Protected Objects Act 1975
* Please note that a number of taonga in this catalogue have been Y Registered under the Protected Objects Act (1975). Under the terms of this act, to purchase any Y registered item you must be a registered collector. Any taonga tūturu registered under this act may not be sold to non-New Zealand residents nor leave the country without the explicit written consent by Manatū Taonga—Ministry for Culture & Heritage.
To become a registered collector, you must apply to the Ministry for Culture & Heritage. For further information on Y registration and registered items in this catalogue, contact our specialist team.
17 A Tokotoko Attributed to Jacob Heberley, Aotearoa
A tokotoko finely carved in the manner of Jacob Heberley. The upper figure features a tattooed face and notch and spiral decoration to the torso sits upon the lower figure of a more traditional form who kneels, both figures with motherof-pearl inset eyes, shaft fully carved in notch and banded decoration. L920 W28 D115mm Y20337
Provenance: Private collection, Aotearoa
This taonga requires registration under the Protected Objects Act (1975).*
est $2,500 — $3,500
20 A Waka Huia by Master Carver Tony Kapua
This exceptional waka huia treasure box was created by Master Carver Tony Kapua, a respected Māori artist from Rotorua, known for his dedication to preserving and advancing traditional Māori carving techniques. Kapua, a member of the Ngāti Whakaue iwi, carries forward the legacy of his family's craftsmanship, inheriting the business Ohinemutu Māori Handcrafts from his grandfather, Tuhaka Kapua. The waka huia is carved from native timber with intricate koru designs (spiral motifs) that reflect the natural world, symbolizing growth, renewal, and the interconnectedness of all life. At each end of the box, two incised faces can be found, likely representing ancestral figures or deities, reinforcing the spiritual significance of the object. The lid of the waka huia features a unique handle, with two raised figures—one male and one female. This piece, signed and dated 1979, stands as a testament to Kapua's expertise and the continuing vitality of Māori artistic tradition H1125 W660 D125mm.
Provenance: Private collection, Aotearoa Gifted to the vendor's grandmother est $1,000 — $1,500
59
A Kete Woven by Dame Rangimarie Hetet, Aotearoa
This finely woven kete is crafted by Dame Rangimarie Hetet, a renowned master weaver of Ngāti Maniapoto and English descent. Hetet (1892–1995) was one of the most respected figures in Māori weaving, having learned the art from her mother, who in turn had inherited this knowledge from her own mother. Hetet not only became a highly skilled practitioner of raranga (weaving) but also a dedicated teacher, passing on her expertise to her children and others in her community. In the 1950s, as Māori art faced a decline, Hetet made the bold decision to depart from the traditional restriction of teaching raranga solely within one's own iwi. This decision helped ensure the preservation and revitalization of Māori weaving, which is reflected in her lasting legacy as a cultural ambassador and educator. This particular kete is woven from muka flax, using the intricate māwhitiwhiti technique, which creates a distinctive and durable texture. The braided handles further enhance the strength and functionality of the piece. L325 W330 D90mm Y22840
Provenance: Private collection, Aotearoa Bought from Ohaki Enterprises Ltd. This taonga requires registration under the Protected Objects Act (1975).*
est $300 — $500
57 A Framed Kahu Kiwi, Aotearoa
This exquisite kahu kiwi (kiwi feather cloak) is a masterful example of Māori craftsmanship. Created using traditional weaving techniques to incorporate the feathers of the kiwi bird into muka fibre. The use of kiwi feathers, highly valued for their rarity and symbolic significance, underscores the cultural importance of this garment as a ceremonial or status symbol.
The cloak is meticulously woven using the single-pair twinning technique, with each row of feathers interwoven into the muka (flax fibre) with precision and care. The feathers are spaced approximately 10mm apart, creating a luxurious texture and rich visual depth. Despite some small sections where feathers have been lost, the cloak retains a remarkable density, highlighting the skill and dedication of the weaver.
The cloak is framed by a distinctive 30mm border of black and red wool threads, woven into a striking diamond pattern at the edges. The upper edge features a twisted black and red wool detail, adding further refinement to the piece. At the lower edge, remnants of a black-dyed muka tāniko pattern, possibly a niho taniwha (serpent's tooth) design, evoke symbolic meanings tied to ancestral knowledge and protection. A later addition to the cloak is the rich purple brocade fabric sewn to the interior, likely added by a previous custodian to preserve the integrity of the muka and reduce stress on the delicate fibres. Framed behind UV protective glass and with archival materials to protect and prlong the life of the cloak. Cloak 1090 x 1300mm, frame 1260x 1520mm Y22223
Provenance: Private collection, Aotearoa
This taonga requires registration under the Protected Objects Act (1975).*
est $120,000 — $150,000
A
This is a rare and finely woven Kaitaka Paepaeroa, a type of high-status korowai cloak traditionally worn by rangatira. The cloak is made from meticulously hand-prepared muka with wide paepaeroa decorative boarder running along the lower edge. The tāniko patterns are executed in black and brown natural dyes, likely derived from paru (mud) and tanekaha bark. With a red wool thread running along the upper edge. framed behind Perspex glass. Cloak 1400 x 1580mm, frame 1260 x 1520mm
Provenance: Private collection, Aotearoa The cloak was discovered at an Antique dealership in Scotland by Michael Graham Stewart. This taonga requires registration under the Protected Objects Act (1975).*
est $50,000 — $70,000
55
Kaitaka Paepaeroa Cloak, Aotearoa
8 A Green Faience Ushabti, Late Period Ancient Egypt
400BCE. Ushabtis are small funerary figurines intended to serve as servants for the deceased in the afterlife, ensuring that the individual's earthly duties would be carried out in the next world. Typically placed in tombs, these figurines were believed to perform tasks on behalf of the deceased when called upon. The ushabti is made from faience, a glazed ceramic material that was highly valued in ancient Egypt for its bright, lustrous finish, which symbolized regeneration and immortality. The green hue of this ushabti is characteristic of faience, which was often colored to resemble precious stones, such as turquoise or lapis lazuli. On stand H150mm, Ushabti H110 W28 D23mm est $1,000 — $2,000
9 A 4th-3rd Century BCE Marble Head of a Goddess, Ancient Rome
4th-3rd Century BCE. An example of the Roman adaptation of Greek artistic traditions. Likely representing Aphrodite, the Greek goddess of love and beauty, this sculpture exemplifies the Romans' reverence for Greek mythology and their ability to capture the idealized beauty of the gods in marble. The woman's serene expression, delicate features, and graceful posture reflect the classical ideals of beauty and harmony that were so highly regarded in both Greek and Roman art. The refined facial details, including the gentle curvature of the lips
and the soft contour of the cheeks, showcase the skill and precision of the sculptor. What makes this piece particularly remarkable is the preservation of its original color, which has remained intact over centuries. The color on the marble, including traces of pigment on the eyes, lips, and hair, offers a rare glimpse into the vibrancy and life that once characterised ancient sculptures. In antiquity, many sculptures were painted in bright, vivid colors, a fact often obscured by the natural aging of the stone. Mounted on a wood base. On stand H195mm, head H130 W110 D70mm
est $10,000 — $15,000
22
An Early 19th Century Yaqona Dish, Western Vitilevu Fiji
A finely carved yaqona (kava) dish from the early 19th century, originating from the western region of Viti Levu, Fiji. Fashioned from sacred vesi wood (Intsia bijuga), a dense and durable hardwood reserved for both religious and highstatus utilitarian objects, including canoes, bowls, and ceremonial implements. The dish features a distinctive pod-shaped body with a shallow, open bowl and a short handle extending from the base, an elegant yet practical form used in the ritual preparation and consumption of yaqona (kava), a traditional drink of great cultural and social importance in Fijian society. A pierced suspension hole near the handle suggests it was designed for hanging or securing when not in use. Yaqona ceremonies were central to chiefly and communal gatherings, where bowls such as this served not only functional roles but also acted as symbols of hospitality, respect, and chiefly authority. H84 W135 D570mm
Provenance: Private collection, Aotearoa Ex private collection, Aotearoa. It is said this vessel belonged to the old cannibal high chief Ratu Vuniani Vuki who become Rokotui Ba and Yasawa soon after colonisation, he died in 1918. Mr Edmund Gibson Woolcott, a cane planter at Naikubu-kubu, Ba, secured the dish in 1912 in exchange for a heifer. It was in the family until sold in 2001 est $3,000 — $6,000
This carved figure originates from the Azande people of the northeastern Democratic Republic of Congo, a group renowned for their rich and complex belief systems centered around magic, oracles, and mangu (witchcraft). Figures such as this one often serve as intermediaries between the human and spirit realms, representing spiritual entities or ancestors who assist in diagnosing and counteracting supernatural causes of illness, misfortune, or conflict. This example depicts a female figure rendered in a hunched posture and squat seated position—physical attributes that emphasise stability and groundedness, potentially reflecting the figure's protective or mediating role. Characteristic of Azande sculptural style, the figure features a broad, short face with minimal detailing. The facial plane is notably flat or slightly sunken, giving the work a stark, almost mask-like quality that enhances its sense of quiet intensity and spiritual presence. Figures like this would be used in divinatory practices or placed within shrines, where they were consulted or activated through ritual gestures and offerings. H240 W95 D60mm.
Provenance: From the collection of Steven Lim, Aotearoa
est $400 — $600
31 An Azande Figure, Democratic Republic of Congo
46 A Crescent Headed Club, Fiji
Carved from a dense hardwood and formed with a long shaft and crescent shaped head. The body is fully carved with delictate incisions in triangular and crosshatch designs. L915 W285 D45mm
est $1,000 — $2,000
80 An Exceptional 20th Century Paoa Club, Rapa Nui
Paoa clubs were traditionally wielded as closecombat weapons, but equally served as status symbols and ritual objects. This finely crafted club from Rapa Nui exemplifies the enduring cultural legacy and craftsmanship of one of the most remote inhabited islands on Earth. The club's elegant, tapering form suggests both weaponry and symbolic authority, with a smoothly polished surface. Such clubs were often held by community leaders or orators, emphasising the prestige of the bearer. Carved from likely toromiro or miro wood. Distinguished by the finely carved anthropomorphic janus faces at its handle, featuring eyes inlaid with bird bone and obsidian. The elongated form, smooth contours, and balanced proportions show the hand of an experienced carver. L1010 W98 D35mm
est $4,000 — $6,000
51 A Tivaevae Manu, Cook Island
This beautiful tivaevae manu quilt is crafted from a rich maroon cotton ground, adorned with vibrant polychrome hibiscus flowers and green leaf appliqué. The intricate crochet and handstitching, showcasing a blend of skill and creativity, are hallmarks of the meticulous craftsmanship typical of Cook Islands quilting. Tivaevae are traditionally sewn by women in communal sewing groups known as va‘ine tini. These quilts serve both a decorative and symbolic function, often gifted for significant life events such as birthdays, weddings, and funerals. 2560 x 2080mm
est $1,500 — $2,500
14 A Tivaevae Manu, Cook Island
Tivaevae are quilts sewn by women of the Cook Islands. They are sewn in women’s sewing groups called va’ine tini. Tivaevae have a decorative function and are often gifted to others for special occasion such as birthdays, weddings, and funerals. This example is a large cotton quilt with a navy ground and polychrome hibiscus and green leaf appliqué. With intricate polychrome crochet and hand-stitching. 2650 x 2030mm
est $1,500 — $2,500
This stunning tivaevae manu quilt features a soft pink cotton ground, with striking red hibiscus flowers and green leaf appliqué. The vibrant hues are enhanced by intricate polychrome crochet and hand-stitching, showcasing the exceptional skill and artistry of Cook Islands women. Tivaevae are traditional quilts sewn by women in communal sewing groups known as va'ine tini. These quilts hold deep cultural significance and are often gifted for special occasions such as birthdays, weddings, and funerals, representing love, respect, and community ties. 2310 x 2270mm
est $1,500 — $2,500
13
This large, hand-sewn tivaevae manu quilt features a white cotton ground adorned with vibrant, polychrome floral appliqué. The design is further enriched with intricate multicoloured crochet work and meticulous hand-stitching, showcasing the collaborative artistry and technical skill of Cook Islands women. Tivaevae are an important cultural expression in the Cook Islands, traditionally made by women in sewing circles known as va‘ine tini. Beyond their decorative beauty, these quilts carry deep social and emotional meaning. They are often given as gifts during significant life events birthdays, weddings, funerals and represent love, respect, and the strength of community ties. 2390 x 2300mm
est $1,500 — $2,500
15 A Tivaevae Manu, Cook Island
A Tivaevae Manu, Cook Island
1 A Pounamu Hei Tiki, Aotearoa
This finely carved hei tiki, made from pounamu, depicts a stylized human figure with a distinctive posture. The head is tilted to the left shoulder, with hands placed on the thighs, each hand marked by four incisions representing fingers. The knees are bent, and the feet are positioned together, with two diamond-shaped incisions indicative of the genitals. The figure's circular eyes are enhanced with red sealing wax. Hei tiki are considered highly significant taonga in Māori culture, often worn as symbols of ancestry, fertility, and protection. This example, with its intricate detailing and choice of materials, embodies both the artistic mastery of the carver and the spiritual importance of the object. Hei tiki L76 W50 D9mm, on stand H125mm. Y21826
Provenance: Private collection, Aotearoa
This taonga requires registration under the Protected Objects Act (1975).*
est $2,500 — $3,500
2 A Stone Patu Onewa with Carved Face, Aotearoa
Carved from greywacke stone, this traditional patu onewa short-handled striking weapon exhibits a refined, tapering form with a reduced handle and widened blade. Notably, the pommel is intricately finished with a carved face on each side, an uncommon and highly expressive detail that may represent ancestral or spiritual guardians. The body of the patu bears three distinct scratches on one side, and there are visible losses to one side of the blade edge, suggesting active use; these features do not detract from its significance, but rather they add to its narrative of functional history. L260 W105 D40mm
Y21632
Provenance: Private Collection, Aotearoa, collected in Waimea Plains.
