465 466 474 480 482 483 484 485 486 487 488 489 494 495 496 498 499 500 503 504 505 506 507 508 512 514 516 522 527 528 531 532 533 534 537 538 541 543 547 548 549 551 552 553 554 557 564 567 569 570 571 574 575 579 581 582 585 586

75 130 30 100 500 200 200 240 490 340 400 340 30 500 200 175 150 375 975 100 425 275 30 400 350 5,000 1,000 800 425 3,000 1,000 200 925 275 400 30 160 230 100 1,500 2,200 2,300 1,900 1,900 800 1,300 450 325 130 375 700 525 35 250 20 20 1,200 600 750

587 588 589 590 591 593 594 595 597 600 601 603 604 608 609 610 611 614 615 616 617 619 620 625 626 628 629 630 631 633 634 637 640 641 643 644 646 648 650 652 653 663 664 665 666 667 668 669 670 671 677 679 681 685 686 687 688 689 690

600 300 50 40 1,000 750 7,200 35 1,200 700 1,125 1,000 900 200 950 1,300 1,600 50 85 60 75 370 90 60 80 120 100 350 40 160 2,750 80 190 150 440 2,000 800 800 50 50 60 300 200 340 1,000 155 240 480 250 200 240 40 240 650 220 1,250 900 1,000 1,750

692 693 694 695 697 698 700 702 703 704 705 706 710 711 712 713 714 715 716 717 718 720 721 722 723 724 725 726 727 729 730 731 732 733 734 735 736 737 738 739 740 741 742 743 744 745 746 747 748 749 750 751 752 753 754 757 759 761 764

425 70 70 70 1,200 900 600 1,750 1,100 240 100 230 340 140 100 200 140 130 130 120 80 135 70 200 260 170 110 100 90 70 60 100 140 70 50 350 250 400 120 160 180 120 80 80 70 560 70 230 160 270 45 55 100 100 170 200 120 200 20

Lot

271

DECORATIVE ARTS

431 432 433 434 438 440 441 442 443 444 446 447 448 449 452 459

90 90 90 150 30 14 70 3,000 50 75 55 130 20 32 50 70

165 161 168 )10 )11

112

m )14

115

116 111 )18 119

180 181 181 183 184 185 186 181 188

PRI(

A2AR Lot A2 ART

001 001 004 005 001 008 009 010 011 011 013 014 015 016 01) 018 019 010 011

PRICES REALISED FINE ART, JEWELLERY & DECORATIVE ART SALE 27 4 6 - 8 DECEMBER 2005 CONTINUED

Lot

765 767 768 770 771

772 773 774 775 776 777 778 779 780 781 782 783 784 785 786 787 788

70 120 65 90 240 170 240 60 50 70 50 220 215 130 70 150 90 150 50 85 70 10

Lot

789 790 791 794 797 799 800 801 802 803 804 807 808 809 811 812 813 814 815 817 818 820

150 80 110 60 40 70 70 180 110 60 60 110 70 100 30 35 50 100 70 60 110 350

Lot

821 823 824 825 827 828 829 831 837 838 840 842 844 845 846 847 849 851 852 853 854 855

100 240 250 225 20 2,800 1,000 850 220 170 250 150 125 100 125 70 70 150 150 80 50 140

857 858 861 862 866 867 868 870 871 872 875 879 880 883 885 887 888 890 891 893 894 895

Lot

925 2,000 960 1,000 525 2,200 2,150 4,150 900 900 800 900 1,650 625 500 9,400 300 50 160 3,600

086 087 090 093 094 095 096 098 099 100 101 102 105 106 107 110 111 117 119 120

s 100 120 100 50 60 150 100 75 30 120 700 500 175 80 750 425 90 100 260 250 70 50

Lot

897 898 899 900 901 902 904 905 907 910 913 915 916 917 920 923 925 927 928 929 930 931

60 360 10 70 240 370 100 200 230 1,300 440 80 80 600 220 550 750 375 700 350 300 645

939 940 942 943 944 945 946 947 948 949 950 951 952 953 954 956 957 958 960 961 972 973

180 160 50 70 160 60 135 210 350 170 130 50 60 1,100 700 100 100 500 60 120 90 200

Lot

979 980 982 986 990 992 993 998 999 1000 1007 1009 1012 1014 1015 1018 1019 1022 1023A 1027 1034

s 600 500 9,000 1,000 1,300 150 400 3,000 100 200 400 1,150 2,000 750 500 625 500 1,650 3,600 105 1,100

