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.
34 An Early 20th Century Whakairo Panel Carved by Tene Waitere, Aotearoa
Tene Waitere (1853-1931) Ngāti Tarāwhai
This paepae or whakairo panel is a masterful work attributed to Tene Waitere, one of the most celebrated Māori tohunga whakairo (carvers) of the late 19th and early 20th centuries. Associated with the renowned Ngāti Tarāwhai carving school of the Te Arawa confederation, Waitere’s works are held in major collections in New Zealand and internationally. The panel is intricately carved with wheku heads characterized by deep-set eyes and grimacing mouths. The surrounding field is adorned with concentric spiral motifs, echoing the patau form that symbolizes growth, regeneration, and continuity. Fine pakati dogtooth notching details run along the ridges and contours, showcasing the precision and discipline typical of Waitere’s hand. H400 W2600mm Y22407*
est $7,000 — $10,000
36 LYONEL GRANT Pou Pou (Taranaki Style)
Lyonel Grant (Ngāti Pikiao, Te Arawa) is one of New Zealand’s most celebrated contemporary carvers. Born in 1957 in Rotorua, he trained under master carver Hōne Taiapa at the New Zealand Māori Arts and Crafts Institute.
Grant has carved numerous significant public and private commissions, including Ngākua Māhaki (AUT Marae) and Te Noho Kotahitanga, a wharenui that blends customary carving with modern architectural form.
This finely carved pou pou, standing just under a metre tall, is the work of master carver Lyonel Grant and reflects the Taranaki style of Māori carving, noted for its bold symmetry, rhythmic surface patterns, and powerful stylisation of the human form.
H1800 W500 D90mm
est $19,000 — $24,000
1 A 19th Century Pounder, Hawaii
This poi pounder also known as a ku‘i ‘ai is skilfully carved from dense native hardwood. This example exhibits a classic form with a rounded pounding base, a waisted neck for grip, and slightly convex top allowing the user to apply downward pressure when processing cooked taro root (kalo). Wooden pounders are less commonly found than their basalt counterparts, due to both the perishable nature of the material and the labour-intensive process of shaping dense tropical hardwoods.
The surface bears a rich, aged patina with visible signs of use, including minor abrasions and wear consistent with repeated contact with taro and wooden pounding boards (papa ku‘i ‘ai) The grain of the wood is tightly packed and lustrous, suggesting a high-quality native hardwood, possibly kauila or uhiuhi, both prized for their strength and durability.
Poi, made by pounding cooked taro root into a smooth, sticky paste, is a central element of traditional Hawaiian diet and culture. The act of pounding taro was often a communal and ceremonial activity, deeply tied to familial lineage, land stewardship, and spiritual practice. Wooden pounders were likely used in specific contexts or among families with access to high-quality timber resources, and may have served dual purposes as functional tools and heirloom objects of status. H275 D95mm
est $1,000 — $2,000
2 A Female Deity Figure, Caroline Islands, Micronesia
Middle to late 20th Century.
Carved in the enduring tradition of Micronesian religious sculpture, this female deity figure reflects the continuity of ancestral and spiritual practices in the Caroline Islands into the mid- to late 20th century.
Likely produced for commemorative use, the figure embodies the stylised aesthetic associated with devotional carvings from atolls such as Nukuoro or nearby island groups. The figure presents a harmonious balance of abstraction and human form. The head is ovoid and tapers at the pointed chin, with subtly defined ears and otherwise featureless face. Although created in the post-contact period, works like this demonstrate the persistence of indigenous belief systems and carving traditions, sometimes maintained alongside Christian influences or adapted for cultural preservation. Such figures may have continued to serve symbolic roles in community rituals or as expressions of cultural heritage. Older female deity figures from the Caroline Islands served as sacred embodiments of clan-specific deities or ancestral spirits, playing a central role in seasonal rituals, offerings, and community identity. Revered for their spiritual potency and symbolic abstraction, these figures also reflected the authority of priestly lineages before colonial disruption led to their dispersal into global collections.
H780 W270 D170mm
est $5,000 — $7,000
7 A Teka, Aotearoa
This teka, dating from circa 1920s, is a unique example of Māori craftsmanship. Traditionally used as a footrest for the kõ, a digging stick. The figure’s eyes are inlaid with iridescent paua 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. The kõ and its associated tools, such as the teka, were essential in traditional Māori horticulture, particularly in the planting of kūmara, a crop of central importance to Māori diet and culture. H85 W170 D71mm. On stand H205mm. Y22450*
est $1,000 — $2,000
8 An 18th Century Pounamu Mere, Aotearoa
A finely worked example of an 18th-century Māori mere pounamu, fashioned from a vibrant green stone interspersed with distinctive silvery veining possibly the result of historical firing or exposure to intense heat. The mere is elegantly tapered with a rounded blade, polished to a satin sheen, and terminating in a pierced butt for suspension. The mere is a short, flat-bladed hand weapon, traditionally used in close combat by warriors. Though modest in size, its effectiveness lay in the skill of its wielder and the strength of the stone. It was used with powerful thrusts and strikes to the temple or ribs, making it a fearsome tool. H315 W80 D20mm. Y1738*
est $30,000 — $35,000
44 A Depiction of Christ Crucified, Timor
A wooden crucifix depicting Christ on the cross, carved in the traditional style of Timor Island. The figure demonstrates a blend of Christian iconography with local artistic influences, reflecting the island’s cultural syncretism following the introduction of Christianity by Portuguese and Dutch missionaries. L220 W77 D28mm on stand H250mm est $300 — $400
3rd-4th Century
Made from pale green glass with a globular body, convex base, and a holded rim. 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 yellow colour that catches and reflects light in a way that would have been highly valued in its time. The iridescence, 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 H205 D115mm
est $1,500 — $2,000
29 A Large Glass Flask, Ancient Rome
11 A Pair of Dayak Earrings, Borneo
A pair of traditional Dayak brass ear ornaments, cast in solid form and shaped in reference to the areca nut which is a culturally significant motif in Borneo and much of Southeast Asia. The earrings are smooth and undecorated aside from their symbolic shape, designed for use in stretched earlobes. Their substantial weight reflects their dual role as adornment and tool for body modification. Among the Dayak, stretched earlobes and the wearing of heavy brass ornaments serve as signs of maturity, endurance, and status. Jewellery bearing symbolic forms like the areca nut connects the physical body to broader cultural narratives and traditional values. Brass is also regarded as a spiritually protective material. Earrings L65 W25 25mm, on stand H125mm
est $300 — $600
18 AUDREY BRUMBY Bush Medicine Leaves
b. 1957, Pukatja | Pitjantjatjara 2022. Acrylic on canvas. Pitjantjatjara artist Audrey Brumby captures the vibrant energy and sacred significance of native medicinal plants used by Anangu women for generations. Painted in rich tones of golden yellow and burnt orange, this 2012 work radiates warmth and vitality, reflecting both the healing properties of the bush leaves and the arid beauty of the central desert landscape. Brumby’s fine, flowing brushwork conveys a rhythmic movement imbuing the canvas with life and motion. Her work is deeply connected to her cultural knowledge, inherited through women’s Law and practiced in her home community of Pukatja (Ernabella).
A respected artist working through Milpinti Arts, Brumby’s paintings are celebrated for their layered storytelling and connection to land, health, and women’s traditions.
830 × 880mm
est $300 — $600
21 A Canopic Jar, Late Kingdom, Egypt
664-525BCE, 26th Dynasty
This finely carved alabaster Canopic jar dates to the Late Period of ancient Egypt, specifically the 26th Dynasty (Saite Period), a time of cultural revival and intensified production of high-quality funerary equipment. The jar features a sculpted jackal-headed lid, representing Duamutef, one of the Four Sons of Horus and the protector of the stomach during mummification rites. Canopic jars played a central role in the mummification process, designed to contain and preserve the internal organs of the deceased. These jars were placed within the tomb as part of the individual’s burial assemblage, believed to be essential for rebirth and eternal life in the afterword. H235 D90mm.
Provenance: Ex LaFace Collection, Acquired by his parents during the WWII era. His mother served as an interpreter for British Intelligence. Family records also suggest it was on loan to the University of Pennsylvania during the 1950s
est $8,000 — $12,000
56 A Bronze Shrew Mouse, Egypt
7th-4th Centuries BCE.
A finely cast bronze sarcophagus cover for a shrew mouse.
In ancient Egyptian belief, the shrew was associated with the sun’s nocturnal journey through the underworld. Its ability to navigate in darkness symbolized guidance and protection during the sun’s descent, which lasted until the sixth hour of the night. In funerary contexts, the shrew was believed to assume the form of the god Horus to assist the deceased, descending into the underworld to help revive Osiris and ensure rebirth in the afterlife.
Shrews were often mummified in miniature coffins, reflecting the Egyptian preoccupation with symbolic representation and the continuity of life after death. Bronze examples such as this are relatively rare, demonstrating both the skill of ancient Egyptian metalworkers and the importance of small votive and ritual objects in daily and religious life. H35 W22 D65mm
est $1,500 — $2,000
47 An Athenian Silver Tetradrachm, c. 454-404 BCE
26mm, 14.12g. Helmeted head of Athena right. Owl standing right head facing olive sprig with crescent behind Produced from silver mined at Laurion, these coins financed the construction of the Parthenon, supported Athenian trade, and circulated widely throughout the Mediterranean.
Provenance: Ex CNG 1995
est $2,000 — $2,400
14 A Do Chest Armour of the Usegi Clan Circa 1615-1623, Japan
This do, or cuirass, is a finely constructed example of samurai armour from the early Edo period, dating to around 1615-1623, shortly after the Siege of Osaka and the consolidation of Tokugawa rule. Attributed to the Uesugi clan, a prominent daimyo family based in Echigo Province, the piece reflects their enduring political and military influence. Made from lacquered iron plates and bound with cotton thread, the armour was designed to protect the torso while allowing mobility in battle. The presence of a mon (family crest) identifies its clan affiliation and enhances its status as both a functional and symbolic object. This period marks a transition in Japanese warfare, as open conflict gave way to relative peace under Tokugawa authority. Yet armour like this retained its importance as a symbol of rank, identity, and martial tradition, worn in ceremonies and by retainers who embodied the enduring spirit of the samurai.