Ex Betty Riley Collection
This taonga requires registration under the Protected Objects Act (1975).*
est $3,500 — $4,500
3 A Pounamu Hei Tiki, Aotearoa
Carved from mottled pounamu. This hei tiki displays the classic anthropomorphic form with a disproportionately large head tilted to one side. The carving is simplified, with minimal surface detailing, emphasising the natural beauty and translucency of the stone. The eyes are inlaid with red sealing wax. This example is unique in that it is double-sided. L145 W76 D8mm
Provenance: Private collection, Aotearoa
This taonga requires registration under the Protected Objects Act (1975).*
est $2,500 — $3,500
4 A Kapkap Breast Ornament, Solomon Islands
This finely crafted kapkap is a traditional ceremonial breast ornament worn by high-ranking men of the Solomon Islands, serving as a potent symbol of status, identity, and exchange within Melanesian society. The ornament is disc-shaped, featuring a carved turtle shell overlay intricately cut into an abstract openwork design. The turtle shell, naturally dark and translucent, is mounted atop a mother-ofpearl backing, producing a striking visual interplay between light and dark materials. The decorative motifs that are typically abstract, geometric, or crescent-like represent the natural world. Kapkaps were worn during ritual ceremonies, dances, and important social gatherings, and were sometimes used in inter-island exchange or as bridewealth, further emphasising
their economic and social value. On stand H310mm, kapkap D153mm
est $1,500 — $3,000
5 A Civa Vonovono Breast Ornament, Fiji
The civa vonovono is a ceremonial breast ornament traditionally worn by high-ranking Fijian women, particularly those from chiefly families, during significant cultural events and ceremonies. Symbolising both status and cultural heritage, this ornament is a mark of distinction and respect within Fijian society. This particular civa vonovono is crafted from whale ivory meticulously fashioned into a disc form, reflecting the artistry and craftsmanship of its makers. The piece is further adorned with an intricate tortoise shell applique, adding texture and depth to the design. The ornament features a delicate cut-out pattern of two birds and two stars – motifs rich in symbolic meaning in Fijian and wider Polynesian cultures – often representing themes of guardianship, spiritual connection, and guidance. It is believed that civa vonovono ornaments were originally created by Tongan and Samoan craftsmen for Fijian chiefs, highlighting the cross-cultural exchanges that have long existed within the Pacific region. Civa vonovo L98 D16mm, on cord L415mm
est $1,500 — $3,000
6 A Kina Shell Ornament, Papua New Guinea
A traditional kina shell also known as tabu or diwara, formerly used as bridewealth, ceremonial currency, and a symbol of status across many regions, particularly in the Highlands and coastal trade networks. Carved from the golden-lipped pearl oyster (pinctada maxima), the shell has been carefully shaped into a crescentic or disc form. This example features visible thread repairs neatly bound with cotton cordage where the shell fractured and packed in with natural pigments, demonstrating both its continued value and the local techniques of conservation. Such repairs are common and reflect the object's long-term use in exchange, ceremonial, or dowry contexts. On stand H340mm, shell L180 W210 D17mm
est $200 — $400
7 A 1st-2nd Century BCE Terracotta Actor's Head, Ancient Greece
This expressive terracotta head represents an actor from the Hellenistic period, dating to the 1st–2nd century BCE, and is possibly from the city of Smyrna (modern-day İzmir, Turkey), a prominent cultural and artistic center in ancient Ionia. The head is likely a fragment from a larger theatrical figurine or votive object associated with the dramatic arts, which were central to Greek civic and religious life. The exaggerated features—arched brows, open mouth, and stylised expression—are consistent with theatrical masks used in Greek comedy or satyr plays. These elements served to amplify emotional expression on stage and were also mimicked in miniature sculptures as tributes to Dionysus, the god of theatre and revelry. Crafted in terracotta, the piece exhibits refined modeling, particularly in the detailing of the hair and facial expression, indicative of skilled workmanship. Terracotta was a favored medium for such votive and decorative objects due to its versatility and affordability, making it accessible to a broad range of society. On stand H135mm, head H70 W55 D72mm
est $400 — $800
8 A Green Faience Ushabti, Late Period Ancient Egypt
400BCE. Ushabtis are small funerary figurines intended to serve as servants for the deceased in the afterlife, ensuring that the individual's earthly duties would be carried out in the next world. Typically placed in tombs, these figurines were believed to perform tasks on behalf of the deceased when called upon. The ushabti is made from faience, a glazed ceramic material that was highly valued in ancient Egypt for its bright, lustrous finish, which symbolized regeneration and immortality. The green hue of this ushabti is characteristic of faience, which was often colored to resemble precious stones, such as turquoise or lapis lazuli. On stand H150mm, Ushabti H110 W28 D23mm
est $1,000 — $2,000
9 A 4th-3rd Century BCE Marble Head of a Goddess, Ancient Rome
4th-3rd Century BCE. An example of the Roman adaptation of Greek artistic traditions. Likely representing Aphrodite, the Greek goddess of love and beauty, this sculpture exemplifies the Romans' reverence for Greek mythology and their ability to capture the idealized beauty of the gods in marble. The woman's serene expression, delicate features, and graceful posture reflect the classical ideals of beauty and harmony that were so highly regarded in both Greek and Roman art. The refined facial details, including the gentle curvature of the lips and the soft contour of the cheeks, showcase the skill and precision of the sculptor. What makes this piece particularly remarkable is the preservation of its original color, which has remained intact over centuries. The color on the marble, including traces of pigment on the eyes, lips, and hair, offers a rare glimpse into the vibrancy and life that once characterised ancient sculptures. In antiquity, many sculptures were painted in bright, vivid colors, a fact often obscured by the natural aging of the stone. Mounted on a wood base. On stand H195mm, head H130 W110 D70mm
est $10,000 — $15,000
This ceremonial waka hoe is a striking example of Māori craftsmanship. The paddle's shaft is adorned with intricately carved manaia figures at both the top and mid-section, symbolizing guardianship and spiritual protection. These bird-like figures represent the intertwining of physical and spiritual realms, reflecting the Māori belief in the sacredness of natural world. The blade of the paddle is equally detailed, featuring a tiki figure and another manaia at the top side, symbols of strength and spiritual connection. The back of the blade showcases an openwork, scrolled carving, demonstrating the artist's expertise in creating depth and intricate patterns. Inset pāua eyes add a captivating iridescent touch, adding life and vibrancy to the piece. The paddle's dark brown patina enhances the depth of the wood grain, a testament to its age and the cultural significance of its materials. This waka hoe would have been used in ceremonial contexts, playing a symbolic role in Māori traditions surrounding the sea and voyaging. L1320 W100mm. Y6065
Provenance: Private collection, Aotearoa
This taonga requires registration under the Protected Objects Act (1975).*
est $3,500 — $5,500
11 A 19th Century Tewhatewha, Aotearoa
This traditional tewhatewha is a finely crafted Māori long-handled weapon, used both in warfare and as a symbol of chiefly authority. Carved from dense native hardwood, the weapon features a broad, flat blade at one end and a tapering shaft at the other, designed for powerful strikes, feints, and parries. The blade is shaped like an axe head but was typically used more for striking with the shaft or directing troops rather than cleaving. Tewhatewha were often adorned with feathers (commonly albatross) attached near the blade to distract opponents in battle. On a presentation stand. H1440 W175 D25mm Y7412
Provenance: Private collection, Aotearoa
This taonga requires registration under the Protected Objects Act (1975).*
est $3,000 — $5,000
12 A Waka Hoe, Aotearoa
This waka hoe is carved from a dense native hardwood and exemplifies the refined craftsmanship of the carver. Traditionally used for both propulsion and ceremony, waka hoe often hold deep cultural significance, with their design elements reflecting tribal identity, ancestry, and spiritual values. The paddle features a lanceolate blade, balanced by a long, slender shaft that terminates in a rounded knob. This knob is intricately adorned with upper and lower haehae carving patterns, interspersed with pākati detailing. These motifs are symbolic, often representing genealogy, lineage, and the wearer's connection to ancestors. The entire paddle is lacquered in a rich brown finish, enhancing the depth and texture of the carving while protecting the wood. The patina suggests both age and careful preservation, possibly indicating use in formal or ritual contexts rather than utilitarian paddling alone. L1475 W155 D35mm Y22469
Provenance: Private collection, Aotearoa
This taonga requires registration under the Protected Objects Act (1975).*
est $1,000 — $2,000
13 A Tivaevae Manu, Cook Island
This large, hand-sewn tivaevae manu quilt features a white cotton ground adorned with vibrant, polychrome floral appliqué. The design is further enriched with intricate multicoloured crochet work and meticulous hand-stitching, showcasing the collaborative artistry and technical skill of Cook Islands women. Tivaevae are an important cultural expression in the Cook Islands, traditionally made by women in sewing circles known as va‘ine tini. Beyond their decorative beauty, these quilts carry deep social and emotional meaning. They are often given as gifts during significant life events birthdays, weddings, funerals and represent love, respect, and the strength of community ties. 2390 x 2300mm
est $1,500 — $2,500
14 A Tivaevae Manu, Cook Island
Tivaevae are quilts sewn by women of the Cook Islands. They are sewn in women’s sewing groups called va’ine tini. Tivaevae have a decorative function and are often gifted to others for special occasion such as birthdays, weddings, and funerals. This example is a large cotton quilt with a navy ground and polychrome hibiscus and green leaf appliqué. With intricate polychrome crochet and hand-stitching. 2650 x 2030mm
est $1,500 — $2,500
15 A Tivaevae Manu, Cook Island
This stunning tivaevae manu quilt features a soft pink cotton ground, with striking red hibiscus flowers and green leaf appliqué. The vibrant hues are enhanced by intricate polychrome crochet and hand-stitching, showcasing the exceptional skill and artistry of Cook Islands women. Tivaevae are traditional quilts sewn by women in communal sewing groups known as va'ine tini. These quilts hold deep cultural significance and are often gifted for special occasions such as birthdays, weddings, and funerals, representing love, respect, and community ties. 2310 x 2270mm
est $1,500 — $2,500
16 A Teka, Aotearoa
This teka, dating from circa 1920s, is a unique example of Māori craftsmanship. Traditionally used as a footrest for the kō, a digging stick. The figure's eyes are inlaid with iridescent pāua shell, adding an element of liveliness and vitality to the face, while the three hands clasped to the belly represent protection and the nurturing of life. The teka has a rich, dark brown patina. H85 W170 W71mm
Y22450
Provenance: Private collection, Aotearoa
This taonga requires registration under the Protected Objects Act (1975).*
est $1,000 — $2,000
17 A Tokotoko Attributed to Jacob Heberley, Aotearoa
A tokotoko finely carved in the manner of Jacob Heberley. The upper figure features a tattooed face and notch and spiral decoration to the torso sits upon the lower figure of a more traditional form who kneels, both figures with mother-of-pearl inset eyes, shaft fully carved in notch and banded decoration. L920 W28 D115mm Y20337
Provenance: Private collection, Aotearoa
This taonga requires registration under the Protected Objects Act (1975).*
est $2,500 — $3,500
18 A Tuki, Aotearoa
Mouthpiece for calabash. Carved wooden mouthpiece for a taha huahua (gourd container). Taha huahua were fashioned from dried and hollowed gourds and were used to hold preserved birds. Being highly prized and beautifully decorated, they were used as prestigious presentation vessels at feasts or given to important guests. This tuki is in the final stages of production with the adzed centre requiring further reduction. Dog-tooth notching with double haehae adorns the panels surrounding the outside with several in the final stages of carving. Wood likely tōtora. H125 D145mm Y16174
Provenance: Private collection, Aotearoa
This taonga requires registration under the Protected Objects Act (1975).*
est $1,000 — $2,000
19 A Huia Feather, Aotearoa
This rare and remarkable huia feather is a striking example of the cultural significance of the Huia bird (Heteralocha acutirostris) to Māori in Aotearoa. The huia, now extinct, was revered by the Māori for its beauty, rarity, and symbolic value. Its feathers, particularly those of the tail, were highly prized and often used in ceremonial dress and adornments for
chiefs and other high-ranking individuals. This huia feather is a poignant reminder of the fragile relationship between humans and the natural world, as well as a symbol of the enduring significance of cultural practices in preserving ancestral knowledge and heritage. It stands as a cherished relic of a bird that once played a pivotal role in the spiritual and social life of the Māori. Framed behind UV protective glass and archival materials. Feather L205 W43mm
est $10,000 — $12,000
20 A Waka Huia by Master Carver Tony Kapua
This exceptional waka huia treasure box was created by Master Carver Tony Kapua, a respected Māori artist from Rotorua, known for his dedication to preserving and advancing traditional Māori carving techniques. Kapua, a member of the Ngāti Whakaue iwi, carries forward the legacy of his family's craftsmanship, inheriting the business Ohinemutu Māori Handcrafts from his grandfather, Tuhaka Kapua. The waka huia is carved from native timber with intricate koru designs (spiral motifs) that reflect the natural world, symbolizing growth, renewal, and the interconnectedness of all life. At each end of the box, two incised faces can be found, likely representing ancestral figures or deities, reinforcing the spiritual significance of the object. The lid of the waka huia features a unique handle, with two raised figures—one male and one female. This piece, signed and dated 1979, stands as a testament to Kapua's expertise and the continuing vitality of Māori artistic tradition H1125 W660 D125mm. Provenance: Private collection, Aotearoa Gifted to the vendor's grandmother est $1,000 — $1,500
21 A Framed Huia Feather, Aotearoa
A tail feather from the extinct huia bird. Huia feathers were highly valuable and exchanged for other valuable goods and symbolised mana and prestige. The last confirmed huia sighting was in 1907 in the Tararua Ranges. Framed behind glass. feather L195mm, frame 375 x 165mm Y15671
Provenance: Private collection, Aotearoa
This taonga requires registration under the Protected Objects Act (1975).*
est $8,000 — $12,000
22 An Early 19th Century Yaqona Dish, Western Vitilevu Fiji
A finely carved yaqona (kava) dish from the early 19th century, originating from the western region of Viti Levu, Fiji. Fashioned from sacred vesi wood (Intsia bijuga), a dense and durable hardwood reserved for both religious and high-status utilitarian objects, including canoes, bowls, and ceremonial implements. The dish features a distinctive pod-shaped body with a shallow, open bowl and a short handle extending from the base, an elegant yet practical form used in the ritual preparation and consumption of yaqona (kava), a traditional drink of great cultural and social importance in Fijian society. A pierced suspension hole near the handle suggests it was designed for hanging or securing when not in use. Yaqona ceremonies were central to chiefly and communal gatherings, where bowls such as this served not only functional roles but also acted as symbols of hospitality, respect, and chiefly authority. H84 W135 D570mm
Provenance: Private collection, Aotearoa
10 A Ceremonial Waka Hoe, Aotearoa
Ex private collection, Aotearoa. It is said this vessel belonged to the old cannibal high chief Ratu Vuniani Vuki who become Rokotui Ba and Yasawa soon after colonisation, he died in 1918. Mr Edmund Gibson Woolcott, a cane planter at Naikubu-kubu, Ba, secured the dish in 1912 in exchange for a heifer. It was in the family until sold in 2001
est $3,000 — $6,000
23 A Nalot Platter, Vanuatu, New Hebrides
Used in ceremonial contexts for the serving of special foods, such as nalot, a fermented pudding made from yam or breadfruit. The platter is reminiscent of the form of a turtle. The basin is an elongated square form with serrated edges. A carved from a single piece of hardwood with two sled legs, and a shallow basin. H155 W540 D335mm
est $200 — $400
24 A 19th Century Preists Yaqona Dish, Fiji
Yaqona is a sacred drink made from the pounded root of the Piper methysticum plant. In pre-Christian Fiji, it played a central role in religious rituals, ceremonies, and diplomatic gatherings. This example is carved from a single block of dense tropical hardwood likely ifilele or vesi. The shallow, circular bowl with two pointed ends rests on multiple short, evenly spaced legs, a design both elegant and symbolic of stability and ritual authority. With a small lug and remnants of a sennit cord. H95 W295 D235mm
est $1,000 — $2,000
25 A Roman Pendant Made from Glass and Gold, Ancient Rome
2nd Century AD. This delicate pendant from Ancient Rome is crafted from vibrant glass and accented with fine gold, exemplifying the Roman mastery of luxurious personal adornment and their sophisticated use of materials. The central glass element likely formed through blowing or casting, displays rich coloration, possibly cobalt blue or deep green, hues prized in Roman glasswork for their gem-like quality. Encasing or embellishing this glass core is a carefully applied gold setting. Pendants of this kind were popular across the Roman Empire, worn by both men and women, and frequently buried with the deceased as cherished possessions or amulets. L22 W25 D7mm
est $2,500 — $3,000
26 A Blown Glass Bottle, Ancient Rome
4000AD. This exquisite blown glass bottle represents a significant technological achievement in the art of glassmaking during the early phases of the Roman Empire. Crafted using the technique of glassblowing, which was developed by Phoenician craftsmen and later adopted and refined by the Romans, this bottle showcases the innovation and skill of ancient artisans. The bottle is made of translucent glass, with a striking iridescent blue glaze that catches and reflects light in a way that would have been highly valued in its time. The glaze, achieved through a chemical reaction during the glassmaking process, adds a shimmering effect to the surface, highlighting the fine craftsmanship of the piece. The fluid form of the bottle, with its rounded body and narrow neck, is indicative of Roman aesthetic preferences for simplicity and elegance in functional objects. H110 D75mm
est $500 — $1,000
27 A Persian Bronze Axe Head, Luristan, Iran
1200-900 BCE. This substantial bronze axe head originates from Luristan, a mountainous region in western Iran known for its rich production of ceremonial and utilitarian bronze objects during the Early Iron Age. The axe features a short cylindrical socket, once mounted onto a wooden haft, and a distinctive blade configuration, a vertical cutting blade projects to one side at a right angle to a rear horizontal blade. Tools of this nature were frequently buried in graves or hoards, suggesting a ritual or votive significance linked to elite warrior or priestly classes. L70 W65 D200mm
Provenance: Private collection, Aotearoa
est $1,000 — $1,500
28 A Gilt Jambhala Figure, Tibet
This finely cast gilt bronze figure represents Jambhala (Dzambhala), the Buddhist deity of wealth and prosperity, widely revered across Tibet and the Himalayan region. He holds a mongoose (nakula) in one hand, symbolic of the expulsion of greed and the distribution of wealth, while the other hand typically holds a jewel or a citron fruit, emblematic of spiritual and material riches. The figure is cast with rich detail, notably in the facial features, jewellery, and garment folds. Finished in gilding, now worn to reveal the warm bronze beneath at high points. The underside is sealed with a copper base plate, traditionally inserted after consecration. The plate is engraved with a double vajra (visvavajra), a crossed thunderbolt symbol representing stability, protection, and the indestructible nature of enlightenment. H145 W120 D100mm
est $2,000 — $3,000
29 Mathias Kauage Untitled
A striking work by Mathias Kauage (1944-2003), one of Papua New Guinea's most celebrated contemporary artists. Created on a hand-beaten copper sheet, this piece depicts two stylised human figures surrounded by flora, rendered with the bold, expressive forms and vibrant narrative quality characteristic of Kauage's work. The surface texture of the copper enhances the dynamic presence of the composition, reflecting both traditional material practices and modern artistic innovation. Born in Miugu in the Highlands of Papua New Guinea, Kauage rose to prominence in the 1970s and 1980s, and was later described by the National Gallery of Australia as “Papua New Guinea's best-known contemporary artist.” His work is internationally recognised for its distinctive synthesis of traditional Papua New Guinean motifs with contemporary social and political themes. Signed to the lower right. 945 x 920mm
est $500 — $800
30 A Late Edo-Early Meiji Period Tsuba, Japan
A finely crafted tsuba (sword guard) from the transitional period between the late Edo (1603—1868) and early Meiji (1868—1912) eras. This essential component of a Japanese sword mounting served both a protective and functional purpose—guarding the wielder’s hand from sliding onto the blade and acting as a counterbalance for the weapon. One side of the tsuba features a raised relief of a dragon emerging powerfully over stylised waves, symbolising strength, protection, and imperial authority. The reverse shows a more abstracted composition of ocean
waves, drifting clouds, and the dragon's claw—suggesting the beast's unseen, but ever-present power. An etched signature is visible near the central nakago-ana (opening for the blade tang), indicating the artist or swordsmith workshop responsible for the piece. The intricate relief work and symbolic detailing reflect the high level of craftsmanship and aesthetic sensibility characteristic of sword fittings in this period, when sword-making was transitioning from martial utility to objects of art and status. L80 W76 D6mm
est $300 — $500
31 An Azande Figure, Democratic Republic of Congo
This carved figure originates from the Azande people of the northeastern Democratic Republic of Congo, a group renowned for their rich and complex belief systems centered around magic, oracles, and mangu (witchcraft). Figures such as this one often serve as intermediaries between the human and spirit realms, representing spiritual entities or ancestors who assist in diagnosing and counteracting supernatural causes of illness, misfortune, or conflict. This example depicts a female figure rendered in a hunched posture and squat seated position—physical attributes that emphasise stability and groundedness, potentially reflecting the figure's protective or mediating role. Characteristic of Azande sculptural style, the figure features a broad, short face with minimal detailing. The facial plane is notably flat or slightly sunken, giving the work a stark, almost mask-like quality that enhances its sense of quiet intensity and spiritual presence. Figures like this would be used in divinatory practices or placed within shrines, where they were consulted or activated through ritual gestures and offerings. H240 W95 D60mm.