PRICES REALISED A2 ART SALE 275 21 FEBRUARY 2006

Lot

A2 ART

001 002 004 005 007 008 009 010 011 012 013 014 015 016 017 018 019 020 021

525 350 140 200 425 425 450 180 475 375 400 500 700 500 750 425 350 400 430

Lot

022 023 024 025 026 027 028 030 031 033 034 035 036 037 038 040 042 043 044 046

600 800 475 360 140 875 350 330 70 160 120 70 150 110 100 300 260 150 180 1,100

047 048 050 051 052 054 057 060 061 064 066 067 069 070 076 077 078 079 081 082

s 2,600 1,100 1,100 1,150 850 500 900 1,500 1,200 260 250 240 200 140 80 450 450 300 180 1,300

Lot

121 122 123 124 125 127 130 131 133 134 136 137 138 142 143 145 146 147 149 151

80 450 70 100 70 1,700 320 300 450 1,000 400 450 375 600 2,400 120 250 200 160 70

152 153 154 155 156 157 158 160 161 162 163 164 165 166 168 170

70 350 275 525 570 260 700 100 360 1,425 950 100 300 100 400 110 160 210 300 60

176

190 80 500 275 130 100 160 · 100 200 100 180 450 325 320 100 580

171 172

174 175

177

178 180 182 183 184 186 187 188 189 190 194 195 198 200

CATALOGUE INFORMATION 159

INDEX OF ARTISTS Albrecht, Gretchen

36, 99, 127

Maddox, Allen

Angus , Rita

Matchitt, Para

134

Arndt, Hermina

146

McCahon, Colin

53, 55, 56, 57 , 58

McIntyre, Mary

Baird, Kingsley

McIntyre, Peter

45, 89, 106, 107

Bambury, Stephen

McIntyre, Simon

122

Barraud, Charles Decimus

102

Mcleod , Robert

136

Beadle, Paul

118

Mrkusich, Milan

Bensemann, Leo

156 48, 49

Nicoll , Archibald

Binney, Don

30, 81 Palmer, Stanley

Belimbau, Adolfo

Blomfield, Charles Briggs, Henry Perrone! Brown, Nigel Carabain, Jacques Francois Chilcott, Gavin Clairmont, Philip Clark, Ru ssell Cotton, Shane Cummings, Vera

141 159 28, 131 152 83, 85, 124, 147 79, 132

Parekowhai, Michael

3, 11

Parker, J. S.

27,7 5

Pearson, Alan

13 7

Peryer, Peter

15, 16, 17

Pick, Seraphine

114

Pule, John

54 62 , 63, 113

Reynolds, John

9, 38

Robinson, Ann

116

Robinson, James F. de Lautour, Tony

Ellis, Robert

8, 96

Emin, Tracey

151

Robinson, Peter

4, 22, 23,32, 76, 90

Roualt, Georges

150

Sani, A.

160

Scott, Ian Feu'u, Fatu

123

Scott, James Fraser

115 125

Field, Isobel

140

Smither, Michael

Field, Robert Nettleton Fomison, Tony Fristrom, Edward Frizzell, Dick

110, Ill , 112 50, 51 , 68 139 24, 78, 98, 120

Speers, Jim

Stevenson, Michael

Stichbury, Peter

145

Stoddart, Margaret Olrog

Stone, Marcus

149

Stringer, Terry

Gibb, John

103

Goldie, Charles Frederick

Gorter, Arnold Marc

154

Griffier, John

153

Thompson, Sydney Lough

Gully, John

Thomson, Jeff

117

Thornley, Geoff

138

Hammond, Bill Hanly, Pat

Taylor, E. Mervyn

72, 100, 104, 105, 129

41, 42, 64, 84 , 93, 128, 147 18, 91 , 130, 143, 144

Vernazza , A.

158

Henderson, Loui se

121

Vernon, Emile

155

Hodgkins, Frances

65 6, 12, 25, 33, 61 , 67, 94, 133

Walsh , John

37, 39

Hotere, Ralph Hoyte, John Barr Clarke Killeen, Richa rd

101 , 108, 109, 142 2, 80, 87, 97

Walters , Gordon

52, 59, 60, 148

Watkins, Denys

Weeks, John

White, Robin

13, 14 21 , 119

Lessi, Teto

157

Williams, Mervyn

Lewer, Ri chard

Wong, Brent

Lusk, Doris

135

Woollaston, Toss Wright, Walter

160 CATALOGUE INFORMATION

71 44, 88, 126 7

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