L550 W325mm
est $2,000 — $4,000
32 A Rangda Mask with Articulated Jaw, Bali
This dramatic Rangda mask, carved and painted in vivid red, represents the fearsome witch queen of Balinese mythology Rangda, a central figure in ritual performances such as the Barong dance. The mask features bulging eyes, flaring nostrils, and a snarling mouth filled with sharp teeth. A prominent feature of this example is its articulated jaw, allowing the mouth to open and close during performance, enhancing its dynamic and terrifying presence. The mask is fitted with a long beard made from human hair, a traditional material believed to imbue the object with ritual potency and realism. The expressive carving is accentuated with white and gold details, and the elongated fangs emphasize Rangda’s supernatural power and association with chaos, black magic, and transformation. On stand H325 W140 D270mm
est $200 — $400
22 A 19th Century Patiti, Aotearoa
This 19th-century Patiti (short-handled axe) from Aotearoa features a finely carved wooden shaft, richly adorned with wheku (stylised ancestral faces) and rauponga (notched ridges with pakati patterning). The axe is mounted with a trade steel blade, during the early to mid-19th century, Aotearoa underwent profound transformation. As European traders, missionaries, and settlers arrived, so too did new materials including metal tools. Māori quickly recognised the utility of iron and adapted it into traditional forms. The Patiti is a product of this cultural synthesis, combining a European trade axe blade with a distinctively Māori carved haft, maintaining indigenous values of craftsmanship, genealogy, and status. L355 W25 D122mm Y13223*
est $5,000 — $7,000
1 A 19th Century Pounder, Hawaii
This poi pounder also known as a ku‘i ‘ai is skilfully carved from dense native hardwood. This example exhibits a classic form with a rounded pounding base, a waisted neck for grip, and slightly convex top allowing the user to apply downward pressure when processing cooked taro root (kalo). Wooden pounders are less commonly found than their basalt counterparts, due to both the perishable nature of the material and the labour-intensive process of shaping dense tropical hardwoods.
The surface bears a rich, aged patina with visible signs of use, including minor abrasions and wear consistent with repeated contact with taro and wooden pounding boards (papa ku‘i ‘ai)The grain of the wood is tightly packed and lustrous, suggesting a high-quality native hardwood, possibly kauila or uhiuhi, both prized for their strength and durability.
Poi, made by pounding cooked taro root into a smooth, sticky paste, is a central element of traditional Hawaiian diet and culture. The act of pounding taro was often a communal and ceremonial activity, deeply tied to familial lineage, land stewardship, and spiritual practice. Wooden pounders were likely used in specific contexts or among families with access to high-quality timber resources, and may have served dual purposes as functional tools and heirloom objects of status. H275 D95mm
est $1,000 — $2,000
2 A Female Deity Figure, Caroline Islands, Micronesia
Middle to late 20th Century.
Carved in the enduring tradition of Micronesian religious sculpture, this female deity figure reflects the continuity of ancestral and spiritual practices in the Caroline Islands into the mid- to late 20th century.
Likely produced for commemorative use, the figure embodies the stylised aesthetic associated with devotional carvings from atolls such as Nukuoro or nearby island groups. The figure presents a harmonious balance of abstraction and human form. The head is ovoid and tapers at the pointed chin, with subtly defined ears and otherwise featureless face.
Although created in the post-contact period, works like this demonstrate the persistence of indigenous belief systems and carving traditions, sometimes maintained alongside Christian influences or adapted for cultural preservation. Such figures may have continued to serve symbolic roles in community rituals or as expressions of cultural heritage. Older female deity figures from the Caroline Islands served as sacred embodiments of clan-specific deities or ancestral spirits, playing a central role in seasonal rituals, offerings, and community identity. Revered for their spiritual potency and symbolic abstraction, these figures also reflected the authority of priestly lineages before colonial disruption led to their dispersal into global collections.
H780 W270 D170mm
est $5,000 — $7,000
3 A Tau Tau Effigy Head, South Sulawesi, Indonesia
A carved wooden head from a Tau Tau effigy, representing the ancestral spirit of a deceased noble individual among the Toraja people of South Sulawesi. The eyes are inlaid with shell, secured by small metal nails, creating a striking, lifelike gaze. The mouth is carved with down-turned corners, imparting a solemn, contemplative expression characteristic of traditional Toraja portraiture. This
head would have originally been part of a full-bodied figure placed at a burial site on cliff faces or wooden balconies, serving as a guardian and spiritual representation one that has passed on.
Placed prominently overlooking the living, Tau Tau figures embody the relationship between the physical and spiritual worlds, serving as intermediaries during important rituals such as the Rambu Solo’ funeral ceremony.
Carving L370 W180 D165mm, on stand H480mm
est $500 — $1,000
4 A Daunian Duck Askos, South Italy
4th Century BCE.
This distinctive duck-shaped askos comes from the Daunian culture of Apulia in South-Eastern Italy. Crafted in terracotta, the vessel is richly decorated with black and dark brown painted patterns, a characteristic feature of Daunian ceramic traditions.
The askos, a vessel type with a spout and handle, was typically used for pouring liquids such as oil or wine, either in domestic rituals or as a grave offering. This object illustrates the regional variation within Italic pottery and the blend of indigenous styles with Greek influences in pre-Roman South Italy.
H150 W120 D185mm
est $1,700 — $2,000
5 A Teracotta Dish, Duanian Greek, South Italy
4th Century BCE.
The bowl exhibits a gently rounded body and a simple, functional form, characteristic of the Daunian style of ceramic production. Often used for everyday domestic purposes, such vessels reflect the regional adaptation of Greek pottery traditions in Magna Graecia. The carefully modeled form and subtle craftsmanship demonstrate both practical design and aesthetic refinement, typical of Daunian ceramics from this period. As part of Magna Graecia’s material culture, this piece illustrates how local artisans negotiated Greek artistic norms to create objects suited to their own traditions and needs.
H55 D195mm
est $400 — $800
6 A Daunian Kyathos, South Italy
4th Century BCE.
This kyathos, a ladle-like vessel used for dipping and serving liquids such as wine and originates from Daunia, a region in Greek-influenced South-Eastern Italy. The vessel is decorated in typical Daunian style with linear patterns in black and brown slip, encircling the bowl, continuing up the tall vertical handle, and extending beneath the base. The kyathos was a practical yet often ceremonial object, frequently placed in tombs, and this example showcases the Daunian emphasis on geometric decoration and abstract symbolism.
H121 W180 D16mm
est $1,500 — $2,000
7 A Teka, Aotearoa
This teka, dating from circa 1920s, is a unique example of Māori craftsmanship. Traditionally used as a footrest for the kõ, a digging stick. The figure’s eyes are inlaid with iridescent paua 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. The kõ and its associated tools, such as the teka, were essential in traditional Māori horticulture, particularly in the planting of kūmara, a crop of central importance to Māori diet and culture. H85 W170 D71mm. On stand H205mm. Y22450*
est $1,000 — $2,000
8 An 18th Century Pounamu Mere, Aotearoa
A finely worked example of an 18th-century Māori mere pounamu, fashioned from a vibrant green stone interspersed with distinctive silvery veining, possibly the result of historical firing or exposure to intense heat. The mere is elegantly tapered with a rounded blade, polished to a satin sheen, and terminating in a pierced butt for suspension. The mere is a short, flat-bladed hand weapon, traditionally used in close combat by warriors. Though modest in size, its effectiveness lay in the skill of its wielder and the strength of the stone. It was used with powerful thrusts and strikes to the temple or ribs, making it a fearsome tool. H315 W80 D20mm. Y1738*
est $30,000 — $35,000
9 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 has dog-tooth notching with double haehae adorns the panels surrounding the outside with several in the final stages of carving. The wood likely tōtora. H125 D145mm. On stand H256mm. Y16174*
est $1,000 — $2,000
10 A Pectoral Plate, Timor
This ornate pectoral plate from Timor is a ceremonial adornment traditionally worn by high-status individuals during rituals or formal gatherings. Crafted from repousse silver or brass, the plate is intricately decorated with motifs of figures. The form is usually crescent or shield-shaped, suspended from the neck by a cord or chain, and it rests on the chest as a prominent signifier of wealth and social standing. Such objects often played an important role in bridal exchanges (known locally as belis) and were treasured as heirlooms, passed down through generations. Among the Timorese peoples, particularly in the central and eastern highland regions, metalwork has been a longstanding art form tied closely to rites of passage, dowry practices, and displays of clan identity. D140mm, on stand H250mm
est $250 — $500
11 A Pair of Dayak Earrings, Borneo
A pair of traditional Dayak brass ear ornaments, cast in solid form and shaped in reference to the areca nut which is a culturally significant motif in Borneo and much of Southeast Asia. The earrings are smooth and undecorated aside from their symbolic shape, designed for use in stretched earlobes. Their substantial weight reflects their dual role as adornment
and tool for body modification. Among the Dayak, stretched earlobes and the wearing of heavy brass ornaments serve as signs of maturity, endurance, and status. Jewellery bearing symbolic forms like the areca nut connects the physical body to broader cultural narratives and traditional values. Brass is also regarded as a spiritually protective material. Earrings L65 W25 25mm, on stand H125mm
est $300 — $600
12 A Dayak Helmet Plate, Borneo 20th Century
A traditional helmet plate used by the Dayak peoples of Borneo, typically affixed to wooden or rattan helmets worn in warfare or ceremonial contexts. Helmet plates served both protective and decorative functions, often indicating the wearer’s status, achievements, or clan affiliation. Among the Dayak, helmets and their metal plates are more than mere armour; they embody ancestral protection and identity, often worn during headhunting expeditions and ritual ceremonies. Small holes in each of the bottom corner would have allowed it to be fixed to a hat or rattan helmet. Plate L1500 W105 D45mm, on stand H250mm
est $300 — $500
13 A Mino Rain Cape, Japan
The mino is a traditional Japanese raincape made from natural plant materials, historically worn for protection against the rain. Commonly associated with farmers, fishermen, and travelling workers, mino were also used by samurai, especially when travelling or on guard duty in rural areas. This practical garment allowed the wearer to stay relatively dry while working or moving through wet landscapes. These capes were constructed from densely layered strips of plant fibres likely rice straw, sedge, or similar water-resistant vegetation. The material is painstakingly hand-woven and secured to form a thick, thatch-like covering. The fibres naturally repel water, functioning much like a thatched roof. The layering technique, combined with the conical arrangement of the fibres, allows rain to run off the garment efficiently.
This particular mino consists of two distinct sections: an upper shoulder cape and a lower skirt, providing full upper-body coverage. It is fastened at the front with simple cord ties. Despite its rudimentary appearance, the craftsmanship demonstrates a deep understanding of both materials and function, reflecting the ingenuity of rural Japanese clothing traditions.
Though largely replaced by modern waterproof garments in the 20th century, the mino remains an iconic symbol of traditional Japanese rural life and appears frequently in historical artworks and period dramas. Today, it is valued both as a functional artifact and as a representation of vernacular craft and design.
H1180 W1230 D90mm
est $600 — $1,000
14 A Do Chest Armour of the Usegi Clan Circa 1615-1623, Japan
This do, or cuirass, is a finely constructed example of samurai armour from the early Edo period, dating to around 16151623, shortly after the Siege of Osaka and the consolidation of Tokugawa rule. Attributed to the Uesugi clan, a prominent daimyo family based in Echigo Province, the piece reflects their enduring political and military influence.