Provenance: From the collection of Steven Lim, Aotearoa est $400 — $600
32 A Kota Reliquery Figure, Gabon
This impressive Mbulu Ngulu reliquary figure originates from the Kota people of Gabon, with cultural connections also extending into parts of the Republic of the Congo. These striking and highly stylized sculptures served as spiritual guardians of ancestral remains, placed atop reliquary containers that housed sacred bones. Their function was both protective and symbolic, warding off malevolent forces and affirming the spiritual authority of lineage ancestors. This example is a larger and particularly refined version of the Mbulu Ngulu form, composed of a carved wooden core overlaid with intricately applied brass and copper sheeting. The gleaming metal surface not only enhances the figure's visual impact but also signifies the sacred and inviolable nature of the relics it protects. The use of metal that is often sourced through trade added to the figure's prestige and spiritual potency, as light reflecting from the polished surface was believed to repel evil spirits. The form is boldly symmetrical and abstract; a flattened, ovoid face is flanked by crescent-like side elements, with a prominent central ridge or crest rising from the head, all contributing to its arresting geometric composition. Despite its abstraction, the figure conveys an intense, almost otherworldly presence, reflecting its essential role in the spiritual and ritual life of the Kota. On stand H660mm, figure H600 W310 D80mm
Provenance: From the collection of Steven Lim, Aotearoa est $700 — $1,000
33 A Senufo Hornbill Figure, Ivory Coast
This hornbill figure from the Senufo people of the Ivory Coast is a powerful emblem of fertility, wisdom, and ancestral reverence. Such figures are closely associated with the Poro society—a secret men's initiation and education society that plays a central role in maintaining social order, spiritual guidance, and cultural continuity within Senufo communities. The hornbill, known for its noble bearing and life-long mating habits, symbolizes unity, longevity, and the shared responsibility of raising offspring. These qualities resonate deeply with Senufo ideals around community, family, and social duty. This particular figure, with its elongated form and poised stance, likely served a ritual purpose and was probably used by a village diviner, as suggested by the dense buildup of sacrificial substances and ritual materials on its surface. The figure is carved from wood and bears faint incised geometric patterns across its body—motifs that may reference protective symbols, clan identities, or spiritual guidance. The overall patina and encrustation speak to its prolonged ritual use, imbuing the piece with both historical and spiritual depth. H240 W131 D128mm
Provenance: From the collection of Steven Lim, Aotearoa
est $600 — $800
34 A Kylix Drinking Cup, Ancient Greece
3000 BCE. Crafted from terracotta, this piece showcases the advanced ceramic techniques of the time, with a smooth, curved body and a shallow bowl, characteristic of the kylix form, which was used for drinking wine during symposia (drinking parties) and other social gatherings. The cup is adorned with a black overglaze and features an incised central design, offering a glimpse into the artistic traditions of the period. The black-figure technique used here, which involved painting the design in a glossy black slip that would turn matte during firing, reveals the sophisticated pottery practices of the time. The kylix is not only a utilitarian object but also a statement of the owner's status and cultural participation in the social and ceremonial aspects of Greek life. The open form and the low, wide bowl would have been perfect for the communal nature of drinking at a symposium, allowing multiple individuals to share the cup. H43 W225 D160mm
est $600 — $1,000
35 A Messapian Kalathos Apulia, Ancient Greece
400BCE. This kalathos which is a basketshaped ceramic vessel, originates from the Messapian culture of Apulia in South Italy. Crafted in the Greek tradition but distinctly local in form and decoration, the vessel reflects the blending of Italic and Hellenic influences that characterised the material culture of Magna Graecia during the Classical period. Made from fine terracotta, the kalathos features a wide mouth, vertical sides, and subtle blackpainted decoration. H110 W210 D158mm
est $800 — $1,200
36 A Large Attic Skyphos Wine Cup Vase, Ancient Greece
400BCE. Though produced during the Roman period, the form and decoration are firmly rooted in Anicent Greek ceramic traditions, reflecting the widespread influence of Attic pottery across the Mediterranean. Made from terracotta, the vessel features a rounded body
and opposing horizontal handles. The surface is decorated in black pigment with a scrolling design of vines and leaves, a motif commonly associated with Dionysian imagery and the culture of wine consumption. H170 D180mm
est $1,000 — $1,200
37 A Early 20th Century Bonito Reliquary, Solomon Islands
This finely crafted reliquary from the Solomon Islands is designed to represent a bonito fish—an important totemic animal in many Oceanic cultures, particularly among communities in the Western and Central Solomon Islands. The bonito, known for its speed and strength, is closely associated with male initiation, maritime prowess, and ancestral guidance, making it a powerful symbol in ritual life. Expertly carved from a single piece of dense hardwood, the form is elongated and streamlined, echoing the sleek silhouette of the bonito itself. The surface bears subtle incised decoration, enhancing the fluidity of the form and reflecting traditional stylisation rather than literal representation. A cavity has been carefully hollowed into the body, serving as a sacred receptacle for ancestral relics, such as bone fragments, shell ornaments, or spiritually charged substances. Such reliquaries were traditionally placed high in the rafters of the paele (boathouse), a sacred communal space where elaborately carved canoes were stored and men gathered for ceremonial functions, political decision-making, and the transmission of oral histories. The elevated placement not only safeguarded the relics from disturbance but symbolically lifted them toward the spiritual realm, emphasizing their role as conduits between the living and the ancestral world. This object reflects the convergence of aesthetic refinement and spiritual utility that characterizes much of Oceanic ritual art, offering insight into the deeply interconnected worlds of seafaring, spirituality, and social order in Melanesian culture.
Provenance: Private collection, Auckland.
Ex South Island private collection. Solomon Islands private collection est $15,000 — $18,000
38 An Inlaid Apira Ceremonial Bowl, Owaraha, Solomon Islands
This finely crafted Apira ceremonial bowl originates from Owaraha in the Solomon Islands. It is carved from a single piece of hardwood, forming a shallow, basin-like vessel of traditional form. The design features two stylised fish in opposition, a common motif in Solomon Islands symbology. With black pigment and inlaid shell, likely nautilus, producing a striking contrast against the dark, patinated wood. The inlay is executed in fine geometric and linear patterns, typical of the region's aesthetic traditions. H180 W500 D86mm
est $150 — $250
39 A Spirit Canoe, Papua New Guinea
This intricately carved spirit canoe was traditionally used in ritual and ceremonial contexts rather than for water navigation. Known locally by various names such as wakawaka or wawilak these canoes symbolically transported the spirits of the dead to the ancestral realm. These canoes reflect the community's belief in the cyclical nature of life and the enduring presence of ancestors in daily life. Carved from a single piece of wood and depicting two females and two males seated inside, and a bird and a dog being eaten by a crocdile. H330 W270 D2500mm
est $5,500 — $7,500
40 A Pounamu Hei or Kuru, Aotearoa
Carved from a single piece of pounamu, this pendant may be classified either as a hei neck pendant or a kuru ear pendant. This pendant exhibits rounded edges, land a long body with flat front and back surfaces. A neatly pierced suspension hole at the top indicates it was worn as a hei, traditionally hung around the neck as a personal taonga or an ear. L74 W16 D4mm.
Provenance: Private Collection Aotearoa Y431
This taonga requires registration under the Protected Objects Act (1975).*
est $700 — $1,400
41 A Small Pounami Hei, Aotearoa
Carved from pounamu. A small rounded form with an oval cross-section. With a small pierced suspension hole. The pendant's modest scale and smooth, tactile form reflect traditional Māori artistry of balance, restraint. L34 W16 D8mm
Provenance: Private collection, Aotearoa
This taonga requires registration under the Protected Objects Act (1975).*
est $700 — $1,400
42 A Pounamu Kuru, Aotearoa
Carved from inanga pounamu, this slender pendant known as a kuru features a gently rounded front and a flat back, showcasing the subtle translucence and silvery-grey hue typical of inanga stone. Traditionally worn suspended from the ear, kuru are prized personal adornments. L58 W15 D3mm
Y20014
Provenance: Private collection, Aotearoa
This taonga requires registration under the Protected Objects Act (1975).*
est $600 — $1,200
43 A 1st-2nd Century Marble Ram's Head, Ancient Rome
This finely carved marble fragment represents the head of a ram, dating from the 1st-2nd century AD, during the height of the Roman Empire. Likely part of a larger sculpture, this piece would have been originally integrated into a more significant decorative or architectural context, such as a fountain, a frieze, or part of a larger allegorical or mythological scene. The ram's head is skillfully rendered in marble, with an emphasis on naturalistic details. This fragment, though only a small part of the original sculpture, offers a glimpse into Roman art's attention to form and symbolism. Rams were frequently used in Roman art and iconography, symbolising fertility, strength, and leadership, and were often associated with gods like Mars or the god of agriculture, Faunus. H70 W78 D100mm
est $1,200 — $2,200
44 A Sphynx, Egypt
This carved figure represents a sphinx, a mythological creature with the body of a lion and the head of a human, symbolizing strength, wisdom, and protection in ancient Egyptian iconography. Unlike ancient examples, this sphinx likely dates to the mid-19th century, a period marked by increased European interest in Egyptian antiquities during the height of Orientalist fascination and colonial-era tourism. Crafted as a revivalist or souvenir piece, the figure imitates traditional pharaonic forms, with the human head wearing a stylised nemes headdress and the lion's body
rendered in a crouched, symmetrical pose. The surface may show signs of hand-tooling or age-related patina. H135 W60 D215mm
est $900 — $1,200
45 A Tang Dynasty Horse, China 618-907 AD. This finely crafted terracotta horse is a remarkable example of Tang Dynasty art, dating from the 7th to the 9th century AD. Known for their realistic and dynamic representations of animals, Tang artisans imbued their sculptures with a sense of movement and vitality, qualities that are vividly evident in this piece. The horse is depicted in a standing position, outfitted with a saddle, which is characteristic of the period's funerary art. Terracotta horses were often placed in tombs as part of a larger group of figures intended to accompany and protect the deceased in the afterlife, ensuring their comfort and status in the spirit world. The Tang Dynasty, a period of cultural flourishing in China, saw significant advancements in both the technical and aesthetic qualities of ceramic production, with an emphasis on realism and detail. The horse's posture, with its head slightly turned, reflects the careful attention to form and anatomy typical of Tang figurines. H325 W100 D345mm Provenance: Private collection, Aotearoa Ex Private collection, London
est $600 — $1,200
46 A Crescent Headed Club, Fiji
Carved from a dense hardwood and formed with a long shaft and crescent shaped head. The body is fully carved with delictate incisions in triangular and crosshatch designs. L915 W285 D45mm
est $1,000 — $2,000
47 A Roromaraugi Parrying Club, Solomon Islands
This roromaraugi parrying club from the Solomon Islands represents a functional yet symbolically charged weapon used in combat to ward off attacks. The club's distinctive sickle-shaped head is designed to effectively deflect or parry blows, while the raised ridges along the sides enhance its functionality, providing a textured surface that could add grip and defensive capability in battle. The long shaft of the club terminates in a pointed tip, and above the tip, a figure is carved. A contemporary repair features to the blade end. L1450 W430 D50mm
est $600 — $800
48 A Dui Club, Fiji
This impressive dui club is a classic example of traditional Fijian weaponry, distinguished by its flared-formed head and long shaft. The dui was a close-combat weapon, designed for powerful, downward strikes. Carved from dense hardwood, this club exhibits a finely balanced silhouette with a carefully shaped head and a polished smooth shaft. L1000 W280 D41mm
est $1,500 — $2,500
49 A Tivaevae Manu, Cook Island
This striking tivaevae manu quilt features a deep cobalt blue cotton ground, with bold orange hibiscus flowers and green leaf appliqué, meticulously hand-stitched and enhanced with intricate polychrome crochet work. The vibrant colours and skilled craftsmanship reflect the cultural
significance and aesthetic beauty of Cook Islands quilting. Tivaevae quilts are traditionally sewn by women within sewing groups called va‘ine tini, with each quilt carrying symbolic meaning and often given as a treasured gift for special occasions such as birthdays, weddings, and funerals. 2260 x 2470mm est $1,500 — $2,500
50 A Thangka, Tibet
This exceptional thangka is a traditional Tibetan Buddhist painting, created with extraordinary precision on cotton fabric. Over a century old, it serves as a powerful example of Himalayan devotional art. The painting illustrates key episodes from the life of the Buddha, rendered in a complex, multi-figure composition rich in symbolism and spiritual narrative. Executed with meticulous detail, the artistry of this thangka can be appreciated even at the microscopic level—individual pupils in the figures are visible under magnification. Such precision reflects the sacred function of thangkas, which are not merely decorative but serve as objects of meditation, teaching tools, and ritual aids within Tibetan Buddhist practice. 1140 x 1550mm
est $3,000 — $5,000
51 A Tivaevae Manu, Cook Island
This beautiful tivaevae manu quilt is crafted from a rich maroon cotton ground, adorned with vibrant polychrome hibiscus flowers and green leaf appliqué. The intricate crochet and hand-stitching, showcasing a blend of skill and creativity, are hallmarks of the meticulous craftsmanship typical of Cook Islands quilting. Tivaevae are traditionally sewn by women in communal sewing groups known as va‘ine tini. These quilts serve both a decorative and symbolic function, often gifted for significant life events such as birthdays, weddings, and funerals. 2560 x 2080mm
est $1,500 — $2,500
52 A Songye Statue, Democratic Republic of Congo
This compelling Nkisi figure originates from the Songye people of the Democratic Republic of Congo. Nkisi statues are deeply spiritual objects, serving as conduits between the human and spirit worlds. They are activated and empowered to provide protection, healing, and justice, and are central to the Songye belief system. Traditionally, Nkisi figures are created in collaboration between skilled carvers and a nganga (spiritual healer or diviner), who imbues the sculpture with its spiritual force. This power is concentrated through bishimba—ritual substances placed in cavities within the figure. These substances, drawn from natural elements such as herbs, minerals, animal parts, and other potent organic materials, are believed to charge the figure with protective or retaliatory energy. This particular example displays the classic hallmarks of Songye sculptural tradition: a forceful, upright posture, an expressive face, and prominent features. Its eyes and teeth are inlaid with actual tooth fragments, enhancing its potent and animate quality. The figure is richly adorned with strings of seeds and shells, wrapped textiles, and tufts of animal hair—all of which serve both symbolic and ritualistic purposes, reinforcing the figure's status as a spiritually charged object. On stand H285mm, figure H240 W80 D90mm. Provenance: From the collection of Steven Lim, Aotearoa est $600 — $800
53 A Dan Passport Mask, Ivory Coast/Liberia
These masks hold both spiritual and social importance and are part of a complex system of identity, authority, and ancestral connection. While full-sized masks are worn during important rituals, dances, and initiations, passport masks are worn on the hands, arms, or the smalls of people's backs for protection when travelling and also serve as an indicator of the bearer's role in community. This example features large circular eyes, a triangular nose and a beak. On stand H265mm, mash L195 W93 D55mm
Provenance: From the collection of Steven Lim, Aotearoa
est $300 — $500
54 A Songye Nkisi Figure, Democratic Republic of Congo
Figures such as this is example is known as Nkisi. Nkisi serve as mediators between the human and spiritual realms, embodying protective and healing forces. Songye statues are traditionally created by nganga, spiritual leaders in collaboration with carvers. The nganga imbues the statue with magical substances called bishimba, which are placed in cavities within the figure. These substances, derived from natural elements like herbs, minerals, and animal parts, are believed to activate the statue's protective powers. This example has a cavity in its stomach. It is adorned with reptile skin wrapping around it's ribcage. Animal hair fans out surrounding the head. The presence of nails in this figure indicates that the owner was engaging in ritual practices intended to activate or invoke its spiritual powers. On stand H355mm, figure H305 W95 D80mm
Provenance: From the colleciton of Steven Lim, Aotearoa
est $400 — $800
55 A Kaitaka Paepaeroa Cloak, Aotearoa
This is a rare and finely woven Kaitaka Paepaeroa, a type of high-status korowai cloak traditionally worn by rangatira. The cloak is made from meticulously hand-prepared muka with wide paepaeroa decorative boarder running along the lower edge. The tāniko patterns are executed in black and brown natural dyes, likely derived from paru (mud) and tanekaha bark. With a red wool thread running along the upper edge. framed behind Perspex glass. Cloak 1400 x 1580mm, frame 1260 x 1520mm Provenance: Private collection, Aotearoa The cloak was discovered at an Antique dealership in Scotland by Michael Graham Stewart.
This taonga requires registration under the Protected Objects Act (1975).*
est $50,000 — $70,000
56 A Hand-Couloured Photograph by Charles Troughton Clark
1957. Charles Troughton Clark (1890—1979) was a notable English-born photographer who made significant contributions to Aotearoa’s visual history, particularly through his portraits of Māori individuals. His work offers a nuanced perspective on Māori culture during a period when such representations were often shaped by colonial narratives. A rare hand-coloured photograph by Clark of a Maori women with child on her back, the women with moko to the chin and with scarf on her head, smoking a pipe. Framed and behind glass, John Leech framing sticker on the reverse. Photograph 255 x 200mm, frame 395 x 320mm
est $1,000 — $2,000
57 A Framed Kahu Kiwi, Aotearoa
This exquisite kahu kiwi (kiwi feather cloak) is a masterful example of Māori craftsmanship. Created using traditional weaving techniques to incorporate the feathers of the kiwi bird into muka fibre. The use of kiwi feathers, highly valued for their rarity and symbolic significance, underscores the cultural importance of this garment as a ceremonial or status symbol.
The cloak is meticulously woven using the single-pair twinning technique, with each row of feathers interwoven into the muka (flax fibre) with precision and care. The feathers are spaced approximately 10mm apart, creating a luxurious texture and rich visual depth. Despite some small sections where feathers have been lost, the cloak retains a remarkable density, highlighting the skill and dedication of the weaver.
The cloak is framed by a distinctive 30mm border of black and red wool threads, woven into a striking diamond pattern at the edges. The upper edge features a twisted black and red wool detail, adding further refinement to the piece. At the lower edge, remnants of a black-dyed muka tāniko pattern, possibly a niho taniwha (serpent's tooth) design, evoke symbolic meanings tied to ancestral knowledge and protection. A later addition to the cloak is the rich purple brocade fabric sewn to the interior, likely added by a previous custodian to preserve the integrity of the muka and reduce stress on the delicate fibres. Framed behind UV protective glass and with archival materials to protect and prlong the life of the cloak. Cloak 1090 x 1300mm, frame 1260x 1520mm
Y22223
Provenance: Private collection, Aotearoa
This taonga requires registration under the Protected Objects Act (1975).*
est $120,000 — $150,000
58 A Small Muka Sampler, Aotearoa
This delicate textile sampler is constructed entirely from muka, the soft, prepared fibre extracted from harakeke New Zealand flax. The piece features a central diamond motif, a traditional geometric pattern often used in Māori weaving and a framed by a fringe border. Likely created as a study or teaching piece, this sampler demonstrates the fine weaving techniques passed down through generations of Māori weavers. Muka was traditionally reserved for high-status garments and textiles, valued for its strength, softness, and subtle sheen. Samplers such as this one not only serve as records of technical skill and design. 260 x 320mm Y22841
Provenance: Private collection, Aotearoa
This taonga requires registration under the Protected Objects Act (1975).*
est $200 — $400
59 A Kete Woven by Dame Rangimarie Hetet, Aotearoa
This finely woven kete is crafted by Dame Rangimarie Hetet, a renowned master weaver of Ngāti Maniapoto and English descent. Hetet (1892–1995) was one of the most respected figures in Māori weaving, having learned the art from her mother, who in turn had inherited this knowledge from her own mother. Hetet not only became a highly skilled practitioner of raranga (weaving) but also a dedicated teacher, passing on her expertise to her children and others in her community. In the 1950s, as Māori art faced a decline, Hetet made the bold decision to depart from the traditional restriction of teaching raranga solely within one's own iwi. This decision helped ensure the preservation and revitalization of Māori weaving,
which is reflected in her lasting legacy as a cultural ambassador and educator. This particular kete is woven from muka flax, using the intricate māwhitiwhiti technique, which creates a distinctive and durable texture. The braided handles further enhance the strength and functionality of the piece. L325 W330 D90mm Y22840
Provenance: Private collection, Aotearoa Bought from Ohaki Enterprises Ltd. This taonga requires registration under the Protected Objects Act (1975).*
est $300 — $500
60 A Billum Bag, Papua New Guinea
A handwoven string bag, or billum, crafted using the traditional looping technique indigenous to Papua New Guinea. Made from natural plant fiber and dyed in earth-toned pigments. Billums are multifunctional items deeply embedded in the social and ceremonial fabric of Papua New Guinean life. Beyond their everyday use for carrying food, firewood, or children, they serve as objects of exchange, identity, and status. The making and gifting of a billum can mark significant life events, including marriage, mourning, and motherhood. L590 W370mm
est $200 — $300
61 A Kongo Nkisi Nkondi Nail Figure, Democratic Republic of Congo
This formidable Nkisi Nkondi figure from the Kongo-speaking peoples of the Democratic Republic of Congo exemplifies the powerful role of sculpture as both a spiritual tool and a social mediator. Nkisi Nkondi figures are intricately tied to Kongo ritual practices, serving as spiritual agents invoked to protect communities, settle disputes, and combat malevolent forces such as witchcraft and misfortune. Carved from wood and embedded with an array of iron nails, blades, and other metal elements, each of these additions holds specific significance. The placement of each nail or metal object represents a petition, vow, or invocation—ritualistic actions taken by a nganga (spiritual leader) to activate the Nkisi and call upon the spirit residing within. The iron nails are often driven into the figure during ceremonies, with each nail symbolising the focus of a particular prayer or plea, making the figure a dynamic object of spiritual energy. The central feature of this Nkisi Nkondi is the mirrored, resin-filled cavity in the abdomen, which serves as the nkisi'sspiritual core. This cavity is believed to house the bilongo, or sacred charge, which imbues the figure with its power. It is this sacred substance that activates the figure's protective and punitive capabilities, enabling it to seek out wrongdoers and enforce justice within the community. In a distinctive feature of this piece, the figure is mounted upon two carved dogs. In Kongo cosmology, dogs hold a unique place as beings that exist in both the human world and the spiritual realm, symbolising the interconnectedness of the physical and metaphysical worlds. These dogs enhance the figure's role as a mediator between realms, reinforcing the Nkisi Nkondi's function as a spiritual enforcer.
On stand H670mm H620 W195 D175mm Provenance: From the collection of Steven Lim, Aotearoa est $800 — $1,200
62 A Fang Bieri Ancestor Figure, Gabon
This finely carved Bieri ancestor figure originates from the Fang people of Gabon and exemplifies the refined spiritual aesthetics central to Fang culture. These figures were traditionally placed atop reliquary boxes that held the bones
of revered ancestors, serving as both guardians and spiritual intermediaries. Their presence reinforced ancestral authority and ensured continued protection, wisdom, and blessings for the living community. This example is sculpted with a muscular, abstracted torso, emphasizing physical vitality as a metaphor for spiritual power. The figure's calm, composed facial expression marked by a broad forehead, closed lips, and inwardly focused gaze, which conveys a sense of serenity and introspection, embodying the Fang ideal of moral integrity and inner strength. The surface is finished with a lustrous black patina, often achieved through the application of oils, which both preserved the wood and enhanced the figure's spiritual resonance. Of particular interest are the hundreds of small incisions found on the hands and on the object the figure holds. These cuts suggest the removal of tiny wood flakes, likely for use in ritual practices related to healing or magic. This subtle but important detail underscores the figure's active role in the metaphysical life of the Fang, beyond its function as a symbolic representation of the ancestor. On stand H590mm, figure H530 W150 D180mm Provenance: From the collection of Steven Lim, Aotearoa est $700 — $1,200
63 A Songye Figure, Democratic Republic of Congo
This smaller Nkisi figure from the Songye people of the Democratic Republic of Congo embodies the complex spiritual, social, and political dimensions that define Songye ritual life. Nkisi figures such as this serve as potent spiritual tools—guarding against malevolent forces, facilitating healing during illness, and promoting fertility and general well-being within the community. Depicting a female figure with a protruding stomach and hands clasped at the front, this sculpture likely references fertility and nurturing, both vital themes in Songye cosmology. A small horn inserted into the crown of the head is a classic feature of Nkisi, believed to act as a conduit for spiritual power. These horns often contained or were associated with bishimba, the magical substances that activate the figure's potency. What sets this piece apart is its rich, ritual-worn surface. The head, neck, torso, and limbs still bear remnants of once tightly wrapped animal hide and reptile skin, now deteriorated from age and exposure. These wrappings were not merely decorative but played a sacred role, enhancing the spiritual charge of the figure and sealing in its power. The weathered patina further testifies to the figure's extended ritual use over generations, suggesting its enduring importance within the spiritual life of its community. On stand H520mm, figure H470 W105 D105mm Provenance: From the collection of Steven Lim, Aotearoa
est $1,800 — $2,200
64 A Contemporary Practice Kotiate, Aotearoa
This contemporary kotiate is a short hand-club carved from native timber, created for use in cultural performance and martial practice. The weapon features a symmetrical spatulate blade with notched sides, characteristic of the kotiate form, and a rounded handle that terminates in a carved wheku head at the reke (butt). The term kotiate translates to “cut the liver in half”; a reference likely tied to both the weapon's bifurcated blade shape and its intended use as a close-combat striking tool. Traditionally carried by high-ranking warriors, the kotiate was as much a symbol of leadership and prestige as it was a functional weapon. L340 W131 D35mm.