Made from lacquered iron plates and bound with cotton thread, the armour was designed to protect the torso while allowing mobility in battle. The presence of a mon (family crest) identifies its clan affiliation and enhances its status as both a functional and symbolic object. This period marks a transition in Japanese warfare, as open conflict gave way to relative peace under Tokugawa authority. Yet armour like this retained its importance as a symbol of rank, identity, and martial tradition, worn in ceremonies and by retainers who embodied the enduring spirit of the samurai. L550 W325mm
est $2,000 — $4,000
15 A Menpo Facial Guard, Japan
Edo Period (1603-1868). A rare wooden menpo traditionally worn with a kabuto (samurai helmet) as part of the full face armour set known as mengu. This piece covers the lower face, the cheeks, chin, and sometimes nose, and is designed to both protect and intimidate. The carved wood construction, finished with dark lacquer, suggests ceremonial or light-duty use, as most battle-ready menpo were made from iron or leather. The craftsmanship captures the fierce expression common in samurai armour design, often intended to invoke fear or reflect the warrior’s inner strength. Remnants of the original silk cord remain which would have secured the menpo to the helmet. L140 W135 D95mm
est $700 — $1,400
16 BARBARA REID NAPANGARDI
Birth of Baby
c.1964, Ngaanyatjarra/Pintupi peoples. Acrylic on linen. Barbara Reid Napangardi offers a luminous visual narration of the dreaming creation story of the sun, rendered in radiant shades of yellows and cool blues. As a custodian of the Ngaanyatjarra and Pintupi cultural traditions, Reid paints with deep reverence for Tjukurpa (Dreaming), embedding ancestral knowledge and cosmology within her work. This striking piece embodies the moment of cosmic birth, where spiritual forces awaken the sun’s presence into the sky, symbolising not only creation but renewal and warmth. Reid’s dynamic use of colour and intricate dotting technique create a rhythmic energy, echoing the desert landscape and its sacred cycles. 1010 × 1570mm
est $600 — $1,000
17 An Aboriginal Cylcon, Australia
Cylcons are among the earliest known Aboriginal stone tools, with their use and presence recorded as early as 1802. The name “cylcon” is derived from “cylindro-conical stone”, referencing their distinct shape. Despite centuries of research and collection, their exact purpose remains the subject of ongoing interpretation and debate. Historically, some scholars suggested that Cylcons held ritual or spiritual significance, particularly when engraved with linear or geometric incisions. These markings were interpreted as symbolic, possibly relating to ceremony or communication. However, more recent perspectives lean toward a utilitarian function, perhaps as pestles for grinding seeds, roots, or ochre, or as general-purpose tools used in everyday life. This particular example is shaped from a coarse conglomerate stone and exhibits a weathered, textured patina indicative of age and prolonged exposure to the elements. Its tactile surface and
weight suggest practical handling, while its form retains a quiet elegance typical of ancient Aboriginal workmanship.
Cylcon L270 D55mm, on stand H120mm
est $1,000 — $2,000
18 AUDREY BRUMBY Bush Medicine Leaves
b. 1957, Pukatja | Pitjantjatjara Acrylic on canvas. Pitjantjatjara artist Audrey Brumby captures the vibrant energy and sacred significance of native medicinal plants used by Anangu women for generations. Painted in rich tones of golden yellow and burnt orange, this 2012 work radiates warmth and vitality, reflecting both the healing properties of the bush leaves and the arid beauty of the central desert landscape. Brumby’s fine, flowing brushwork conveys a rhythmic movement imbuing the canvas with life and motion. Her work is deeply connected to her cultural knowledge, inherited through women’s Law and practiced in her home community of Pukatja (Ernabella). A respected artist working through Milpinti Arts, Brumby’s paintings are celebrated for their layered storytelling and connection to land, health, and women’s traditions.
830 × 880mm
est $300 — $600
19 An Ushabti, Ancient Egypt
Late Dynastic Period 664-343 BCE
This green-glazed faience shabti is depicted wearing a tripartite wig and plaited false beard, holding a pick and hoe. A dorsal pillar on the reverse provides support. Featuring a dorsal pillar to the reverse This small faience ushabti figure represents one of the many funerary statuettes placed in tombs during the Late Period of Ancient Egypt. Ushabtis were intended to serve as substitutes for the deceased in the afterlife, performing manual labour on their behalf as ordered by the gods. Typically inscribed with an inscription from Book of the Dead, the figure often holds agricultural tools and is shown in mummiform, symbolizing readiness to serve. The use of bluegreen faience which is a glazed ceramic material is due to its association with fertility, rebirth, and the regenerative power of the Nile. This ushabti reflects the Egyptian belief in a well-provisioned afterlife, where spiritual continuity was supported by ritual objects imbued with protective and symbolic power.
H95 W25 D18mmm
est $1,400 — $2,200
20 A Pre-Dynastic Stone Frog, Ancient Egypt
3850-2960 BCE
A small, hollowed stone sculpture representing a stylized frog. The form is compact and rounded, with the upper surface carved to suggest the body and head. The interior is hollowed, and the upper surface bears concentric drilled rings. The carving shows the typical abstract simplicity of Pre-Dynastic Egyptian sculpture, emphasizing volume and symmetry over anatomical detail. The surface is smoothly worked, with light mineral weathering consistent with early Nile Valley stonework. Animal representations such as frogs, hippopotami, birds, and bulls were common in early Egyptian art and are thought to reflect both environmental observation. The frog,
in particular, held enduring associations with fertility, water, and regeneration, owing to its close link with the annual Nile inundation, upon which agricultural life depended. In later dynastic religion, the frog became the emblem of the goddess Heqet, the divine midwife and symbol of new life. Objects like this “stone frog” were typically found in domestic shrines, possibly serving as amulets or votive offerings.
H60 W68 D70mm
Provenance: Ex European collection
est $800 — $1,200
21 A Canopic Jar, Late Kingdom, Egypt
664-525BCE, 26th Dynasty
This finely carved alabaster Canopic jar dates to the Late Period of ancient Egypt, specifically the 26th Dynasty (Saite Period), a time of cultural revival and intensified production of high-quality funerary equipment. The jar features a sculpted jackal-headed lid, representing Duamutef, one of the Four Sons of Horus and the protector of the stomach during mummification rites. Canopic jars played a central role in the mummification process, designed to contain and preserve the internal organs of the deceased. These jars were placed within the tomb as part of the individual’s burial assemblage, believed to be essential for rebirth and eternal life in the afterword. H235 D90mm. Provenance: Ex LaFace Collection, Acquired by his parents during the WWII era. His mother served as an interpreter for British Intelligence. Family records also suggest it was on loan to the University of Pennsylvania during the 1950s
est $8,000 — $12,000
22 A 19th Century Patiti, Aotearoa
This 19th-century Patiti (short-handled axe) from Aotearoa features a finely carved wooden shaft, richly adorned with wheku (stylised ancestral faces) and rauponga (notched ridges with pakati patterning). The axe is mounted with a trade steel blade. During the early to mid-19th century, Aotearoa underwent profound transformation. As European traders, missionaries, and settlers arrived, so too did new materials including metal tools. Māori quickly recognised the utility of iron and adapted it into traditional forms. The Patiti is a product of this cultural synthesis, combining a European trade axe blade with a distinctively Māori carved haft, maintaining indigenous values of craftsmanship, genealogy, and status. L355 W25 D122mm Y13223*
est $5,000 — $7,000
23 A Pounamu Aurei, Aotearoa
Aurei were worn by individuals of high status, often rangatira or those of chiefly descent, and used to fasten finely woven cloaks. The use of pounamu for an aurei elevated its importance, pounamu is seen as a sacred stone, imbued with wairua. The gentle curvature and elegant tapering are characteristic of traditional aurei. Aurei L120 W6mm, cord L110mm Y21210*
est $2,500 — $3,000
24 A Mutu Kākā, Aotearoa
A finely carved mutu Kākā, fashioned from a single piece of wood, traditionally used as a perch for a pet Kākā.The mutu Kākā served both a practical and symbolic role. It was traditionally used
to tether a Kākā, a prized companion and sometimes trained mimic or decoy used in bird hunting. Parrots were also kept as companions of chiefly individuals, and their vivid plumage was used in clothing and adornment, particularly in kahu huruhuru feather cloaks.
The perch section is gently curved, tapering at one end and terminating in a manaia head, often seen as a guardian or intermediary between the physical and spiritual realms. The shank of the perch features a wheku figure with deeply carved facial features, bent knees, and arms drawn inwards, with fingers resting on the belly. H220 W40 D250mm
Y08052*
est $2,000 — $3,000
25 A Phantom Shield by John Whagi, Papua New Guinea
Late 20th century. John Whagi, Andane Village, Wahgi Valley, Jiwaka Province, Papua New Guinea
This striking war shield is a powerful example of a unique cultural fusion that emerged in the Papua New Guinea Highlands during the late 20th century. Painted by John Whagi of Andane Village in the Wahgi Valley, the shield features the iconic image of The Phantom, the world’s first costumed superhero, created by Lee Falk in 1936. The Phantom became a household name in Papua New Guinea following the 1972 launch of the comic strip in Tok Pisin by Wantok newspaper. Hugely popular, the character was even adopted in government health campaigns. During a period of renewed inter-tribal conflict in the 1980s and 1990s, Highland warriors began repainting traditional battle shields with modern imagery. Superheroes like The Phantom were not only decorative, they were seen as embodiments of strength, protection, and psychological intimidation. Although the practice has since declined, Phantom shields like this one mark a rare and compelling moment of cultural hybridity, where a Western comic book icon was indigenised and repurposed within the symbolic, spiritual, and martial traditions of Papua New Guinea. H1705 W634 D11 mm.
Literature: Illustrated in Phantom Shields from Papua New Guinea by Chris Boylan
est $9,000 — $12,000
26 A Suspension Hook, Papua New Guinea
This intricately carved wooden suspension hook features a central anthropomorphic figure characterized by a pronounced hooked nose that curves downward to touch the chin, a stylistic hallmark of Sepik River carving traditions. The eyes are inset with cowrie shells, enhancing the figure’s otherworldly gaze and signifying spiritual potency or ancestral presence. Flanking the upper portion of the hook are two stylized hornbills, their curved beaks and elongated forms integrated seamlessly into the overall design. Hornbills often symbolize communication between the physical and spiritual realms, possibly signifying protection or guidance. At the base of the hook is a carved representation of a frigate bird with outstretched wings, a motif associated with the open sea, freedom, or ancestral spirits in Melanesian belief systems. Suspension hooks such as this were traditionally hung from the rafters of men’s houses or ceremonial buildings and used to suspend food, valuables, or ritual objects, keeping them safe from pests and uninitiated hands. They also served as protective symbols, invoking ancestral power and presence.
L555 W225mm
est $100 — $200
27 A Phantom Shield, Papua New Guinea
Late 20th century.
This striking war shield is a powerful example of a unique cultural fusion that emerged in the Papua New Guinea Highlands during the late 20th century. The Phantom, the world’s first costumed superhero, created by Lee Falk in 1936. The Phantom became a household name in Papua New Guinea following the 1972 launch of the comic strip in Tok Pisin by Wantok newspaper. Hugely popular, the character was even adopted in government health campaigns. During a period of renewed inter-tribal conflict in the 1980s and 1990s, Highland warriors began repainting traditional battle shields with modern imagery. Superheroes like The Phantom were not only decorative, they were seen as embodiments of strength, protection, and psychological intimidation. Although the practice has since declined, Phantom shields like this one mark a rare and compelling moment of cultural hybridity, where a Western comic book icon was indigenised and repurposed within the symbolic, spiritual, and martial traditions of Papua New Guinea.