Provenance: Private collection, Aotearoa Ex John Perry Collection
est $300 — $600
65 A Contemporary Mere Pounamu, Aotearoa
A short, flat-bladed weapon meticulously carved from pounamu, prized by the Māori both for its strength and spiritual significance. The blade is leaf-shaped, tapering to a rounded point and perforated at the butt for attachment of a wrist cord, traditionally made of flax or dogskin. This example exhibits a rich, semi-translucent green hue with mottled inclusion. These weapons were used in close combat, held edge-up in the hand and delivered with precision and power. On stand H420mm, mere L340 W87 D5mm
est $1,300 — $1,800
66 A Contemporary Practice Kotiate, Aotearoa
This contemporary kotiate is a short hand-club carved from native timber, created for use in cultural performance and martial practice. The weapon features a symmetrical spatulate blade with notched sides, characteristic of the kotiate form, and a rounded handle that terminates in a carved wheku head at the reke (butt). The term kotiate translates to “cut the liver in half”; a reference likely tied to both the weapon's bifurcated blade shape and its intended use as a close-combat striking tool. Traditionally carried by high-ranking warriors, the kotiate was as much a symbol of leadership and prestige as it was a functional weapon. L385 W161 D40mm
Provenance: Private collection, Aotearoa
Ex John Perry Collection
est $300 — $600
67 A Sgraffito Earthenware Bowl, Byzantine Empire
Dating to 12th Century AD, a period of artistic flourishing within the Byzantine Empire. Sgraffito is a decorative technique where a surface layer of pottery is scratched away to reveal a contrasting color beneath, creating intricate and detailed designs. This bowl exemplifies the Byzantine mastery of both form and ornamentation in everyday objects. Crafted from earthenware, the bowl's surface features a finely executed sgraffito design, likely depicting geometric patterns or religious motifs, common in Byzantine decorative arts. The technique used to create these motifs involves applying a slip (a liquid clay mixture) to the surface of the pottery, followed by the scratching or carving of the design before firing, producing a bold contrast between the natural clay body and the slip layer. The fine detailing and precision of the design on this piece reflect the high standards of craftsmanship during the Byzantine period. The bowl's shape is typical for the period, with a wide, shallow form ideal for everyday use, possibly for serving food or as part of a larger set of tableware. Its functional nature is balanced by the beautiful decoration, indicative of the Byzantine Empire's inclination to elevate even the most utilitarian objects through artistic expression. H100 D275mm
est $1,500 — $2,000
resting on a short circular foot, which is typical of Indus Valley pottery. Its handpainted designs, rendered in vibrant colors, were created using natural pigments such as copper minerals for blue, plant ash and iron oxide for black, and clay for red, materials that were readily available in the region. The intricate and striking motifs on this pot would have been carefully applied by skilled artisans, with each vessel passing through multiple hands to reach its completed form. These pots served a range of purposes in the daily lives of the people of the Indus Valley, from storage to ceremonial use, and are among the many examples of the advanced and highly skilled craftsmanship of the Indus Valley Civilisation. The Indus Valley, one of the world's earliest urban civilisations, thrived in the north-western region of the Indian subcontinent, encompassing parts of present-day Pakistan and northwest India. At its peak, the Indus Civilisation may have supported a population of over five million people, with highly developed urban centers, trade networks, and a sophisticated system of writing and architecture. H280 D400mm
est $2,000 — $3,000
69 An Large Bronze Age TransJordan Bowl, Holy Land, Petra
3300 BCE. This large terracotta bowl originates from the Transjordan region, specifically from the area surrounding Petra. This artifact is a representative example of the early pottery traditions that flourished in this region, serving as a practical vessel while also reflecting the cultural and technological advancements of the time. The simplicity of the form, combined with the durable material, demonstrates the ingenuity of the people in adapting local resources to meet their needs. The Bronze Age in Transjordan was a period of significant cultural interaction, trade, and innovation, and this bowl would have been part of a broader material culture that saw the development of increasingly sophisticated craftsmanship in pottery, metallurgy, and other technologies. H140 D330mm
est $700 — $1,000
70 A 19th Century Zoomorphic Axe Head, Solomon Islands
This rare and striking zoomorphic axe head from the Solomon Islands is carved from volcanic stone, a material commonly used in prehistoric Melanesian tool-making due to its hardness and durability. Likely of ceremonial or symbolic function, this piece exemplifies a prehistoric aesthetic carried into the 19th century, bridging traditional practices with ancestral reverence. The axe is formed with a flared blade, suitable for both functional and ritual use, and a terminal shaped in the stylised form of an animal figure, possibly a dog or similar quadruped, with a raised tail. On stand H245mm, axe head L265 W160 D20mm.
Provenance: Private collection, Aotearoa
Previously of the G Young Collection. Young field collected all items when resident in Honiara in the 1970s and 1980s
est $400 — $600
71 A Stone Axe, Western Province, Solomon Islands
axes were essential tools in prehistoric Solomon Islands society, not only for their utility but also for their roles in rituals, leadership displays, and social exchanges. The intricacy of the carving, particularly on the butt end, underscores the significance of craftsmanship in producing tools that were both functional and culturally meaningful. L150 W40 D210mm.
Provenance: Private collection, Aotearoa Previously of the G Young Collection. Young field collected all items when resident in Honiara in the 1970s and 1980s
est $450 — $650
72 A Stone Axe Head, Western Province, Solomon Islands
This distinctive stone axe head originates from the Western Province of the Solomon Islands and dates to the 19th century. Carved from a rough black stone with brown mineral inclusions, the axe displays a bold, utilitarian form with deeply cultural undertones. The blade is fan-shaped, broadening out from the hafting point and retaining rough, unsharpened edges, suggesting either ritual use or symbolic status rather than direct functional utility. The extended handle terminates in a carved face-like finial, stylised and abstract, possibly representing an ancestral spirit or protective force. This kind of anthropomorphic detailing reflects the strong spiritual beliefs embedded in object-making across the region. On a metal stand. Axe head L120 W40 D270mm, on stand H285mm.
Provenance: Private collection, Aotearoa Previously of the G Young Collection. Young field collected all items when resident in Honiara in the 1970s and 1980s
est $400 — $600
73 A Toki Poutangata, Aotearoa
The toki poutangata is a ceremonial adze traditionally wielded by rangatira and kaumātua as a symbol of mana and leadership. This contemporary example features a finely polished pounamu blade bound securely to a carved wooden handle using traditional fibre lashings. The handle is undecorated and terminates in a mania butt. On stand H300mm, toki poutangata. L450 W50 D275mm
est $1,400 — $2,200
74 A Waka Hoe by Nicholas Wanakore, Aotearoa
75 A Kotiate, Aotearoa
1990s. The kotiate is a traditional Māori short club, notable for its distinctive shape with twin lobes on either side of the blade, resembling the outline of a liver—hence the name kotiate; derived from koti (to cut) and ate (liver). This example is carved from dense native hardwood and intricately carved to both sides of the blade's body. Each side features two faces with pāua shell eyes. The butt of the handle has a carved manaia head. On stand H375mm, Kotiate L340 W131 D18mm
est $1,300 — $1,700
76 A Faience Shabti, Ancient Egypt
This small funerary figurine, known as a shabti, is crafted from pale turquoiseblue faience, a glazed non-clay ceramic material prized for its luminous quality. The figure stands mummiform with arms crossed over the chest, each hand holding agricultural implements, a hoe and a pick, indicating its role as a servant for the deceased in the afterlife. A cartouche at running down the front with internal hieroglyphs. L111 W39 D29mm
est $500 — $1,000
77 A Sangori Aristocrats Head Ornament, Toraja People, Sulawesi
A finely cast Sangori head ornament in bronze, worn by high-ranking Toraja aristocrats during ceremonial occasions and funerary rites. This ornament was traditionally secured in the hair at the back or side of the head, often paired with elaborate textiles and other regalia to mark nobility, prestige, and ritual authority. In a spiral form with triangular tip. Formed using a lost wax technique. On stand H215mm Sangori L160 W202 D2mm
est $200 — $400
78 A Large Songye Figure, Democratic Republic of Congo
This beautifully crafted pot, originating from the Harappa Culture of the Indus Valley, is made from buff-colored terracotta. The vessel has a squat form,
This prehistoric stone axe hails from the Western Province of the Solomon Islands and is expertly carved from basalt, a durable volcanic stone. The axe head exhibits a well-balanced design, indicative of both its practical function and the craftsmanship of its maker. Such
This contemporary waka hoe (canoe paddle) by Nicholas Wanakore, a Māori master carver of Ngāti Porou and Tainuidescent, showcases the artist's exceptional skill in blending traditional Māori carving techniques with modern artistic innovation. Carved sometime between 1980 and 1990, this paddle serves as a remarkable example of both functional craftsmanship and cultural expression. The paddle features a unique shaft, that splits in two and becomes a large circle. The leaf-shaped blade of the paddle is a masterful work, with intricate raised relief carvings that depict carved figures. The reverse of the blade has incised koru designs. These figures are often symbolic of ancestral guardians or important figures in Māori mythology. The carvings are highlighted with pāua inlays, adding a striking contrast and iridescence to the design. Signed. On stand H2310mm, paddle L2100 W180 D70mm
est $10,000 — $14,000
This imposing nkisi nkondi figure embodies the formidable spiritual presence central to Songye ritual practice. Carved from dense hardwood, the statue is marked by the geometric stylisation typical of Songye sculpture. A robust, rigidly frontal stance, with broad shoulders, and a protruding stomach. The oversized hea features a high sagittal crest and amond eyes with thin slits, conveying an intense and watchful gaze. The open mouth, sometimes associated with speech or invocation, suggests the figure's potential for communication with the spirit world. This example has inset animal teeth. A horn, inserted at the crown of the head, further signifies the nkisi's role as a vessel for supernatural power. The figure has a metal sheet nailed to the nose, metal is seen as a conductor of spiritual energy. On stand H905mm, Figure H860 W175 D160mm. Provenance: From the collection of Steven Lim, Aotearoa Ex Zoumana Traore, New York
est $2,000 — $2,500
79 A Napa Club, Santa Cruz
This Napa club originates from the Santa Cruz Islands and is a traditional weapon used in ritual dances performed by men. These ceremonial performances involve rhythmic movements and choreographed striking between participants, emphasizing both martial prowess and social cohesion within the community. Carved from wood, the club takes the elegant form of a canoe, reflecting the maritime culture of the Santa Cruz Islanders. Its surface is adorned with finely incised linear designs, carefully
68 A 4th Millennium BCE Pot, Harappa Culture, Indus Valley
painted in red and black pigments. These delicate patterns enhance the visual rhythm of the object and may also hold symbolic meanings tied to clan identity, mythology, or ancestral heritage. Such clubs were not only functional within ritual contexts but also held aesthetic and spiritual value. A comparable example is illustrated in Oceanic Art by Anthony JP Meyer (1995), page 598, underscoring the significance and rarity of this form within Oceanic weaponry and ceremonial art. L85 W67 D75mm
est $1,000 — $2,000
80 An Exceptional 20th Century Paoa Club, Rapa Nui
Paoa clubs were traditionally wielded as close-combat weapons, but equally served as status symbols and ritual objects. This finely crafted club from Rapa Nui exemplifies the enduring cultural legacy and craftsmanship of one of the most remote inhabited islands on Earth. The club's elegant, tapering form suggests both weaponry and symbolic authority, with a smoothly polished surface. Such clubs were often held by community leaders or orators, emphasising the prestige of the bearer. Carved from likely toromiro or miro wood. Distinguished by the finely carved anthropomorphic janus faces at its handle, featuring eyes inlaid with bird bone and obsidian. The elongated form, smooth contours, and balanced proportions show the hand of an experienced carver. L1010 W98 D35mm
est $4,000 — $6,000
81 A Napa Club, Santa Cruz
This Napa club originates from the Santa Cruz Islands and is a traditional weapon used in ritual dances performed by men. These ceremonial performances involve rhythmic movements and choreographed striking between participants, emphasizing both martial prowess and social cohesion within the community. Carved from wood, the club takes the elegant form of a canoe, reflecting the maritime culture of the Santa Cruz Islanders. Its surface is adorned with finely incised linear designs, carefully painted in red and black pigments. These delicate patterns enhance the visual rhythm of the object and may also hold symbolic meanings tied to clan identity, mythology, or ancestral heritage. Such clubs were not only functional within ritual contexts but also held aesthetic and spiritual value. On stand H315mm Napa L740 W42mm
est $1,200 — $1,500
82 Two Bone Implements, Aotearoa
One small fishing hook fragment and a needle. Matau fishing hooks were crucial tools for coastal and river-based communities and were often intricately shaped for specific types of fish. The needle is finely tapered at one end, likely used for piercing or sewing woven materials such as harakeke flax or cloaks. Bone needles were essential in crafting garments and traditional textiles and were prized for their durability and precision.
Needle L42mm, fishing hook L20mm
Fishing hook Y22761
Needle Y22762
These taonga requires registration under the Protected Objects Act (1975).*
est $200 — $400
83 A Collection of Five Stone Implements, Aotearoa
A diverse group of five traditional stone tools and objects, each representative of Māori material culture and craftsmanship. Includes a small stone lure used in fishing, a small māhe sinker or weight used in traditional fishing practices, an argillite whao chisel or carving tool used in wood carving and other detailed tasks, one worked obsidian piece sharp-edged and likely used for cutting or scraping and prized for its precision cutting ability, and a gun flint possibly traded or adapted post-contact. Whao L55 W17 D8mm Y21807
Provenance: Private collection, Aotearoa
Ex Betty Riley Collection
This taonga requires registration under the Protected Objects Act (1975).*
est $200 — $400
84 A Whalebone Hei Pendant, Aotearoa
Carved from whalebone, this hei pendant features a rectangular cross-section and displays a well-worn surface, indicative of prolonged use and age. The pendant is now incomplete, with visible loss and erosion around the suspension hole, a sign that it may have been worn extensively before being retired or passed on. Subtle etching is present on one side, with faint, possibly post-contact inscription reading Jlegolleo, a detail that may suggest later ownership, gifting, or a colonialera interaction. L96 W15 D16mm Y12464
This taonga requires registration under the Protected Objects Act (1975).*
est $700 — $1,000
85 A Marsden Flower Jade Adze carved by Glen Surgenor
This finely crafted adze is carved from Marsden flower jade, or putiputi pounamu—a highly prized variety of New Zealand greenstone noted for its vibrant golden, yellow, and orange inclusions within a deep green matrix. The “flower” patterns result from mineral-rich fluids infiltrating the stone's natural fractures over millennia, creating an organic marbled effect that is both rare and visually striking. L173 W57 D35mm
est $300 — $450
86 A Shell Pūtātara, Aotearoa
The pūtātara is a traditional Māori wind instrument, valued both for its sonic qualities and cultural significance. Crafted from a marine shell, this example features a finely incised bone mouthpiece, showcasing skilled carving and artistic detail. When blown, the pūtātara emits a powerful, resonant sound. It is used in ceremonial contexts to call attention, signal presence, or welcome guests, especially during formal gatherings such as pōwhiri. The instrument's voice is seen as both practical and sacred, often invoking ancestral presence or marking significant transitions. On stand H205mm, shell L250 W140 D120mm
est $1,000 — $1,300
87 A Pounamu Cobble, Aotearoa
This unmodified or lightly shaped pounamu cobble is a naturally smoothed piece of nephrite jade, likely collected from a riverbed or deposit in Te Waipounamu, the primary source region for pounamu. The cobble exhibits the classic deep green hues and translucency associated with high-quality stone. On stand H235mm, pounamu L230 W210mm D15mm 1.22kg
est $1,000 — $2,000
88 A Kali Headrest, Fiji
This finely carved kali is sculpted from a single piece of hardwood and elevated on four short, sturdy legs. The top is gently curved to support the neck, allowing the head to remain elevated during rest or sleep. Its form reflects both ergonomic design and aesthetic restraint, with smooth surfaces and balanced proportions. Kali protect hairstyles from becoming dishevelled and were frequently included in grave goods or inherited within families. The clean form and patinated surface suggest sustained use and cultural significance.H125 W440 W90mm.
Provenance: Private collection, Aotearoa
Ex Keith St Cartmail Collection
est $300 — $500
89 A Poi Wood Vessel with Three Carved Gods, Hawaii
This striking poi wood vessel from Hawaii is a masterful example of indigenous Hawaiian craftsmanship and spiritual symbolism. Carved from wood, the vessel is notable for its unique design, with three intricately carved figures positioned at the base, acting as feet for the vessel. These figures represent deities or gods, central to Hawaiian religious and cultural practices. The vessel itself would have traditionally been used in the preparation or serving of poi, a staple food in Hawaiian culture made from taro root. The craftsmanship of the carving, with its fluid lines and detailed features, showcases the skill of the artist in creating a harmonious balance between form and function. H210 D80mm.