A hand-painted metal sign created from a recycled oil drum, rolled flat to form a rectangular panel. The central image features a skull rendered in bold, graphic style, flanked by the word “Danger” painted above and running vertically alongside the skull. Beneath the image appears the phrase “Phantom The Man Who Cannot Die.” H1790 W882 D7 mm.
est $4,000 — $8,000
28 A Tapering Glass Vessel, Ancient Rome
Circa 3rd Century AD
This elegant Roman glass vessel features a tapering form from the shoulders to a rounded base, with a flat rim and evidence of accumulated residue inside, suggesting prior use. Crafted using the innovative glassblowing techniques refined by Roman artisans, the vessel exemplifies the technical skill and artistic sensibilities of the period. Its fluid silhouette reflects the Roman preference for functional objects with simple yet refined forms. The subtle translucence and natural iridescence of the glass enhance the aesthetic appeal, highlighting the sophistication of early Imperial Roman glassmaking.
L180 D80mm
est $700 — $1,000
29 A Large Glass Flask, Ancient Rome
3rd-4th Century
Made from pale green glass with a globular body, convex base, and a holded rim. 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 yellow colour that catches and reflects light in a way that would have been highly valued in its time. The iridescence, 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
H205 D115mm
est $1,500 — $2,000
30 A Delicate Glass Dish, Ancient Roman
4th Century AD
This finely crafted Roman glass dish demonstrates the technical innovation and artistry of early Imperial glassmakers. Formed using the pioneering technique of glassblowing, the dish features a shallow, rounded body set on a small foot and finished with a gently flared rim. Over time, the colourless glass has developed subtle iridescence, a natural result of centuries-long chemical interaction, lending the piece a softly shimmering surface. The elegant simplicity of the form reflects Roman aesthetic preferences for functional objects that combine utility with refined beauty, showcasing the skill and precision of ancient artisans.
H35 D83mm
est $950 — $1,100
31 A Dayak Terabai Shield, Borneo
This striking shield is carved from a single piece of wood in an elongated hexagonal form. The front surface features a vividly painted protective spirit figure, surrounded by intertwined curvilinear motifs rendered in white, red, and black natural pigments. These intricate designs are not merely decorative‚ they were believed by the Dayak to possess spiritual power, intended to intimidate enemies and even cause supernatural harmduring conflict.
Used in both warfare and ceremonial contexts, Terabai shields served as both physical protection and spiritual armour. The dynamic visual language reflects a worldview in which art, warfare, and cosmology are deeply interconnected H1315 W285 D150mm
est $200 — $400
32 A Rangda Mask with Articulated Jaw, Bali
This dramatic Rangda mask, carved and painted in vivid red, represents the fearsome witch queen of Balinese mythology Rangda, a central figure in ritual performances such as the Barong dance. The mask features bulging eyes, flaring nostrils, and a snarling mouth filled with sharp teeth. A prominent feature of this example is its articulated jaw, allowing the mouth to open and close during performance, enhancing its dynamic and terrifying presence. The mask is fitted with a long beard made from human hair, a traditional material believed to imbue the object with ritual potency and realism. The expressive carving is accentuated with white and gold details, and the elongated fangs emphasize Rangda’s supernatural power and association with chaos, black magic, and transformation. On stand H325 W140 D270mm
est $200 — $400
33 A Naga Morsarang Ritual Container, North Sumatra
19th early 20th century, Toba Batak peoples.
This striking object is fashioned in two sections. It depicts the mythical naga which is a composite seahorse-dragon. Its sinuous body richly ornamented with geometric and snake motifs. The detachable upper portion forms the creature’s head and neck, rendered with figures sitting at the back of the neck. The receptacle for pagar (protective substances) used by Batak ritual specialists, known as datu.
L430 W65 D330mm
est $100 — $200
34 An Early 20th Century Whakairo Panel Carved by Tene Waitere, Aotearoa
Tene Waitere (1853-1931) Ngāti Tarāwhai
This paepae or whakairo panel is a masterful work attributed to Tene Waitere, one of the most celebrated Māori tohunga whakairo (carvers) of the late 19th and early 20th centuries. Associated with the renowned Ngāti Tarāwhai carving school of the Te Arawa confederation, Waitere’s works are held in major collections in New Zealand and internationally.
The panel is intricately carved with wheku heads characterized by deep-set eyes and grimacing mouths. The surrounding field is adorned with concentric spiral motifs, echoing the patau form that symbolizes growth, regeneration, and continuity. Fine pakati dog-tooth notching details run along the ridges and contours, showcasing the precision and discipline typical of Waitere’s hand. H400 W2600mm Y22407*
est $7,000 — $10,000
35 A Stone Tool Carved Hei Tiki by Matiu Bartlett, Aotearoa
Matiu Bartlett is a cultural practitioner based in the Ruakituri Valley in the Wairoa District of Hawke’s Bay. For over 13 years, he has been dedicated to the research, revival, and practice of traditional Māori material culture. His work spans a wide range of customary technologies and art forms, includingpao pao kohatu(stone knapping and tiki making),hika ahi(traditional fire-making),matara ika(fishing nets, hooks, cray pots, andhinaki),waka kererū (bird snares and traps), andtaonga pūoro(traditional Māori instruments). He also works extensively with natural materials such as bark, earth pigments, and vines.
Matiuhas travelled internationally to share and educate audiences on these practices, representing Aotearoa’s cultural heritage on a global stage. His work contributes to a growing movement of practitioners, particularly in Hawke’s Bay, who are committed to reviving knowledge and methods that were nearly lost. His practice plays a vital role in the preservation and continuation of Māori traditional arts and technologies.
est $8,000 — $10,000
36 LYONEL GRANT Pou Pou (Taranaki Style)
Lyonel Grant (Ngāti Pikiao, Te Arawa) is one of New Zealand’s most celebrated contemporary carvers. Born in 1957 in Rotorua, he trained under master carver Hōne Taiapa at the New Zealand Māori Arts and Crafts Institute. Grant has carved numerous significant public and private commissions, including Ngākua Māhaki (AUT Marae) and Te Noho Kotahitanga, a wharenui that blends customary carving with modern architectural form.
This finely carved pou pou, standing just under a metre tall, is the work of master carver Lyonel Grant and reflects the Taranaki style of Māori carving, noted for its bold symmetry, rhythmic surface patterns, and powerful stylisation of the human form.
H1800 W500 D90mm
est $19,000 — $24,000
37 A Neolithic Vase, Qijia Culture, China
circa 2200-1600 BCE
This finely crafted terracotta vase exemplifies the restrained elegance and emerging technical sophistication of one
of China’s earliest settled agricultural societies. The surface is subtly adorned with thin incised vertical lines running down the body, likely applied with a comb-like tool before firing.
The Qijia culture, centred in present-day Gansu and Qinghai provinces, represents a vital bridge between China’s Neolithic traditions and the rise of early Bronze Age technologies. The Qijia were among the first in China to experiment with metal tools, while continuing to produce handmade ceramics of refined form and functional integrity.
H160 D110mm
est $300 — $400
38 A Neolithic Udder Pottery Vessel, China
circa 2500-2000 BCE.
This earthen vessel features a bulbous body with multiple protruding spouts which are commonly referred to as an “udder” form due to its resemblance to the teats of a nursing animal. The surface is hand-finished with a subtle burnish, and the vessel stands on a flat or slightly rounded base. Its symmetrical design and balanced form suggest a deliberate aesthetic sensibility as well as a utilitarian function. Vessels of this type have been found at various Neolithic sites across ancient China and are generally believed to have been used for pouring or dispensing liquids. The distinctive multi-spouted form has led scholars to propose a range of possible functions, including ritual libation, infant feeding, or the storage and controlled distribution of fermented beverages. This particular vessel’s construction reflects the experimental and symbolic ceramic traditions of late Neolithic China. The udder vessel form itself may carry metaphorical associations with nourishment, fertility, or sustenance, themes central to agrarian lifeways of the period. H330 W235 D250mm
est $2,500 — $3,000
39 A Blackware Bottle, Longshan Culture, China
Circa 2500-1900 BCE
This bottle exemplifies one of the earliest high points in Chinese ceramic craftsmanship. The Longshan culture, centred in the middle and lower Yellow River basin, marks a key transition in Neolithic China moving from villagebased societies to more complex, stratified communities. Its ceramics are among the finest of any prehistoric culture in East Asia, often used in elite burials and ceremonial settings. Blackware ceramics like this were part of a broader Longshan tradition that also included tripod vessels, goblets, and stemmed cups, many found in graves and ritual deposits. These objects reflect not only technical prowess, but also emerging ideas about social hierarchy, ancestral veneration, and cosmology. H200 D150mm
est $300 — $600
40 A Hei Tiki and Letter of Provenance, Aotearoa
A small, slender hei tiki carved from pounamu, likely produced as a tourist piece in the early to mid-20th century. The figure is depicted with hands resting on the thighs and the head tilted to one side echoing traditional forms. Traces of red sealing wax are present in one eye. The letter is addressed to Brother Michael who built a shed for wood and coal for the writer B.M. Mahoney. Mahoney states he owned the hei tiki for over 60 years and received it from Mrs Elizabeth Blair. H40 W27mm.
Transcription:
12 Foch Ave Port Cowill S.A. 12 June 1955
Dear Brother Michael, Time is passing swiftly away & with it many changes taking place everywhere. Pat & I are more than pleased to have you with us for a little time long waited for. However, as much you are ready to do an act of kindness for me in building a little shed for wood coal + storage space, it will be a God send in many ways as I have waited for one so long owing to restrictions etc. So I am deeply grateful to you & here a big Thank You. May you enjoy the blessing of good health to enable you to do many acts of kindness like in the past. And tho’ life for you in the past has been a eventful one, may the future be calm & peaceful now till you reach your journey’s end in this world.
In conclusion I am herewith handing on to you a “Greenstone Tiki” which I have treasured for over 60 years. It was a keepsake given me by a Mrs. Elizabeth Blair shortly before her death. A tribute of love for little kindnesses I had done for her. So now here it is with all my love & good wishes. I know you will appreciate it. God bless you & all those who are dear to you. The wish & prayer of your affectionate sister.
B. M. Mahoney (Prins)”
est $1,000 — $2,000
41 JOHN PHILEMON BACKHOUSE Painted Oyster Shell
This finely detailed painted oyster shell by colonial artist John Philemon Backhouse depicts a wharenui situated beside a calm body of water. A waka rests quietly in the shallows, while smoke rises from a distant volcanic peak, adding a sense of drama to the otherwise tranquil scene. The use of a natural shell as a support reflects Backhouse’s interest in unconventional media, as well as the Victorian-era fascination with curiosities and portable souvenir art. While romanticised, the subject matter is characteristic of Backhouse’s later work, which often focused on Māori life and Aotearoa’s distinctive landscapes, particularly those associated with geothermal, coastal, or spiritual significance. L165 W165mm
est $300 — $500
42 A Sketchbook Belonging to Jane Brenkley, Aotearoa (1882-1973)
This sketchbook belonged to Jane Brenkley, a self-taught artist, woodcarver, and craftswoman. Brenkley was born in Norse wood Aotearoa, to Scandinavian immigrant parents. Working primarily in the early to mid-20th century, Brenkley developed a distinctive artistic voice that blended European decorative traditions with visual elements drawn from Māori art and design, reflecting her admiration for te ao Māori. The pages contain finely rendered botanical studies and domestic scenes. These sketches offer a rare glimpse into Brenkley’s creative process and design thinking, and demonstrate her close observation of nature and ornament.
est $10,000 — $12,000
43 A Batak Astrological Calendar Bone Carving, North Sumatra
This intricately carved calendar stick, fashioned from buffalo rib bone, originates from the Toba Batak people
of North Sumatra. Traditionally known as a porhalaan, such calendar carvings were used by Batak priests or datu to determine auspicious days for various rituals, agricultural activities, travel, and important communal events. The surface of the bone is incised with finely etched geometric patterns and symbolic motifs, alongside a linear sequence of Batak script, which encodes the calendar’s timekeeping system. The inscriptions are typically organized into 30-day lunar cycles, and may include astrological or cosmological references significant to Batak spiritual beliefs. Calendar L400 W47 D20mm, on stand H410mm
est $200 — $400
44 A Depiction of Christ Crucified, Timor
A wooden crucifix depicting Christ on the cross, carved in the traditional style of Timor Island. The figure demonstrates a blend of Christian iconography with local artistic influences, reflecting the island’s cultural syncretism following the introduction of Christianity by Portuguese and Dutch missionaries. L220 W77 D28mm on stand H250mm
est $300 — $400
45 An Aristocratic Headdress Ornament, Oekusi, Timor 19th-20th Century
This distinguished head ornament, crafted from beaten silver coins, originates from the Oekusi region of Timor and was traditionally worn by aristocratic men as a symbol of status and prestige. The delicate metalwork demonstrates skilful transformation of currency into wearable art, reflecting both wealth and cultural identity. In Timorese society, such ornaments are integral to ceremonial attire, signifying rank, lineage, and social authority. The use of silver coin not only highlights economic value but also underscores the wearer’s connection to trade networks and broader regional interactions. The piece’s craftsmanship combines indigenous aesthetic principles with the appropriation of foreign materials, creating an object that is both a personal adornment and a statement of power. On stand H245 W488 D25mm
est $300 — $600
46 A Silver Tiberius Denarius, CE 14-37
Often referred to as a “Tribute Penny”. Blank struck with misalignment as was common, Lugdunum?
This coin is among the most recognizable coins of the early Roman Empire,embodying both the authority of the early Caesars and the intersection of Roman imperial history with Christian tradition.
est $900 — $1,100
47 An Athenian Silver Tetradrachm, c. 454-404 BCE 26mm, 14.12g. Helmeted head of Athena right. Owl standing right head facing olive sprig with crescent behind Produced from silver mined at Laurion, these coins financed the construction of the Parthenon, supported Athenian trade, and circulated widely throughout the Mediterranean.
Provenance: Ex CNG 1995
est $2,000 — $2,400
48 A Silver Shekel of Tyre, 126 BC - CE 66
Phoenicia, Dated AD 50-51, 21mm, 14.19gm, laureate bust of Melkart right; Eagle standing left on prow with palm frond in background, Phoenician B between legs, is VF, has usual striking weakness
Despite being of Phoenician origin, these coins held enormous importance inJudea, where they were accepted for payment of theTemple taxin Jerusalem due to their reliable weight and purity. Many scholars believe that the infamous “thirty pieces of silver” paid to Judas Iscariot were Tyrian shekels
est $2,000 — $2,200
49 A Jingasa Helmet with Mon Crest, Japan
This flat-style jingasa, a lightweight war hat that belonged to a senior ashigaru (foot soldier) in service to the Nagai clan, a samurai family historically associated with the Echigo and Izu provinces. The hat features a broad, shallow-domed form, crafted from wood and finished in durable black urushi lacquer and features a hand-painted gold cherry blossom mon at the centre. The Jingasa offers both rain resistance and moderate protection. The cherry blossom (sakura) was a widely recognized symbol of the samurai ideal of impermanence, but its specific use here denotes the crest associated with a branch of the Nagai clan, suggesting either personal affiliation or service under a daimyo using this floral motif. Though intended for lower-ranking warriors, this example demonstrates the high craftsmanship afforded to senior ashigaru, who often held semi-samurai status and were entrusted with logistical or garrison responsibilities. H100 D390mm est $300 — $500
50 A Samurai Jingasa Associated with the Hayashida Family, Japan
This conical jingasa war hat. This example is attributed to the Hayashida clan and is a fine example of Edo-period armour designed for ashigaru foot soldiers or lowerranking samurai. The hat is constructed from lightweight lacquered wood, it features a black lacquered exterior making it practical for both battlefield use and travel in inclement weather. Prominently displayed on the front is the gold-lacquered mon (family crest) of the Hayashida, elegantly rendered in gilt. The mon serves both as identification and a mark of allegiance, reflecting the family’s status and their role within a feudal domain. This type of jingasa was typically worn with a chin cord and tied under the jaw for stability. Remnants of ties are still present. Jingasa were developed as practical alternatives to the heavier iron helmets (kabuto) and became common among ashigaru and even samurai during the relatively peaceful Edo period, when ceremonial appearances and domain affiliation became more important than battlefield readiness. The Hayashida family, while not one of the major daimyo houses, likely held key administrative or military positions within their domain, making this jingasa both a symbol of service and loyalty. H190 D340mm
est $300 — $500
51 A Jingasa Helmet with Mon Crest for Ozeki Clan, Japan
A domed jingasa featuring two distinctive mon (crests). The front bears the crest of the Gun Corps, indicating the wearer was likely part of a firearms unit
commonly ashigaru or lower-ranking retainers tasked with matchlock operation during the Edo period. The reverse displays the mon of the Ōzeki clan, a samurai family of note, suggesting the hat was issued under their authority.
Constructed from lightweight wood and finished in protective black lacquer, the jingasa combines practical military design with symbolic heraldry. The presence of dual crests offers valuable insight into the organisational structure and allegiances within feudal Japanese military ranks.
H102 W335 D340mm.
est $300 — $500
52 A Pair of Maternity Figures, Thailand
12th Century and 14th-16th Century
This rare pair of maternity figures, crafted in celadon-glazed stoneware, originates from Thailand during the height of production at the Sawankhalok or Sukhothai kilns. These kiln complexes were renowned for their high-fired ceramics, particularly celadon wares, which were exported widely across Asia and beyond. Each figure depicts a seated woman holding an infant, these figures are not elite artworks, but rather the sincere expressions of local craftsmen. The intention of these figures were likely to promote conception, safeguard pregnancy, or aid in a child’s recovery from illness. Taller H115 W60 D55mm
Provenance: Ex Private collection, North London
est $300 — $600
53 A Terracotta Goddess Birthing the Universe, India
6th-7th Century
This rare and evocative terracotta figure, created in India during the 6th-7th century, represents a cosmic or fertility goddess in the act of birthing the universe, a theme deeply rooted in early South Asian religious and philosophical traditions. Rendered in fired clay, the figure exudes both primal power and maternal grace, encapsulating the ancient concept of the divine feminine as the generative force of all creation. At the centre of her stomach, a finely raised Om symbol. The presence of the Om symbol directly over the womb signals a cosmic birthing, where the goddess is not simply a maternal figure, but the manifestation of creation itself, embodying both the immanent and transcendent powers of the universe. Terracotta goddesses of this kind were often used in votive rituals, particularly in domestic or village settings where fertility, protection, and cosmic harmony were invoked through local goddess worship.
L290 W145 D60mm
est $2,000 — $4,000
54 A Quimbaya Pottery Seated Slab Figure, Colombia
Quimbaya culture, c. 1000AD.
Modelled in burnished earthenware, the figure is rendered with a broad, flat, slab-like torso and angular limbs with repairs to the legs. The stylized face, with horizontal lines for eyes, broad nose with a gold nose ring. Figures like this are associated with funerary and ritual contexts and were likely placed in tombs to serve as guardians, ancestral effigies, or spiritual companions for the deceased. The abstract, geometric form reflects a broader pan-Andean visual language, though the Quimbaya expression is distinguished by its refinement, restraint, and spiritual intensity.
H195 W151 D100mm
est $300 — $600
55 A Pair of Toy Pigs, Trobriand Island
This pair of small, hand-carved wooden toy pigs originates from the Trobriand Islands, an archipelago renowned for its vibrant material culture and complex social systems. Both pigs are carved from wood and feature incised motifs that have been filled with kaolin. In the Trobriands, pigs hold significant ceremonial and economic importance, particularly in contexts of exchange, status display, and ritual obligation. Even as miniature representations, these figures reflect broader cultural values. Children’s toys often echo the adult world, serving to familiarise the young with key social symbols and practices such as gift exchange, wealth accumulation, and social status.
Taller Pig H88 W55 D170mm
est $350 — $400
56 A Bronze Shrew Mouse, Egypt
7th-4th Centuries BCE.
A finely cast bronze sarcophagus cover for a shrew mouse.
In ancient Egyptian belief, the shrew was associated with the sun’s nocturnal journey through the underworld. Its ability to navigate in darkness symbolized guidance and protection during the sun’s descent, which lasted until the sixth hour of the night. In funerary contexts, the shrew was believed to assume the form of the god Horus to assist the deceased, descending into the underworld to help revive Osiris and ensure rebirth in the afterlife.
Shrews were often mummified in miniature coffins, reflecting the Egyptian preoccupation with symbolic representation and the continuity of life after death. Bronze examples such as this are relatively rare, demonstrating both the skill of ancient Egyptian metalworkers and the importance of small votive and ritual objects in daily and religious life.
H35 W22 D65mm
est $1,500 — $2,000
57 An Intaglio Stone Cylinder Seal, Syria or Anatolia
2nd-1st Millenium BCE.
This cylindrical stone seal, intricately carved in intaglio, was designed to be rolled across clay or wax to produce a repeating impression typically serving as a mark of identity or ownership. Cylinder seals like this were often worn or carried and pressed into wet surfaces to secure or authenticate goods, containers, and documents.
Originating in Mesopotamia and widely adopted across Syria, Anatolia, and the Levant, cylinder seals were essential tools in administrative and commercial life, as well as symbols of personal authority.