Provenance: Private collection, Aotearoa Ex John Perry Collection
est $400 — $800
90 An Ashanti Chief Stool, Ghana
This Ashanti chief's stool from Ghana is a powerful emblem of leadership and authority within Ashanti culture. More than a seat, the stool is a sacred symbol, believed to embody the soul of the chieftaincy. When a chief assumes office, he is said to‚“sit on the stool” signifying not only his political ascension but also his acceptance of a spiritual and ancestral mandate. Carved from a single piece of wood, this stool features a broad, concave seat, designed for both comfort and symbolic prominence. It is supported by five vertical columns resting on a solid rectangular base. The central cylindrical column is hollow and decorated with intricate geometric openwork, highlighting the craftsmanship and adding visual lightness to the otherwise solid form. The four side supports are adorned with rounded protrusions, a decorative motif that enhances the stool's visual balance and ceremonial presence. The stool’s overall design is both functional and symbolic—its form rooted in centuries of tradition, and its craftsmanship reflecting the high status of the individual for whom it was made. H265 W405 D225mm
est $500 — $1,000
91 A Wood Hair Comb, Solomon Islands
A finely carved wooden hair comb from the Solomon Islands, composed of multiple slender tines extending from a short head with peaked sides. The comb is delicately shaped from a single piece of hardwood, with the upper section often decorated with incised linear or geometric motifs. Hair combs such as this were more than utilitarian tools, they were also personal ornaments and markers of social standing, commonly worn tucked into the hair by both men and women. On stand H335mm, comb L265 W120 D18mm
est $300 — $500
92 A Tortoise Shell Armband, Papua New Guinea
This finely shaped armband from Papua New Guinea is crafted from tortoise shell, most likely hawksbill or green sea turtle, traditionally worn by men in coastal regions as both a decorative adornment and a marker of status or identity. Formed from a single, curved segment of turtle shell, the armband was heated and moulded into a smooth, gently rounded cuff. The surface displays the mottled amber and brown translucency that is characteristic of natural tortoiseshell, a highly prized material across the Pacific for its beauty, durability, and symbolic associations with strengthand oceanic connection. The exterior of the piece bears incised decorative motifs. L170 W105 D95mm
est $200 — $400
93 A Maka Feke Octopus Lure, Tonga
A traditional Tongan octopus lure, comprising a stone sinker bound with woven sennit fibre and affixed to polished shell flashings. This device was designed to mimic the appearance and movement of a prey animal, enticing octopus to strike. These lures were traditionally deployed from canoes, slowly trolled along the reef edge or seabed. L340 D70 D80mm
est $300 — $600
94 A Massim Club, Trobriand Islands, Papua New Guinea
This finely crafted Massim club is carved from a dense, dark native hardwood characteristic of the Trobriand region. The club features a distinctive flared head with asymmetrical pommel. Incised decoration on one side of the club blade with natural white pigments rubbed in. Among the Massim peoples, clubs like this one served both practical and symbolic functions. While they were historically used in inter-island warfare, they also held significant ritual and status value, often exchanged or displayed during important ceremonial gatherings. On stand H750mm, club L715 W100 D18mm
est $600 — $800
95 A 19th Century Boomerang, Australia
This is a traditionally crafted boomerang, used both in hunting and ceremony, and made in various regional styles. Carved from a single piece of dense native hardwood. Slightly curved in profile with a twisted, aerodynamic cross-section. Shows evidence of hand-shaping and light surface decoration, possibly incised with stone tools or shell. On stand H715mm, boomerang L690 W50 D27mm
est $600 — $800
96 A Massim Club, Trobriand Islands, Papua New Guinea
This traditional Massim club is skillfully carved from a single piece of dense tropical hardwood, likely sourced locally from the forests of the Trobriand Islands. The club features a gently curved shaft tapering to the handguard. With a scrolled pommel. Massim clubs were multifunctional objects, used in both warfare and ritual display. Their forms varied by region and purpose from practical weapons to prestige items carried by men of rank. On stand H725mm, club L695 W97 D25mm
est $600 — $800
97 A Patu Muka, Aotearoa
This patu muka is a traditional Māori fibre-processing tool used for pounding and softening harakeke flax in preparation for weaving. The tool features a roughly circular cross-section and a rounded pounding surface, designed to bruise and break down the plant's stiff fibres without cutting them, allowing for the extraction of the soft inner muka fibre. The sides taper subtly to a barely defined handle, reflecting a functional, utilitarian design. While the surface shows signs of wear consistent with sustained use, traces of polish remain at the poll, suggesting frequent handling and contact during the fibre-working process. Patu muka were typically made from dense hardwood or stone, chosen for their durability and ability to deliver repeated impact without fracturing. On stand H275mm, L265 W70 D60mm. Y22674
Provenance: Private collection, Aotearoa
Ex Collection of Frederick Hardwicke Knight circa 1960s, Otago district
This taonga requires registration under the Protected Objects Act (1975).*
est $750 — $900
98 A Turned and Carved Platter in Kōwhai Wood, Aotearoa
This large circular platter is finely turned and carved from kōwhai wood, a native New Zealand hardwood known for its rich golden tone and close grain. The surface is delicately incised with koru motifs, the stylised unfurling fern frond that symbolises new life, growth, and continuity. With a small string loop for wall mounting. D535mm
est $700 — $900
99 A Patu Muka, Aotearoa
This finely worked patu muka, a traditional Māori fibre-processing tool, is crafted from a quartz-like stone, prized for its hardness and durability. Used in the preparation of muka, the soft inner fibre of harakeke. Patu muka were essential tools in the production of woven textiles such as cloaks, ropes, and garments. This example features a shallow semicircular cross-section with a rounded pounding surface, ideal for bruising the flax without cutting its valuable fibres. The tool's form includes marked shoulders transitioning into a handle section with an oval cross-section, allowing for a secure grip during extended use. Notably, two circular dimples, possibly thumb or finger placements, are present, enhancing ergonomics and suggesting a user-centric design shaped by practical experience. The entire surface has been hammer-dressed, giving it a finely textured finish that has since worn smooth through use. The patina and wear indicate long-term utilitarian use, adding to its historical and cultural value. On stand H300mm, patu L285 W90 D40mm
Y22672
Provenance: Private collection, Aotearoa Ex Collection of Frederick Hardwicke Knight, collected circa 1960s, Otago district This taonga requires registration under the Protected Objects Act (1975).*
est $750 — $900
100 Two Loom Woven Works by Malaya Akulukjuk, Canada
These two loom-woven works, created by Malaya Akulukjuk, offer a remarkable glimpse into the creative expression of one of Canada's most influential Inuit artists. Born in 1915 and active from the 1960s onwards, Akulukjuk began her artistic career later in life, at the age of 51. Her contributions to the art world are notable, particularly her drawings, which served as the foundation for a series of woven tapestries produced by the weavers at the Pangnirtung Weave Shop. During the 1970s and 1980s, Akulukjuk's designs were transformed by skilled weavers into intricate tapestries that represent her deep connection to Inuit culture and heritage. Both pieces are signed on the reverse, with both Akulukjuk's name and the name of the weaver. 455 x 290mm each
est $1,000 — $1,400
101 A Prince Rudolf Bird-ofParadise Headdress Ornament, Highlands, Papua New Guinea
This ceremonial headdress ornament is made from the preserved skin and plumage of a Prince Rudolf bird-of-paradise (Paradisaea guilielmi), also known as the emperor bird-of-paradise. It would have been worn as part of a larger, elaborate headdress during sing-sing gatherings— ceremonial events where music, dance, and body adornment express clan identity, social rank, and cultural pride. Endemic to the Huon Peninsula in Papua New Guinea, the Prince Rudolf bird-of-paradise is prized for its striking white flank plumes, emerald green breast shield, and long tail wires. Known locally as a symbol of prestige and beauty, its feathers are among the most valued for traditional regalia. The bird is often referred to as a kumul, a term broadly applied to birds-of-paradise and used as a national emblem. L370 W120 D15mm
est $200 — $400
102 An Emperor of Paradise Headdress Ornament, Highlands, Papua New Guinea
Collected circa 1962. This ceremonial headdress ornament features the preserved skin and plumage of an emperor bird-ofparadise (Paradisaea guilielmi), a species native to Papua New Guinea and renowned for its vibrant, cascading feathers. An internal stick is fitted through the body to allow secure attachment, likely to a larger headdress ensemble worn during sing-sing gatherings—traditional cultural festivals where groups perform music, dance, and display elaborate adornments to express tribal identity and status. birds-of-paradise hold deep symbolic and aesthetic importance in Highland cultures, with their feathers reserved for high-status decoration and ceremonial regalia. The emperor bird-of-paradise in particular is associated with beauty, prestige, and ancestral connection. L610 W80 D35mm
est $200 — $400
103 A Raggiana Bird-of-Paradise
Headdress Ornament, Highlands, Papua New Guinea
This headdress ornament features the vibrant plumage and preserved skin of a Raggiana bird-of-paradise (Paradisaea raggiana), also known locally as the kumul. It would have been worn as part of a larger, elaborate headdress during sing-sing gatherings—ceremonial festivals where communities come together to perform dance, music, and display traditional adornments as expressions of identity, prestige, and cultural continuity. The kumul is the national bird of Papua New Guinea and holds significant symbolic importance in Highland societies. Its brilliant red and orange plumage is especially prized for ceremonial attire, representing beauty, status, and connection to ancestral traditions. L400 W70 D50mm
est $200 — $400
104 An Inlaid Shell Bowl, Trobriand islands, Papua New Guinea
A finely carved wooden bowl from the Trobriand Islands, circular in form with a serated flattened rim with inlaid shell, mother-of-pearl or nautilus, a characteristic of Trobriand decorative language. Such bowls were used in ceremonial and communal feasting, particularly during yam festivals and other significant social occasions. H75 D260mm
est $200 — $400
105 A Dari Ni Waiwai Ni Bete Priest's Dish, Fiji
This ceremonial dish, known as a Dari Ni Waiwai Ni Bete, was used by Fijian priests during sacred rituals to hold scented coconut oils. The dish's form is distinctive, featuring a spade-like shape that rests gracefully on three raised feet, providing an elevated, stable base. Its handle is an integral feature, designed for ease of use during ceremonial proceedings. The surface of the dish exhibits a smooth texture, enriched with a deep brown patina that highlights the natural wood grain, showcasing the craftsmanship of its maker. The dish, made from wood, carries both functional and symbolic significance, playing a pivotal role in Fijian religious practices by holding the oils used in purification and blessing ceremonies. H45 W220 D307mm
est $400 — $600
106 An Inlaid food bowl, Western Solomon Islands
A finely carved wooden food bowl from the Western Solomon Islands, of circular form with gently raised sides and pedestal base. The rim and handles are adorned with carefully set shell inlay, forming geometric and linear patterns characteristic of the region's decorative tradition. The shell, likely nautilus or mother-of-pearl, provides a striking iridescent contrast against the dark patinated hardwood. Such bowls were used during ceremonial feasting, often in the context of chieftainship and alliance-building. H130 W320 D230mm est $200 — $400
107 An Alafolo Club, Solomon Islands
Characterized by its distinctive pointed, flared, or paddle-shaped head and long, tapering shaft, the alafolo was both a formidable weapon and a powerful status object. This example has a deep red patina and delicated incised designs to the blade end. Often carried by warriors
or leaders, such clubs were symbols of prestige, identity, and ancestral connection. L107 W65 D85mm
est $300 — $600
108 Na Hoe Hulu O Maui by Levan Keola Sequeira, Hawaii
LeVan Keola Sequeira was a revered Hawaiian master carver and canoe builder, celebrated for his dedication to preserving and perpetuating Hawaiian cultural traditions. Born on February 7, 1945, in Honolulu, he spent his formative years in Lahaina, Maui, where he was deeply influenced by his family and community. This example of Sequeira's work is of a canoe paddle with expertly inlaid vertical lines running down it's length. A plaque applied to the back reads Na Hoe Hulu O Maui. Name: Ka ua Oluolu o Napili The Gentle Rains of Napili. By: Levan Keola Sequeira. On stand H1660mm, paddle L1630mm W310 D45mm
est $5,000 — $7,000
109 An Incised Sword Club, New Britain, Papua New Guinea
A carved from a dense hardwood, the club is slender, slightly curved, and tapers to a narrow end. A blade-like form and intricate surface decoration incised with remnants of pigments of white and red. L1075 W65 D38mm
est $400 — $600
110 Thomas Pringle Maori Woman Twisting Flax
This evocative photograph by Thomas Pringle captures a Māori woman engaged in the traditional practice of twisting flax (harakeke), a key element of Māori weaving and textile culture. Rendered in the warm sepia tones characteristic of the albumen process. Pringle, active during a period of heightened colonial documentation in New Zealand, often portrayed indigenous subjects with a mix of romanticism and cultural curiosity. Mounted, framed, and behind glass. Photograph 190 x 240mm, frame 305 x 380mm
est $200 — $400
111 Thomas Pringle A Pretty Woman
A 1930s carbonette photograph. This elegant carbon print by Thomas Pringle, titled A Pretty Woman, exemplifies the refined tonal depth and permanence associated with the carbon printing process. The portrait features a poised young woman, her expression serene and slightly introspective. Pringle, active during a period of heightened colonial documentation in New Zealand, often portrayed indigenous subjects with a mix of romanticism and cultural curiosity. Photograph 182 x 235mm, frame 305 x 380mm
est $200 — $400
112 Thomas Pringle Maori Girls, Whakarewarewa
A 1930s carbonette photograph. Maori Girls, Whakarewarewa, Thomas Pringle captures a poised and intimate portrait of young Māori women from the geothermal village of Whakarewarewa. Pringle, active during a period of heightened colonial documentation in New Zealand, often portrayed indigenous subjects with a mix of romanticism and cultural curiosity. Photograph 182 x 235mm, frame 305 x 380mm
est $200 — $400
113 A Tuluma Fishing Tackle Box, Tuvalu
The Tuluma is a vital tool for the seafaring people of Tuvalu, it is a traditional fishing tackle box from Tuvalu, was designed to keep fishing gear and other essential items dry while at sea. Its practical design reflects the ingenuity of Tuvaluan craftsmanship, serving as both a functional storage container during voyages and a secure way to protect belongings when stored on land. Crafted from wood, the Tuluma features an ovoid cross-section, offering a compact yet efficient shape for carrying supplies. The lid and sides are reinforced with lugs, adding durability and stability to the box, while a length of sennit cord runs through these lugs, ensuring the lid remains securely fastened during transport or use. H180 W265 D210mm
est $500 — $800
114 A Large 19th Century Tanoa Kava Bowl, Fiji
This traditional Fijian tanoa, or kava bowl, is a finely crafted ceremonial vessel used in the preparation and communal consumption of yaqona (kava), a beverage with cultural and spiritual significance throughout the South Pacific. The bowl is carved from a single piece of dense, dark hardwood—most commonly vesi (Intsia bijuga)—known for its durability and rich grain. The bowl features a broad, conical shallow basin. Raised on four legs. Kava ceremonies play a vital role in Fijian society, from welcoming visitors and marking important social events to negotiating peace and honouring ancestors. The tanoa itself is a status symbol and an object of communal pride, often passed down through generations. With a triangular lug and raffia cord. Retains an early 20th century Fiji Agriculture label to the underside and a David D Cook Antiquities label. H220 D695mm.
Provenance: Private collection, Aotearoa
Ex David D. Cook Collection
est $2,000 — $4,000
115 A Canoe Bailer, Reef Islands, Solomon Islands
Field collected in the Reef Islands, 1976. A beautifully shaped canoe bailer from the Reef Islands, carefully carved from a single piece of lightweight hardwood. The form features a deep, scooped bowl with a long, a short handle, allowing efficient removal of water from traditional outrigger canoes. The outer surface bears subtle faceted contours and tool marks. H130 W145 D440mm
est $200 — $400
116 A Bulul Rice Guardian Figure, Ifugao, Phillipines
The Bulul is a revered figure in Ifugao culture, serving as a guardian and protector of rice crops. These figures are integral to agricultural rituals, believed to ensure a bountiful harvest and safeguard the crops from harm. Traditionally, the creation of a Bulul figure involves the presence of a priest, whose spiritual guidance is thought to imbue the figure with protective power, ensuring its efficacy in the cultivation process. The figure, carved from wood, depicts a squatting person with hands resting on the knees, a posture symbolizing reverence and connection to the earth. The simplicity of the form belies the profound cultural and spiritual significance of the figure, which represents a bond between the community and the natural world.