This seal has a contemporary wax reproduction of the seal and shows the design of a kneeling king wearing a kilt and crown, a quiver of arrows at the nak and drawing the bow. Next to the figure is a gazelle. Seal L29 D7mm Provenance: Ex private collection, London
est $350 — $400
58 A Two-Piece Hakama Muragaki Clan, Japan
This two-piece hakama set, also referred to as kimashino, is attributed to the Muragaki clan, a lesser-known samurai family active during the Edo period. Made from finely woven natural fibre cloth, the garments were likely used for formal or ceremonial wear, distinguished by their paired construction, a style associated
with earlier samurai dress traditions. The hakama is a divided or undivided trouser-skirt worn over a kimono was a key element of samurai attire, signifying rank, function, and formality A mon crest is printed on the neck of the shirt.
est $400 — $800
59 A 16th-17th Century Sino Bronze Prayer Bell, Tibet
A bronze cast Sino-Tibetan ghanta prayer bell, dating from the 16th to 17th century, likely used in tantric Buddhist ritual practice. the 16th-17th century period is marked by intensified cultural and religious exchange between the Tibetan plateau and imperial China, particularly during the late Ming and early Qing dynasties. The bell exemplifies the syncretism of Chinese metalworking techniques with Tibetan Buddhist ritual forms, a hallmark of so-called Sino-Tibetan art. The bell is crowned by a dragon-form finial. Such bells were used in Vajrayana Buddhist ceremonies. H220 D155mm
est $1,000 — $1,500
60 A Buddhist Tara Mahayana Figure, Tibet
This elegant Tibetan figure of Tara, the revered female bodhisattva of compassion and swift action, is rendered in the classical Mahayana Buddhist style associated with the Tibetan Vajrayana tradition. The figure is skilfully carved with brass and gilt. Seated in lalitasana the royal ease pose. Tara’s right hand extends downward in the gesture of generosity, while her left is raised in protection and teaching, delicately holding the stem of a blooming lotus. Figures such as this were used as central devotional icons on altars in monasteries or private shrines. Devotees would recite Tara’s mantras, perform visualizations, and make offerings to seek her swift intervention, protection, or spiritual guidance. This is a heavy example that features precious stones inlaid around the Tara’s body. A signature features at the underside. H325 W240 D150mm
est $8,000 — $14,000
61 An Obsidian Tip Spear, Admiralty Islands, Papua New Guinea
Late 19th Century
This exceptionally fine weapon or ceremonial implement from Manus Island, part of the Admiralty Islands group in northern Papua New Guinea, features a large flaked stone point securely mounted into a gum paste setting, attached to a long, slender, tapering hardwood shaft. The shaft is decorated with incised linear motifs, characteristic of the regional aesthetic associated with both utilitarian and ritual objects. The Admiralty Islands were renowned for their stone-working traditions, especially the flaking of large blades and points from obsidian or chert using percussive and pressure techniques. The use of gum paste to fix blades into wooden mounts is a distinctive local method, and reflects broader Melanesian practices of binding and hafting ritual tools with organic adhesives. Weapons like this were often invested with social and symbolic value, exchanged between clans, or used in initiatory rites, warfare displays, or status affirmation ceremonies. L1610 W48 D32mm
Provenance and Exhibition History
Edward Pierson Ramsay, a pioneering zoologist and ethnographer, served as Curator of the Australian Museum, Sydney (1874-1895) and was
instrumental in the early collection of Oceanic artefacts. Objects from his personal acquisitions are rare and often tied to early colonial expeditions or inter-island trade networks. Passed by descent to Bill Evans and acquired in 2005
Subsequently held in the Chris Boylan Oceanic Art Collection, a leading dealer and authority on Pacific material culture. The piece was listed in the 2023 “Parcours des Mondes” exhibition in Paris, one of the most prestigious global fairs for tribal art. Most recently, it formed part of the Jorgen Lotz Collection, noted for early and high-quality Oceanic works.
est $3,000 — $5,000
62 A Banded Agate Adze, SEA?
A highly polished stone adze, finely shaped with a slightly trapezoidal profile. The tool is made from banded agate, displaying alternating layers of translucent milk-white and rich brown hues. One end is bevelled to form a cutting edge, while the opposite end tapers slightly, possibly for hafting. The high degree of polish suggests limited or ceremonial use rather than heavy utilitarian function.
Adze L170 W63 D23mm, on stand 260mm
est $150 — $300
63 An Obsidian Tip Spear, Admiralty Islands, Papua New Guinea
Late 19th Century
This spare from Admiralty Islands group in northern Papua New Guinea, features a large flaked stone point securely mounted into a gum paste setting, attached to a long, slender, tapering hardwood shaft. The shaft is decorated with frigate motifs. The Admiralty Islands were renowned for their stone-working traditions, especially the flaking of large blades and points from obsidian or chert using percussive and pressure techniques. The use of gum paste to fix blades into wooden mounts is a distinctive local method, and reflects broader Melanesian practices of binding and hafting ritual tools with organic adhesives. Weapons like this were often invested with social and symbolic value, exchanged between clans, or used in initiatory rites, warfare displays, or status affirmation ceremonies. L1620 W85 D40mm
est $3,000 — $5,000
64 A Signed Wood Netsuke of a Geisha, Japan
Netsuke served as functional toggles for hanging personal items from the obi (sash) of traditional Japanese garments. A finely carved and elegantly rendered wood netsuke depicting a standing geisha in traditional attire. The base bears the incised signature of the artist, suggesting attribution to a known school or workshop. L75 W26 D20mm
est $500 — $800
65 A Meiji Period Satsuma Tea Set, Japan
Meiji period (1868-1912)
This set exemplifies the flourishing of Japanese ceramic artistry during an era of profound transformation and international engagement. Following centuries of isolation under the Tokugawa shogunate, the Meiji Restoration re-opened Japan to global trade, igniting a wave of
cultural exchange. Artisans responded to Western demand with extraordinary skill and innovation, producing works that conveyed the beauty, refinement, and spiritual depth of Japanese aesthetics.
Satsuma ware, originally developed by Korean potters in the 17th century under the patronage of the Shimazu clan in southern Kyushu, was reinvented during the Meiji period as an export luxury item. Pieces like this tea set were not only functional but deeply symbolic, often depicting scenes from folklore, seasonal nature motifs, and figures from Japanese mythology or court life. The meticulous application of gold and the narrative quality of the painting reflect the influence of both traditional Japanese storytelling and the Western appetite for the exotic and ornate. While designed for Western-style tea service, the set retains a distinctly Japanese sensibility with each brushstroke a testament to the enduring values of harmony, craftsmanship, and visual storytelling. Signed to the underside of each piece. With a wood carry case. Teapot H160 W170mm
est $1,200 — $1,800
66 An Early-Middle 20th Century Hand-Embroidered Kimono, Japan
This exquisite hand-embroidered kimono dates from the early to mid-20th century, showcasing the refined craftsmanship and aesthetic traditions of Japanese textile art. The garment features intricate embroidery executed with silk threads on fine silk fabric, embodying the harmonious blend of artistry and function central to kimono design. Kimonos are emblematic of Japanese culture, worn both as everyday attire and for formal occasions. Their designs often carry deep symbolic motifs. Prominently featured are elegant crane and flower motifs in gold thread both deeply significant in Japanese culture. The crane, revered as a symbol of longevity, good fortune, and fidelity. This kimono reflects a period where traditional craftsmanship flourished amid Japan’s evolving modern landscape, preserving timeless techniques and narratives within wearable art. L1650 W1240mm
est $800 — $1,200
67 A Black-on-Red Ware Terracotta Vase, Rome
This globular Roman terracotta vase features a spherical body, trumpet-shaped rim, applied handle, and flattened base. Crafted from buff clay and coated with a red-brown slip, it is decorated with black geometric motifs, including linear bands on the neck and body and three concentric circles on the shoulders and main body. Black-on-red ware was a popular decorative style in Roman domestic pottery, often used for serving and storage vessels. The geometric motifs reflect a blend of functional and aesthetic considerations, common in Roman ceramic production from the 1st century BCE through the 2nd century CE. Such vessels were widely distributed across the Roman Empire, illustrating both the standardized production techniques of Roman potters and the aesthetic preferences of Roman households. The applied handle and trumpet rim indicate a practical design for everyday use, while the meticulous decoration underscores the Roman appreciation for ornamentation in utilitarian objects.
H150 D95mm
est $1,100 — $1,400
68 A Terracotta Amphora, Ancient Rome
Circa 1st century BCE
This small terracotta amphora is a fine example of Roman domestic pottery, likely used to hold wine or olive oil. Made with a redware slip and wheel thrown. While large amphorae were used for shipping goods across the empire, smaller table amphorae like this one served a domestic function such as this one. Made of redware clay, the vessel is wheel-thrown with a narrow base, flared rim, and two small loop handles at the shoulder for ease of pouring.
H250 W70 D70mm
est $600 — $800
69 A Terracotta Flask, Ancient Rome
Circa 1st century BCE
This compact terracotta flask, dating to the 1st century BCE, would have been used in everyday Roman life for holding and transporting liquids such as oil, water, or wine. Small flasks like this were common throughout the Roman world and often accompanied individuals in both public and private life. Whether carried by soldiers, pilgrims, or tradespeople, they served as personal containers in a society that depended heavily on mobility and self-sufficiency.
L160 W85 D85mm
est $300 — $600
70 A Stone Axe Head, Solomon Islands
Post European contact, after the 18th century.
This finely worked stone axe head from the Solomon Islands features an intricately carved Janus head at the finial depicting two opposing human faces. A large oval hole at the centre of the axe head would have allowed for a wooden haft to be securely slotted or socketed. The cutting edge rounded with various losses. L100 W260 D50mm
est $400 — $500
71 A Ceremonial Stone Adze, Solomon Islands
Pre-Contact prior to 18th century, Western Province
This ceremonial axe head from the Solomon Islands is finely carved from dark stone, featuring an anthropomorphic head and feet sculpted at the finial. This object would have functioned as a ceremonial or symbolic axe, possibly displayed or exchanged during important events such as leadership transitions, alliance ceremonies, or funerals. In some cultures within the Solomon Islands, elaborately carved axe heads served as status symbols or ancestral emblems, often kept as heirlooms and passed down through generations. L150 W38 D225mm
est $500 — $700
72 A Stone Adze, Solomon Islands
Post European contact, 18th century onwards. Western Province
This stone adze head from the Western Province of the Solomon Islands dates to the post-contact period (18th century onwards) and reflects the continuation of traditional tool-making techniques well into the colonial era. Expertly shaped and ground, the adze features a slightly curved cutting edge and a carefully finished
surface, suggesting both functional use and skilled workmanship. The butt of the adze is carved into a distinctive crescent-shaped projection, which likely aided in securing the head when lashed to a wooden shaft handle using plant fibre cordage. L165 W38 D230mm
est $400 — $550
73 A Carved Opium Mouth Piece with Dragon Design, China
This finely crafted opium mouthpiece is carved from bone, possibly ox bone, and features an intricate dragon motif. The dragon, a symbol of power and auspiciousness in Chinese culture, is beautifully rendered in relief, showcasing the artisan’s skill and attention to detail. The mouthpiece is designed for use with an opium pipe, a common practice in certain periods of Chinese history. Opium smoking became widespread in China during the Qing dynasty (1644-1912), especially from the 18th century onwards, and was both a social and ritual practice. On stand H185, mouth pieces L115 W15mm est $100 — $200
74 A Comb Decorated Vessel, China
1st Millenium BCE.
An unglazed ceramic vessel with squat body, tubular base, beaded collar to the equator flared rim, impressed comb, decoration to the body with reserved zoomorphic shapes. This vessel belongs to a long-standing Chinese ceramic tradition that developed from Neolithic comb-impressed pottery a hallmark of early farming communities across northern and northwestern China‚ and persisted in some regional styles into the early Zhou period (ca. 1046-771 BCE) and later local variants during the Eastern Zhou (770-256 BCE).
H210 D190mm
Provenance: Ex Kinnard collection, Oxford UK
est $300 — $500
75 A Carved Opium Mouth Piece, China
This finely crafted opium mouthpiece is carved from bone, possibly ox bone, and features an intricate motif. The mouthpiece is designed for use with an opium pipe, a common practice in certain periods of Chinese history. Opium smoking became widespread in China during the Qing dynasty (1644-1912), especially from the 18th century onwards, and was both a social and ritual practice. On stand H155mm, mouth piece L90 W15mm
est $100 — $200
76 A Bulul Rice Guardian Figure, Ifugao, Philippines
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. 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 H355 W98 D95mm
est $300 — $600
77 A Dayak Hampatong Figure, Borneo
This carved wooden figure, known as a Hampatong, represents a stylized ancestral or protective spirit. It was traditionally positioned outside a longhouse or along village paths to guard against malevolent forces and mark sacred or communal space. The figure is rendered in upright posture, arms bent at the elbows, and hands positioned over the abdomen which is a motif commonly associated with strength and vigilance in Dayak visual language. Whilst the wood is weathered there are traces of natural pigment remain embedded in recessed areas, suggesting the figure was once painted. The head and limbs are elongated, with minimal ornamentation, highlighting the elegance of the form and the grain of the ironwood. H860 W65 D81mm, stand W200 D200mm est $200 — $300
78 A Dayak Ironwood Figure, Borneo
This carved ironwood figure exemplifies the spiritual and artistic traditions of the Dayak people of Borneo. Fashioned from dense and durable ironwood, prized locally for its hardness and resistance to decay, the figure portrays a in a seated position with knees bent and hands clasping a sculpted emblem composed of twin serpentine curves, each forming an ‘S’ in mirrored alignment. This motif is a significant symbolic element in Dayak art representing cycles of life, spiritual energy, or ancestral power. H210 W90 D85mm
est $200 — $300
79 An Early Bronze Age Terracotta Bowl, Levant
Early Bronze Age, 3000BCE
This terracotta bowl, originating from the Holy Land, features gently sloping sides and a wide, flaring mouth. The thin walls demonstrate skilled craftsmanship, while a delicate prick-dot decoration encircles the rim, adding subtle ornamentation. The vessel rests on a flattened circular base, providing stability and balance.
Originating in Early Bronze Age Canaan, this bowl reflects the material culture of emerging urbanized communities in the southern Levant. During this period, settlements grew, trade networks expanded, and pottery production became increasingly standardized. Bowls such as this were commonly used for food preparation, serving, and storage, and their decorative motifs indicate an early appreciation for ornamentation in everyday objects. The prick-dot rim decoration is characteristic of Early Bronze Age ceramics in the region, linking this vessel to wider Levantine stylistic traditions. H180 D285mm
est $600 — $1,200
80 An Early Bronze Age Amphoriskos, Southern Levant c. 3100-2900 BCE
It features a spherical body topped with a broad, short circular opening, creating a compact yet expressive form. Two small horizontal handles are attached
just below the rim, likely intended for lifting or tying a cover in place. Amphoriskoi of this type were commonly used for storing and pouring precious liquids such as oils or unguents. The Early Bronze Age I marks a transformative phase in the Southern Levant, witnessing the rise of proto-urban settlements, expanded trade networks, and emerging craft specialization.
H170 D145mm
Provenance: Ex New York Private Collection
est $500 — $800
81 An Iron Age Jug, Western Iran
1st millennium BCE
A ceramic biconical jug with flared base, funicular neck and flange rim, strap handle to the rear. Band of pellet ornament to the shoulder with lozenge and rosette motif, pairs of fishes, radiating lines to the upper shoulder, raised ribs to the rim, ibex mask to the handle. Incised quatrefoils to the underside.
This vessel belongs to the ceramic tradition of the Luristan region in the central Zagros Mountains of western Iran, a culturally rich area active during the Early to Middle Iron Age (ca. 1000600 BCE). The ibex, represented here on the handle, was a powerful regional symbol associated with fertility, mountain deities, and pastoral life. H175 W130mm
H215 D160mm
Provenance: Ex North London Gentle,an, formerly with a Mayfair Gallery in the 1980s
est $300 — $500
82 A Pig Killing Club, New Hebrides , Vanuatu
This formidable club, carved from dense hardwood, originates from the island of Ambrym, part of the central archipelago of Vanuatu. Commonly referred to as a pig killing club, it was traditionally used in the ceremonial slaughter of pigs, a practice central to ritual, social hierarchy, and exchange systems in many Vanuatu cultures. Pig killing clubs are often shaped with a rounded, flared or paddle-like head, designed to deliver a single, powerful blow. While highly functional, these clubs also serve as ritual and symbolic objects. With collection number ‘78.8 New Hebs’. L780 W81 D300mm
est $200 — $300
83 A Twelve Footed Kava Bowl, Fiji
This impressive Fijian kava bowl, or tanoa, is a masterfully carved ceremonial vessel featuring twelve rounded legs, a classic indicator of its importance and craftsmanship. Traditionally carved from vesi wood which is prized for its hardness and deep, rich tone. This bowl would have been used in formal yaqona (kava) ceremonies which are a essential part of Fijian ritual, diplomacy, and social order. H170 D435mm
est $400 — $600
84 A Large Pate Log Drum, Rarotonga, Cook Islands
This large wooden pate drum features a cylindrical body with a slightly flared base and is painted a vibrant brick-red. The pate drum is a traditional Polynesian percussion instrument, central to the musical and social life of the Cook Islands. Often played during dances, chants, and rituals, pate drums accompany songs and movement, providing rhythm and structure to communal performances. The brick-red pigment not only enhances its visual presence but may also carry symbolic
or cultural significance, reflecting local artistic traditions. Drums such as this are emblematic of Polynesian craftsmanship, where functional objects are imbued with aesthetic and social meaning.
est $300 — $600
85 A Large Hand Carved Vase Carved from Totara, Aotearoa
A Folk Art Māori Vase Signed Vinga. Carved from a single piece of wood. A large form with incised haehae designs surrounding central designs of three faces on each side. Lacquered dark brown. Incised dot lettering ‘Vinga’ above the base of the vase.
H530 W260 D150mm
est $800 — $900
86 A Large Carving by Joe Kemp, Aotearoa
b. 1965-. Ngai Tahu, Nga Puhi.
This powerful large-scale carving by Māori artist Joe Kemp exemplifies his deep connection to both ancestral tradition and the natural materials of Aotearoa. Carved from ancient kauri wood, the work is enriched with kauri gum inclusions which are a luminous fossilized resin. Suspended around the neck of the figure is a carved nguru, a traditionalnose flute. H770 W380 D520mm
est $2,500 — $3,000
87 NIKI NEPIA Untitled
Ngāi Te Rangi, Ngāti Porou
This finely workedwahaika, carved from rich green pounamu and mounted on a stepped wooden base.
H415 W225 D225mm
est $2,000 — $3,000
88 An Officer’s Sword and Scabbard, Ethiopia
19th century, rein of Menelik II
A distinguished Ethiopian Officer’s a sword slightly curved steel blade with decorative and symbolic elements including Incised text that is likely in Ge’ez script. Swords of this type were worn by Ethiopian officers and nobility, especially during the reign of Menelik II, who led Ethiopia through a period of national defence and modernization. Military reforms brought in imported arms and European advisors, but high-status swords retained traditional Ethiopian aesthetics. The Battle of Adwa (1896), in which Menelik’s forces defeated Italian colonial troops, marked a defining moment in African resistance to European imperialism. Officers often carried swords like this as both practical weapons and symbols of authority and cultural pride. L945 W130 D28mm
est $200 — $400
89 An Officer’s Sword and Scabbard, Ethiopia
19th century, rein of Menelik II
A distinguished Ethiopian Officer’s a sword slightly curved steel blade with decorative and symbolic elements including Incised text that is likely in Ge’ez script. Swords of this type were worn by Ethiopian officers and nobility, especially during the reign of Menelik II, who led Ethiopia through a period of national defence and modernization. Military reforms brought in imported arms and European advisors, but high-status swords retained traditional Ethiopian aesthetics. The Battle of Adwa (1896), in which Menelik’s forces defeated Italian colonial troops, marked
a defining moment in African resistance to European imperialism. Officers often carried swords like this as both practical weapons and symbols of authority and cultural pride. L955 W130 D25mm
est $200 — $400
90 A 19th Century Sword and Scabbard, Ethiopia
An elegant Ethiopian shotel (sword) with a gently curved steel blade and a wooden hilt of characteristic form. The wooden handle, finely shaped and patinated with age, provides a balanced grip. Such swords were carried by warriors and noblemen alike, symbolizing both martial skill and social status. The shotel was particularly associated with the Amhara and Tigray peoples and remained in ceremonial and practical use well into the 19th century.
L966 W75 D35mm
est $200 — $400
91 A Trio Of Celadon Vases, Thailand 14th-16th Century.
This elegant group of three celadon vases, produced between the 14th and 16th centuries in Thailand, showcases the refined artistry of the Sukhothai and Sawankhalok kilns, owned centres of ceramic production during the height of the country’s classical period.
Each vase is crafted from highfired stoneware, coated in a translucent celadon glaze with hues ranging from soft olive to pale green. Delicate incised designs beneath the glaze add visual depth and texture, exemplifying the technical and aesthetic sophistication of Thai ceramics during this era.
The production and export of celadon ceramics from Thailand reached their peak during this period, with wares widely distributed across Southeast Asia, Indonesia, the Philippines, Sri Lanka, and the Middle East.
Tallest H165 D105mm, shortest H140 D115mm
Provenance: Ex Kinnarid Collection
est $800 — $1,200
92 A Large Tuareg Gourd Calabash Container, Sahara Desert
Traditionally these containers were used for the storage of milk, butter, or water during nomadic travel. They are fashioned from a natural gourd and reinforced with leather bindings. When a gourd cracked or split under the strain of use, it was carefully repaired with intricate leather stitching or fibre lacing which is a practical act that also imbued the vessel with layers of history.
The Tuareg are a traditionally nomadic Berber-speaking people whose territory spans the vast expanse of the central Sahara Desert, across modern-day Mali, Niger, Algeria, Libya, Burkina Faso, and Chad. The Tuareg have maintained a distinctive cultural identity rooted in mobility, trade, and adaptation to one of the world’s harshest environments. H470 D350mm
est $200 — $400
93 A Double Spout Vessel, Spain
18th Century CE. Possibly southern Spain Made from terracotta with two spouts and a strap handle. The upper body has a think glaze of yellow, orange, and green painted design at the shoulders
During the 18th century, Spain had a rich and diverse tradition of ceramic production, rooted in Islamic, Roman, and indigenous Iberian influences, further shaped by Renaissance and Baroque European aesthetics. Terracotta, or low-
fired earthenware, was one of the most common ceramic materials due to its abundance, workability, and affordability. H195 W150 D120mm
Provenance: Ex W.S. Collection, Los Angeles
est $200 — $400
94 An Inlaid Walking Stick, Solomon Islands
Mid-20th Century
Carved from a single piece of dark tropical hardwood, this elegant walking stick from the Solomon Islands features intricate shell inlay. The handle is adorned with inlaid mother-of-pearl motifs in distinctive Z-shapes, each bordered with serrated edges, creating a striking, rhythmic visual pattern that reflects traditional local design sensibilities. The inlay work demonstrates both technical skill and an acute eye for geometric balance. L950 D25mm
est $250 — $350
95 A Walking Stick, Trobriand Islands
Mid-20th Century.