Over time, the Bulul has developed a dense layer of lacquer, accumulated from smoke, blood, and the constant handling during rituals. This patina not only reflects the figure's long history of use but also enhances its spiritual power, marking it as a sacred object that has been actively involved in numerous ceremonies over generations. H470 W140 D110mm
est $600 — $1,000
117 A Rare Clapper Spatula, Trobriand Islands, Papua New Guinea
A finely carved from a single piece of lightweight tropical hardwood. The object comprises a long, tapering handle that branches at the end into two thin, flattened blades designed to produce a clapping or rattling sound when struck together. The handle is subtly decorated with incised geometric motifs. Such implements served both functional and ceremonial purposes, most notably in yam harvest rituals, dance performances, and public oratory, where rhythm and sound enhanced speech and movement. On stand H390mm, spatula L345 W30 D18mm
est $500 — $700
118 A Gable Carving in Human Form, Sepik River, Papua New Guinea
Carved from wood in the form of a person with legs and arms splayed to the sides of the body. Gable carvings are sculptural elements traditionally placed on the triangular upper sections of buildings. 370 W770 D120mm
est $200 — $400
119 Thomas Pringle Maori Women
A 1930s carbonette photograph. Te Hongi by Thomas Pringle depicts the traditional Māori greeting, in which two people press noses and foreheads together, a gesture symbolizing the sharing of breath, unity, and the joining of minds. Pringle, active during a period of heightened colonial documentation in New Zealand, often portrayed indigenous subjects with a mix of romanticism and cultural curiosity. Photograph 235 x 181mm, frame 380 x 305mm
est $200 — $400
120 Thomas Pringle Te Hongi
A 1930s carbonette photograph. Te Hongi by Thomas Pringle depicts the traditional Māori greeting, in which two people press noses and foreheads together, a gesture symbolizing the sharing of breath, unity, and the joining of minds. Pringle, active during a period of heightened colonial documentation in New Zealand, often portrayed indigenous subjects with a mix of romanticism and cultural curiosity. Photograph 182 x 235mm, frame 305 x 380mm
est $200 — $400
121 Thomas Pringle A Whakarewarewa Beauty
A 1930s carbonette photograph. A Whakarewarewa Beauty by Thomas Pringle presents a striking portrait of a young Māori woman from the geothermal village of Whakarewarewa, near Rotorua. The sitter is shown in traditional dress,
adorned with a feather cloak and hei tiki. Pringle was active during a period of heightened colonial documentation in New Zealand and often portrayed indigenous subjects with a mix of romanticism and cultural curiosity. Photograph 235 x 181mm, frame 380 x 305mm
est $200 — $400
122 A Leg Bone of a Little Bush Moa, Aotearoa
A remarkably well-preserved leg bone from the little bush moa, Anomalopteryx didiformis, one of the smaller species of the now-extinct moa. Standing around one meter tall, the little bush moa inhabited lowland forests across the North and South Islands and was last known to exist before human arrival and subsequent environmental pressures led to its extinction by the late 15th century. This example was recovered from a limestone tomo (sinkhole), a natural trap where the bird likely fell centuries ago. Such locations provided ideal preservation conditions due to stable temperatures and minimal exposure to environmental decay. Today, bone specimens such as this one serve as rare and tangible links to a lost megafauna. L235 W80 D70mm.
Provenance: The vendor inherited from a private museum, Hawkes Bay est $300 — $500
123 A Leg Bone of a Little Bush Moa, Aotearoa
A remarkably well-preserved leg bone from the little bush moa, Anomalopteryx didiformis, one of the smaller species of the now-extinct moa. Standing around one meter tall, the little bush moa inhabited lowland forests across the North and South Islands and was last known to exist before human arrival and subsequent environmental pressures led to its extinction by the late 15th century. This example was recovered from a limestone tomo (sinkhole), a natural trap where the bird likely fell centuries ago. Such locations provided ideal preservation conditions due to stable temperatures and minimal exposure to environmental decay. Today, bone specimens such as this one serve as rare and tangible links to a lost megafauna. L230 W85 D60mm
Provenance: The vendor inherited from a private museum, Hawkes Bay
est $300 — $500
124 A Leg Bone of a Little Bush Moa, Aotearoa
A remarkably well-preserved leg bone from the little bush moa, Anomalopteryx didiformis, one of the smaller species of the now-extinct moa. Standing around 1 meter tall, the little bush moa inhabited lowland forests across the North and South Islands and was last known to exist before human arrival and subsequent environmental pressures led to its extinction by the late 15th century. This example was recovered from a limestone tomo (sinkhole), a natural trap where the bird likely fell centuries ago. Such locations provided ideal preservation conditions due to stable temperatures and minimal exposure to environmental decay. Today, bone specimens such as this one serve as rare and tangible links to a lost megafauna. L170 W75 D40mm
Provenance: The vendor inherited from a private museum, Hawkes Bay est $300 — $500
125 A Zoomorphic Askos Cyprus, Greece
Circa 3,000-2,000BCE. This striking askos takes the form of a stylized bird, its rounded body functioning as a vessel for pouring liquids, likely oil or wine. The curved neck serves as a handle, while a small opening on the back has an opening for pouring. The vessel retains remnants of black and white paint, suggestive of decorative detailing that once animated its surface, possibly to emphasise the bird's features. Zoomorphic askoi were common in the Bronze Age Aegean and Eastern Mediterranean, where animal-shaped vessels held ritual or everyday importance. The choice of a bird may have carried connotations of the divine, fertility. H110 W70 D175mm
est $1,000 — $2,000
126 A Stone Mace Head, Mesopotamia
Circa 3rd – 1st Millenium BCE. This ceremonial mace head originates from the ancient region of Mesopotamia, carved from a mottled, grey, polished stone. The mace head has a tapered shape, designed for use as a striking weapon, though its primary function in many cases was likely ceremonial rather than combat. Mesopotamian mace heads often served as symbols of divine or earthly authority. H70 D60mm
est $300 — $500
127 A Ceramic Oil Lamp, Ancient Rome 2000AD. This ceramic oil lamp hails from Ancient Rome, showcasing the functional and decorative artistry of the Roman Empire. Oil lamps were essential household items, widely used for illumination in both domestic and public spaces. The Roman oil lamp, typically made of terracotta or clay, was an indispensable part of daily life, often used in conjunction with olive oil as the fuel source. This particular lamp is crafted from terracotta, with a gently rounded body and a spout for the wick. The lamp's shape is ideal for holding a small amount of oil, which would have been lit to provide light during the evening hours. The flat base and narrow spout allowed for efficient burning, and the wick would be placed at the spout's opening, where it could be adjusted to control the size of the flame. H45 W97 D65mm
est $100 — $200
128 A Ceremonial Stone Club, Solomon Islands
This 19th-century ceremonial stone club from the Solomon Islands represents an exquisite fusion of artistic craftsmanship and cultural significance. Carved from stone, the club features a long shaft and is adorned with raised detailing on the handle, where two figures with arms raised stand as prominent decorative elements. On stand H85mm, club L480 W43 D50mm.
Provenance: Private collection, Aotearoa
Previously of the G Young Collection. Young field collected all items when resident in Honiara in the 1970s and 1980s
est $600 — $700
129 A 19th Century Stone Club, Solomon Islands
This elegantly formed stone club from the Solomon Islands is carved from a single piece of dense volcanic stone, exhibiting the meticulous craftsmanship characteristic of high-status weaponry from the region. Carefully shaped through traditional pecking, grinding, and polishing techniques, the club's construction would have required extensive time and skill, reflecting both technical proficiency and cultural significance. The form features a flared butt-end, dramatically tapering into a narrow, rounded handle, defined by a pronounced medial ridge running the length of the shaft offering both balance and a tactile grip. On stand H1400, club L345 W128 D35mm
Provenance: Private collection, Aotearoa
Previously of the G Young Collection. Young field collected all items when resident in Honiara in the 1970s and 1980s
est $500 — $700
130 A 19th Century Stone Club, Solomon Islands
This finely carved stone club originates from the Solomon Islands and dates to the 19th century. Shaped from a single piece of stone, the club exhibits a long, tapering shaft form, exemplifying the skilled workmanship and laborintensive carving practices of the region's Indigenous artisans. Distinctive raised detailing at the handle features two stylised figures in an embracing posture around the shaft. L360 D60mm.
Provenance: Private collection, Aotearoa
Previously of the G Young Collection. Young field collected all items when resident in Honiara in the 1970s and 1980s
est $400 — $600
131 A Carved Flying-Fish, Pitcairn Islands
This finely carved fish sculpture from the Pitcairn Islands exemplifies the skilled woodwork developed by the descendants of the Bounty mutineers and their Polynesian companions. Carved from locally sourced miro wood, the fish is rendered in a streamlined, stylised form, with smooth curves, notched fin details, and a hand-polished finish that enhances the wood's natural grain. The piece likely represents a tropical reef fish, such as a tuna or parrotfish, symbolizing the islanders' intimate connection with the sea. These carvings have become a vital part of Pitcairn's micro-economy and cultural identity, often created for sale to visitors or export. H130 W110 D385mm
est $400 — $800
132 A Pair of Carved Goblets, Pitcairn Islands
This pair of carved goblets hails from the Pitcairn Islands, a remote and historically rich locale in the Pacific. Each goblet is skillfully carved from wood, showcasing the craftsmanship and cultural artistry of the Pitcairn Islanders. The base of each goblet features an inscription, one reads Best Wishes from Pitcairn Island, Made by Clifford Christian; while the other reads A Souvenir from Pitcairn Island Made by Warren Christian; The inscriptions indicate that these goblets were likely created as souvenirs for visitors or as tokens of remembrance, crafted by two
members of the Christian family, whose ancestral ties to Pitcairn Island date back to the Bounty mutiny. The carving itself demonstrates the tradition of woodwork that is prevalent in the islands, where artistry and functionality often intertwine. Larger H245 D85, smaller H230 D85mm Provenance: Private collection, Aotearoa Ex John Perry Collection
est $400 — $600
133 A Carved Flying-Fish, Pitcairn Islands
This finely carved fish sculpture from the Pitcairn Islands exemplifies the skilled woodwork developed by the descendants of the Bounty mutineers and their Polynesian companions. Carved from locally sourced miro wood, the fish is rendered in a streamlined, stylized form, with smooth curves, notched fin details, and a hand-polished finish that enhances the wood’s natural grain. This example is depicted as the fish begining its lift off from the water. With delicate sharp teeth projecting from the open mouth. Incised 'From Pitcairn' to the base. The piece likely represents a tropical reef fish, such as a tuna or parrotfish, symbolising the islanders’ intimate connection with the sea. H205 W205 D380mm
est $300 — $600
134 A Leg Bone of a Little Bush Moa, Aotearoa
A remarkably well-preserved leg bone from the little bush moa, Anomalopteryx didiformis, one of the smaller species of the now-extinct moa. Standing around one meter tall, the little bush moa inhabited lowland forests across the North and South Islands and was last known to exist before human arrival and subsequent environmental pressures led to its extinction by the late 15th century. This example was recovered from a limestone tomo (sinkhole), a natural trap where the bird likely fell centuries ago. Such locations provided ideal preservation conditions due to stable temperatures and minimal exposure to environmental decay. Today, bone specimens such as this one serve as rare and tangible links to a lost megafauna. L160 W70 D43mm.
Provenance: The vendor inherited from a private museum, Hawkes Bay
est $300 — $500
135 A Silver Tetradrachm of Alexander the Great, Ancient Greece
This silver tetradrachm was struck at the Amphipolis mint between 316 and 315 BCE, during the turbulent years following the death of Alexander the Great. Issued under the authority of Cassander, one of Alexander’s former generals and a key player in the Wars of the Diadochi, the coin preserves the powerful iconography associated with Alexander’s imperial legacy. The obverse features the head of Herakles, shown facing right and wearing the lion-skin headdress, a symbol of strength. Herakles was closely associated with Alexander, who cultivated an image of himself as a demigod and descendant of the hero. The reverse shows Zeus Aëtophoros seated left on a throne, holding an eagle in his outstretched right hand and a sceptre in his left. The Greek inscription ΑΛΕΞΑΝΔΡΟΥ (of Alexander) appears vertically behind the figure. D26mm
Provenance: From a deceased estate via Antiquarius, Auckland est $600 — $800
136 A Tabua, Fiji
The tabua is a significant cultural object in Fiji, deeply woven into the fabric of traditional ceremonial gifting. It is used in important occasions such as weddings, funerals, and negotiations, where it serves as a symbol of respect, diplomacy, and goodwill. The tabua is regarded as a powerful token of exchange, its value far exceeding that of ordinary gifts. This particular tabua is crafted from a polished sperm whale tooth, an esteemed material in Fijian culture. Unlike many cultures, Fijians did not hunt whales, so these teeth were typically sourced from whales that had been stranded or washed ashore, or they were obtained through trade with European explorers and traders. The tooth's smooth, polished surface area highlights the craftsmanship involved in its preparation, offering both beauty and meaning in equal measure. The tabua is strung on a twisted coconut fibre cord, a common method of suspension. The natural fibres and polished whale tooth create a striking contrast, demonstrating the artistry in combining organic materials with cultural significance. Tooth L160 W55 D43mm, on cord L460mm est $500 — $1,000
*This taonga requires registration under the Protected Objects Act (1975). To purchase this piece, you will need to be a registered collector of taonga tūturu. After the sale this cloak will be presented to the Auckland War Memorial Museum for registration. This will take up to 28 working days before we can release the cloak to the winner of this lot. Please contact our specialist team for further information. International export permission must be granted by the Chief Executive of the Ministry for Culture and Heritage.
Terms and Conditions
The terms and conditions of sale listed here contain the policies of Webb’s (Webb Fine Art). They are the terms on which Webb’s (Webb Fine Art) and the Seller contract with the Buyer. They may be amended by printed Saleroom Notices or oral announcements made before and during the sale. By bidding at auction you agree to be bound by these terms.
1. Background to the Terms used in these Conditions
The conditions that are listed below contain terms that are used regularly and may need explanation. They are as follows:
“the Buyer” means the person with the highest bid accepted by the Auctioneer.
“the Lot” means any item depicted within the sale for auction and in particular the item or items described against any lot number in the catalogue.
“the Hammer price” means the amount of the highest bid accepted by the auctioneer in relation to a lot.
“the Buyer’s Premium” means the charge payable by the Buyer to the auction house as a percentage of the hammer price.
“the Reserve” means the lowest amount at which Webb’s has agreed with the Seller that the lot can be sold.
“Forgery” means an item constituting an imitation originally conceived and executed as a whole, with a fraudulent intention to deceive as to authorship, origin, age, period, culture or source, where the correct description as to such matters is not reflected by the description in the catalogue. Accordingly, no lot shall be capable of being a forgery by reason of any damage or restoration work of any kind (Including re-painting).
“the insured value” means the amount that Webb’s in its absolute discretion from time to time shall consider the value for which a lot should be covered for insurance (whether or not insurance is arranged by Webb’s).
All values expressed in Webb’s catalogues (in any format) are in New Zealand Dollars (NZD$). All bids, “hammer price”, “reserves”, “Buyers Premium” and other expressions of value are understood by all parties to be in New Zealand Dollars (NZD$) unless otherwise specified.
2. Webb’s Auctions as Agent
Except as otherwise stated, Webb’s acts as agent for the Seller.
The contract for the sale of the property is therefore made between the Seller and the Buyer.
3. Before the Sale
3.1. Examination of Property
Prospective Buyers are strongly advised to examine in person any property in which they are interested before the Auction takes place. Neither Webb’s nor the Seller provides any guarantee in relation to the nature of the property apart from the Limited
warranty in the paragraph below. The property is otherwise sold “AS IS”
2. Catalogue and Other Descriptions
All statements by Webb’s in the catalogue entry for the property or in the condition report, or made orally or in writing elsewhere, are statements of opinion and are not to be relied upon as statements of fact. Such statements do not constitute a representation, warranty or assumption of liability by Webb’s of any kind. References in the catalogue entry to the condition report to damage or restoration are for guidance only and should be evaluated by personal inspection by the bidder or a knowledgeable representative. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. Estimates of the selling price should not be relied on as a statement that this is the price at which the item will sell or its value for any other purpose. Neither Webb’s nor The Seller is responsible for any errors or omissions in the catalogue or any supplemental material.
Images are measured height by width (sight size). Illustrations are provided only as a guide and should not be relied upon as a true representation of colour or condition. Images are not shown at a standard scale. Mention is rarely made of frames (which may be provided as supplementary images on the website) which do not form part of the lot as described in the printed catalogue.
An item bought “on Extension” must be paid for in full before it will be released to the purchaser or his/ her agreed expertising committee or specialist. Payments received for such items will be held “in trust” for up to 90 days or earlier, if the issue of authenticity has been resolved more quickly. Extensions must be requested before the auction.
Foreign buyers should note that all transactions are in New Zealand Dollars so there may be a small exchange rate risk. The costs associated with acquiring a good opinion or certificate will be carried by the purchaser. If the item turns out to be forged or otherwise incorrectly described, all reasonable costs will be borne by the vendor.
3. Buyers Responsibility
All property is sold “as is” without representation or warranty of any kind by Webb’s or the Seller. Buyers are responsible for satisfying themselves concerning the condition of the property and the matters referred to in the catalogue by
requesting a condition report.
No lot to be rejected if, subsequent to the sale, it has been immersed in liquid or treated by any other process unless the Auctioneer’s permission to subject the lot to such immersion or treatment has first been obtained in writing.
4. At the Sale
4.1. Refusal of Admission
Webb’s reserves the right at our complete discretion to refuse admission to the auction premises or participation in any auction and to reject any bid.
4.2. Registration Before Bidding
Any prospective new buyer must complete and sign a registration form and provide photo identification before bidding. Webb’s may request bank, trade or other financial references to substantiate this registration.
4.3. Bidding as a Principal
When making a bid, a bidder is accepting personal liability to pay the purchase price including the buyer’s premium and all applicable taxes, plus all other applicable charges, unless it has been explicitly agreed in writing with Webb’s before the commencement of the sale that the bidder is acting as agent on behalf of an identified third party acceptable to Webb’s and that Webb’s will only look to the principal for payment.
4.4. International Registrations
All International clients not known to Webb’s will be required to scan or fax through an accredited form of photo identification and pay a deposit at our discretion in cleared funds into Webb’s account at least 24 hours before the commencement of the auction. Bids will not be accepted without this deposit. Webb’s also reserves the right to request any additional forms of identification prior to registering an overseas bid.
This deposit can be made using a credit card, however the balance of any purchase price in excess of $5,000 cannot be charged to this card without prior arrangement.
This deposit is redeemable against any auction purchase and will be refunded in full if no purchases are made.
4.5. Absentee Bids
Webb’s will use reasonable efforts to execute written bids delivered to us AT LEAST 24 Hours before the sale for the convenience of those clients who are unable to attend the auction in person. If we receive identical written bids on a particular lot, and at the auction these are the highest bids on that lot, then the lot will be sold to the person whose written bid was received and accepted first. Execution of written bids is a free service undertaken subject to other commitments at the time of the sale and we do not accept liability for failing to execute a written bid or for errors or omissions which may arise. It is the bidder’s responsibility to check with Webb’s after the auction if they were successful. Unlimited or “Buy” bids will not be accepted.
4.6. Telephone Bids
Priority will be given to overseas and bidders from other regions. Please refer to the catalogue for the Telephone Bids form. Arrangements for this service must be confirmed AT LEAST 24 HOURS PRIOR to the auction commencing. Webb’s accepts no responsibility whatsoever for any errors or failure to execute bids. In telephone bidding the buyer agrees to be
bound by all terms and conditions listed here and accepts that Webb’s cannot be held responsible for any miscommunications in the process. The success of telephone bidding cannot be guaranteed due to circumstances that are unforeseen. Buyers should be aware of the risk and accept the consequences should contact be unsuccessful at the time of Auction. You must advise Webb’s of the lots in question, and you will be assumed to be a buyer at the minimum price of 75% of estimate (i.e. reserve) for all such lots. Webb’s will advise Telephone Bidders who have registered at least 24 hours before the auction of any relevant changes to descriptions, withdrawals, or any other sale room notices.
4.7.
Online Bidding
Webb’s offers an online bidding service. When bidding online the buyer agrees to be bound by all terms and conditions listed here by Webb’s.
Webb’s accepts no responsibility for any errors, failure to execute bids or any other miscommunications regarding this process. It is the online bidder’s responsibility to ensure the accuracy of the relevant information regarding bids, lot numbers and contact details. Webb’s does not charge for this service.
4.8. Reserves
Unless otherwise indicated, all lots are offered subject to a reserve, which is the confidential minimum price below which the Lot will not be sold. The reserve will not exceed the low estimate printed in the catalogue. The auctioneer may open the bidding on any Lot below the reserve by placing a bid on behalf of the Seller. The auctioneer may continue to bid on behalf of seller up to the amount of the reserve, either by placing consecutive bids or by placing bids in response to other bidders.
4.9. Auctioneers Discretion
The Auctioneer has the right at his/ her absolute and sole discretion to refuse any bid, to advance the bidding in such a manner as he/she may decide, to withdraw or divide any lot, to combine any two or more lots and, in the case or error or dispute and whether during or after the sale, to determine the successful bidder, to continue the bidding, to cancel the sale or to reoffer and resell the item in dispute. If any dispute arises after the sale, then Webb’s sale record is conclusive.
4.10. Successful Bid and Passing of Risk
Subject to the auctioneer’s discretion, the highest bidder accepted by the auctioneer will be the buyer and the striking of his hammer marks the acceptance of the highest bid and the conclusion of a contract for sale between the Seller and the Buyer. Risk and responsibility for the lot (including frames or glass where relevant) passes immediately to the Buyer. If you are the highest bidder at the end of the auction, but your bid is below the reserve price, it will be marked as 'subject to vendor approval.' Your bid will then be presented to the vendor for consideration, and if accepted, the lot will be sold to you.
4.11. Indicative Bidding Steps, etc. Webb’s reserves the right to refuse any bid, withdraw any lot from sale, to place a reserve on any lot and to advance the bidding according to the following indicative steps:
Increment Dollar
Range Amount
$20 $0–$500
$50 $500–$1,000
$100 $1,000–$2,000
$200 $2,000–$5,000
$500 $5,000–$10,000
$1,000 $10,000–$20,000
$2,000 $20,000–$50,000
$5,000 $50,000 – $100,000
$10,000 $100,000–$200,000
$20,000 $200,000–$500,000
$50,000 $500,000–$1,000,000
Absentee bids must follow these increments and any bids that don’t follow the steps will be rounded up to the nearest acceptable bid.
5. After the Sale
5.1. Buyers Premium
In addition to the hammer price, the buyer agrees to pay to Webb’s the buyer’s premium. The buyer’s premium is 19.5% of the hammer price plus GST. (Goods and Services Tax) where applicable.
5.2. Payment and Passing of Title
The buyer must pay the full amount due (comprising the hammer price, buyer’s premium and any applicable taxes and GST) not later than 2 days after the auction date.
The buyer will not acquire title to the lot until Webb’s receives full payment in cleared funds, and no goods under any circumstances will be released without confirmation of cleared funds received. This applies even if the buyer wishes to send items overseas.
Payment can be made by direct transfer, cash (not exceeding NZD$5,000, if wishing to pay more than NZD$5,000 then this must be deposited directly into a Bank of New Zealand branch and bank receipt supplied) and EFTPOS (please check the daily limit). Payments can be made by debit card or credit card in person with a 2.2% merchant fee for Visa, Mastercard and Paywave, and 3.3% for American Express. Invoices that are in excess of $5,000 and where the card holder is not present, cannot be charged to a credit card without prior arrangement. Cheques are no longer accepted.
The buyer is responsible for any bank fees and charges applicable for the transfer of funds into Webb’s account.
5.3. Collection of Purchases & Insurance
Webb’s is entitled to retain items sold until all amounts due to us have been received in full in cleared funds. Subject to this, the Buyer shall collect purchased lots within 2 days from the date of the sale unless otherwise agreed in writing between Webb’s and the Buyer.
At the fall of the hammer, insurance is the responsibility of the purchaser.
5.4. Packing, Handling and Shipping
Webb’s will be able to suggest removals companies that the buyer can use but takes no responsibility whatsoever for the actions of any recommended third party. Webb’s can pack and handle goods purchased at the auction by agreement and a charge will be made for this service. All packing, shipping, insurance, postage & associated charges will be borne by the purchaser.
5.5. Permits, Licences and Certificates
Under The Protected Objects Act 1975, buyers may be required to obtain a licence for certain categories of items in a sale from the Ministry of Culture & Heritage, PO Box 5364, Wellington.
5.6. Remedies for Non-Payment
If the Buyer fails to make full payment immediately, Webb’s is entitled to
exercise one or more of the following rights or remedies (in addition to asserting any other rights or remedies available under the law)
5.6.1. to charge interest at such a rate as we shall reasonably decide.
5.6.2. to hold the defaulting Buyer liable for the total amount due and to commence legal proceedings for its recovery along with interest, legal fees and costs to the fullest extent permitted under applicable law.
5.6.3. to cancel the sale.
5.6.4. to resell the property publicly or privately on such terms as we see fit.
5.6.5. to pay the Seller an amount up to the net proceeds payable in respect of the amount bid by the defaulting Buyer. In these circumstances the defaulting Buyer can have no claim upon Webb’s in the event that the item(s) are sold for an amount greater than the original invoiced amount.
5.6.6. to set off against any amounts which Webb’s may owe the Buyer in any other transactions, the outstanding amount remaining unpaid by the Buyer.
5.6.7. where several amounts are owed by the Buyer to us, in respect of different transactions, to apply any amount paid to discharge any amount owed in respect of any particular transaction, whether or not the Buyer so directs.
5.6.8. to reject at any future auction any bids made by or on behalf of the Buyer or to obtain a deposit from the Buyer prior to accepting any bids.
5.6.9. to exercise all the rights and remedies of a person holding security over any property in our possession owned by the Buyer whether by way of pledge, security interest or in any other way, to the fullest extent permitted by the law of the place where such property is located. The Buyer will be deemed to have been granted such security to us and we may retain such property as collateral security for said Buyer’s obligations to us.
5.6.10. to take such other action as Webb’s deem necessary or appropriate.
If we do sell the property under paragraph (4), then the defaulting Buyer shall be liable for payment of any deficiency between the total amount originally due to us and the price obtained upon reselling as well as for all costs, expenses, damages, legal fees and commissions and premiums of whatever kinds associated with both sales or otherwise arising from the default.
If we pay any amount to the Seller under paragraph (5) the Buyer acknowledges that Webb’s shall have all of the rights of the Seller, however arising, to pursue the Buyer for such amount.
5.7. Failure to Collect Purchases Where purchases are not collected
within 2 days from the sale date, whether or not payment has been made, we shall be permitted to remove the property to a warehouse at the buyer’s expense, and only release the items after payment in full has been made of removal, storage handling, insurance and any other costs incurred, together with payment of all other amounts due to us.
6. Extent of Webb’s Liability
Webb’s agrees to refund the purchase price in the circumstances of the Limited Warranty set out in paragraph 7 below. Apart from that, neither the Seller nor we, nor any of our employees or agents are responsible for the correctness of any statement of whatever kind concerning any lot, whether written or oral, nor for any other errors or omissions in description or for any faults or defects in any lots. Except as stated in paragraph 7 below, neither the Seller, ourselves, our officers, agents or employees give any representation warranty or guarantee or assume any liability of any kind in respect of any lot with regard to merchantability, fitness for a particular purpose, description, size, quality, condition, attribution, authenticity, rarity, importance, medium, provenance, exhibition history, literature or historical relevance. Except as required by local law any warranty of any kind is excluded by this paragraph.
7. Limited Warranty
Subject to the terms and conditions of this paragraph, the Seller warrants for the period of thirty days from the date of the sale that any property described in this catalogue (noting such description may be amended by any saleroom notice or announcement) which is stated without qualification to be the work of a named author or authorship is authentic and not a forgery. The term “Author” or “authorship” refers to the creator of the property or to the period, culture, source, or origin as the case may be, with which the creation of such property is identified in the catalogue.
The warranty is subject to the following:
it does not apply where a) the catalogue description or saleroom notice corresponded to the generally accepted opinion of scholars and experts at the date of the sale or fairly indicated that there was a conflict of opinions, or b) correct identification of a lot can be demonstrated only by means of a scientific process not generally accepted for use until after publication of the catalogue or a process which at the date of the publication of the catalogue was unreasonably expensive or impractical or likely to have caused damage to the property.
the benefits of the warranty are not assignable and shall apply only to the original buyer of the lot as shown on the invoice originally issued by Webb’s when the lot was sold at Auction.
the Original Buyer must have remained the owner of the lot without disposing of any interest in it to any third party.
The Buyer’s sole and exclusive remedy against the Seller in place of any other remedy which might be available, is the cancellation of the sale and the refund of the original purchase price paid for the lot less the buyer’s premium which is non-refundable. Neither the Seller
nor Webb’s will be liable for any special, incidental nor consequential damages including, without limitation, loss of profits.
The Buyer must give written notice of claim to us within thirty days of the date of the Auction. The Seller shall have the right, to require the Buyer to obtain two written opinions by recognised experts in the field, mutually acceptable to the Buyer and Webb’s to decide whether or not to cancel the sale under warranty.
the Buyer must return the lot to Seller in the same condition that it was purchased.
8. Severability
If any part of these Conditions of Sale is found by any court to be invalid, illegal or unenforceable, that part shall be discounted, and the rest of the Conditions shall continue to be valid to the fullest extent permitted by law.
9. Copyright
The copyright in all images, illustrations and written material produced by Webb’s relating to a lot including the contents of this catalogue, is and shall remain the property at all times of Webb’s and shall not be used by the Buyer, nor by anyone else without our prior written consent. Webb’s and the Seller make no representation or warranty that the Buyer of a property will acquire any copyright or other reproduction rights in it.
10. Law and Jurisdiction
These terms and conditions and any matters concerned with the foregoing fall within the exclusive jurisdiction of the courts of New Zealand, unless otherwise stated.
11. Pre-Sale Estimates
Webb’s publishes with each catalogue our opinion as to the estimated price range for each lot. These estimates are approximate prices only and are not intended to be definitive. They are prepared well in advance of the sale and may be subject to revision. Interested parties should contact Webb’s prior to auction for updated pre-sale estimates and starting prices.
12. Sale Results
Webb’s will provide auction results, which will be available as soon as possible after the sale. Results will include buyer’s premium. These results will be posted at www.webbs.co.nz.
13. Goods and Service Tax
GST is applicable on the hammer price in the case where the seller is selling property that is owned by an entity registered for GST. GST is also applicable on the hammer price in the case where the seller is not a New Zealand resident. These lots are denoted by a dagger symbol † placed next to the estimate. GST is also applicable on the buyer’s premium.
14. Māori Taonga
Please note that Y-registered Māori taonga can only be purchased by registered collectors of taonga tūturu.
33a Normanby Road
Mount Eden
Auckland 1024
23 Marion Street
Te Aro
Wellington 6011
webbs.co.nz