This finely carved walking stick from the Trobriand Islands features exquisite mother-of-pearl inlay combined with intricate spiral openwork and incised meander patterns along its shaft. The spiral openwork of the shaft reflects skilled craftsmanship in the production of this piece. During the mid-20th century, despite increasing contact with external markets and influences, Trobriand artisans maintained strong ties to traditional symbolism and craftsmanship. L865 D25mm
est $300 — $450
96 An Elaborately Carved Walking Stick, Solomon Islands
This striking walking stick is richly carved from a single piece of dense tropical hardwood, showcasing a remarkable array of raised animal motifs along its shaft, including crocodiles, bats, birds, octopuses, fish, and snakes. The piece exemplifies the rich storytelling traditions embedded in Solomon Islands woodcarving, where animals often serve as totems or guardians, and the natural world is woven intimately into cultural identity.
L875 W55 D35mm
est $300 — $450
97 Three Oil Lamps, Ancient Rome
4th Century CE, Eastern Mediterranean
These three ceramic oil lamps originate from Ancient Rome and reflect the essential role of lighting devices in Roman domestic and ritual life. Made from terracotta, each lamp is distinct in form but shares the common function of providing light through the controlled burning of olive oil. The lamps feature gently rounded bodies and narrow spouts designed to hold a wick, allowing for an efficient and steady flame. Their flat bases ensured stability on household surfaces, while their compact size made them easily portable. Decorative elements, when present, often carried symbolic or aesthetic value, illustrating the blend of practicality and artistry in everyday Roman objects. Used in homes, workshops, and temples, these lamps are small but powerful indicators of daily life in the Roman world, illuminating both physical spaces and the material culture of antiquity.
Tallest H28 W55 D98mm
est $300 — $600
98 A Chandraketugarh Redware Jar, Ancient India
Circa 185 BCE to 50 CE, Chandraketugarh Period III
This elegant orange-red pottery vessel, features a broad body adorned with a stamped frieze of low-relief human and animal figures, and a distinctive crenellated rim with additional decorative stamping. Chandraketugarh, located near modern-day Kolkata, was a prosperous fortified city and a thriving centre of art and commerce. Period III marks its peak of ceramic production, influenced by both local traditions and contact with longdistance trade networks, including those of the Roman world. Pottery of this quality was not domestic folkware but intended for urban elites or middle-class patrons.
H180 D170mm
est $500 — $1,000
99 A Large Oil Lamp, Ancient Roman, North Africa
4th Century CE
This large terracotta oil lamp features a broad, rounded body with a wide nozzle and a central discus. The surface is incised with the Christian Chi-Rho symbol (‚òß), an early emblem of Christ, marking its devotional function. The lamp’s sturdy form and functional design suggest it was used for both illumination and ritual purposes
Produced in North Africa during the later Roman Empire, this lamp reflects the region’s vibrant Christian communities in the 4th century CE. North Africa was a major centre of Roman-era Christianity, where early Christian symbols increasingly appeared on domestic and liturgical objects. The Chi-Rho motif, combining the first two letters of Christ’s in Greek, served both as a protective emblem and an affirmation of faith. Terracotta oil lamps were essential household items, and their decoration often blended practical and spiritual purposes.
H55 W83 D135mm
est $700 — $900
100 A Huia Feather, Aotearoa
A tail feather from a Heteralocha acutirostris. This tail feather comes from the extinct huia, once endemic to the forests of Aotearoa New Zealand. Renowned for its striking black and white plumage, the huia was revered by Māori and its feathers were originally worn exclusively by people of high rank. Huia feathers were among the most prized cultural items and were often exchanged for goods of great value. The species’ final confirmed sighting was in 1907 in the Tararua Ranges, marking the end of one of New Zealand’s most iconic native birds. With letter of authentication from Te Papa, dated 2015. L2000 W45mm
est $10,000 — $12,000
101 A Contemporary Pounamu Hei Tiki, Aotearoa
By an unknown artist. This contemporary hei tiki is intricately carved from darkhued pounamu and exhibits a stylised, symmetrical form rooted in traditional Māori aesthetics. The piece is distinguished by its pāua shell inlay, set into the eye sockets and fixed with wax, creating a striking contrast that draws attention to the tiki’s gaze.The tiki’s posture, with arms resting on thighs and head tilted to one side, follows customary design conventions, while subtle deviations in proportion and surface finish indicate its contemporary origin. The hei tiki is one of the most iconic and spiritually resonant forms in
Māori art and adornment. Traditionally worn as a neck pendant (hei meaning “to wear around the neck”), the tiki represents a revered ancestor. This example has a pierced hole at the shoulder for wearing in a sideways position. H103 W58 D20mm
est $600 — $800
102 A Pounamu Hei Tiki by Mike Higgs, Aotearoa
A stylised hei tiki pendant carved in inanga pounamu by contemporary carver Mike Higgs. The tiki is rendered with distinctive proportions and surface detailing, featuring wax-inlaid eyes. The surface shows ink-darkened crevices, enhancing the depth and definition of the carving. At the top of the piece is an hourglass-shaped suspension hole, on the reverse side, a cross motif is carved or inscribed behind the suspension hole. L95 W56 D20mm
est $1,200 — $1,500
103 A Contemporary Pounamu Hei Tiki
This striking hei tiki is carved from mottled pounamu with white inclusions. The tiki features a classic, compact form with stylised limbs, absence of fingers, and a tilted head. The eyes are inlaid with red sealing wax, a detail that adds warmth and intensity to the gaze. Red wax, occasionally used in both historical and contemporary contexts, draws immediate attention to the tiki’s expression and may symbolically reference life force, bloodlines, or sacred vitality. A suspension hole is drilled at both the neck and upper shoulder, a traditional configuration that causes the tiki to be worn sideways when hung. Hei tiki are among the most treasured and recognisable forms of Māori adornment. It represents an ancestral figure, often regarded as a physical embodiment of whakapapa. H95 W60 D10mm
est $600 — $800
104 A Lonka Lonka Pearl Shell Ornament, Australia
A traditional lonka lonka pubic cover fashioned from a natural pearl shell, suspended on a finely twisted human hair belt. The shell exhibits a hourglassshaped suspension hole, with visible red ochre remnants on both the shell Such ornaments were traditionally worn by Aboriginal men in various regions of northern and western Australia, serving both as modesty coverings and as objects of ceremonial and social significance. The use of pearl shell is highly prized for its luminous quality and connects this piece to wider cultural exchange networks across Indigenous Australia. H185 W141 D7 mm. With cord H700 mm. Provenance: Angela Saussehrd Collection, Queensland. Ex Jorgen Lotz Collection
est $3,000 — $4,000
105 A Large Churinga, East Kimberley, Australia
This large Aboriginal churinga is a significant ceremonial object, reputedly originating from the Gidji people of the East Kimberley region in the Northern Territory. Churinga are sacred items in the spiritual and cultural traditions of many Central and Northern Australian groups, often associated with ancestral beings, law, totemic identity, and the transmission of cultural knowledge. This example is carved in elongated oval form, crafted from a dense, aged hardwood. One end retains remnants of white pigment, applied during ritual use or
as part of the symbolic design. The surface features incised linear and geometric patterns, likely representing ancestral tracks, totemic symbols, or mythological narratives associated with the Dreaming. The designs incised on the surface are used to encode and transmit sacred stories, songs, laws, and land-related knowledge through oral tradition and ceremonial performance. L1280 W90 D20mm
est $2,500 — $3,000
106 A Coolamon, Central Australia
A traditionally carved coolamon, a multi-purpose vessel used by Aboriginal women for carrying food, water, firewood, or even cradling infants. This example is hewn from a single piece of hardwood, its interior gently hollowed and smoothed by hand. The exterior bears incised markings of concentric circles and dashes characteristic of the artist’s cultural region. H90 W390 D170mm
est $300 — $400
107 A Framed 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 L195 W35mm, frame 355 × 205mm
est $9,000 — $11,000
108 A Framed 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. Feather L W195 W37mm, frame 355 × 205mm
est $9,000 — $11,000
109 Two Framed Huia Feathers, Aotearoa
These rare and remarkable huia feathers, a distinctive tail feather and one of the smaller body plumage feathers, are striking examples of the cultural significance of the huia (Heteralocha acutirostris) to Māori in Aotearoa. The huia, now extinct, was revered by Māori for its beauty, rarity, and symbolic value. Tail feathers, in particular, were highly prized and often used in ceremonial dress and adornments for chiefs and other high-ranking individuals, while
smaller plumage feathers also held aesthetic and cultural importance. Together, these feathers are poignant reminders of the fragile relationship between humans and the natural world, as well as enduring symbols of cultural identity and ancestral knowledge. Framed behind UV protective glass. Tail feather L200 W37mm, plumage feather L70mm, frame 355 × 205mm
est $9,000 — $11,000
110 A Shell Currency Ring, Solomon Islands
This money ring exemplifies the traditional use of shell as a medium of value and exchange in Melanesian societies. Finely crafted from a section of thick marine shell, the ring is ground, shaped, and polished to achieve a smooth circular form. Some losses ans pourous sections from age. These rings functioned not only as currency but also as important ceremonial and status objects. Often used in bride price exchanges, compensation, or ritual payments, shell currency conveyed wealth and social standing within island communities. In some cases, they were also worn as body ornaments or kept as heirlooms. D178 W20mm
est $200 — $250
111 A Shell Currency Ring, Solomon Islands
This money ring exemplifies the traditional use of shell as a medium of value and exchange in Melanesian societies. Finely crafted from a section of thick marine shell, the ring is ground, shaped, and polished to achieve a smooth circular form.
These rings functioned not only as currency but also as important ceremonial and status objects. Often used in bride price exchanges, compensation, or ritual payments, shell currency conveyed wealth and social standing within island communities. In some cases, they were also worn as body ornaments or kept as heirlooms. D190 W30mm
est $250 — $350
112 A Shell Currency Ring, Solomon Islands
This money ring exemplifies the traditional use of shell as a medium of value and exchange in Melanesian societies. Finely crafted from a section of thick marine shell, the ring is ground, shaped, and polished to achieve a smooth circular form. These rings functioned not only as currency but also as important ceremonial and status objects. Often used in bride price exchanges, compensation, or ritual payments, shell currency conveyed wealth and social standing within island communities. In some cases, they were also worn as body ornaments or kept as heirlooms. D130 W18mm
est $150 — $200
113 A Large Mbole Bronze Currency Anklet, Democratic Republic of Congo
19th Century
Among the Mbole people of the Democratic Republic of the Congo, and neighboring groups such as the Lomami, Topoke, and Lokele, large cast-metal anklets are referred to as libanga, boloko, or ngenge and functioned as forms of traditional currency from the 18th through early 20th centuries. These “currency anklets, were part of a complex regional system of metal wealth in Central Africa, parallel to but distinct from the manilla systems of West Africa. They were forged
or cast by specialist metalworkers using locally smelted copper and bronze, metals highly valued for their association with fertility, vitality, and ancestral power.
H120 W240mm
est $500 — $800
114 A Zulu Axe, South Africa
This Zulu axe features a carved wooden shaft with an iron blade affixed at one end, forming a hybrid between a traditional iwisa (knobkerrie or club) and a battle axe. Such weapons were used by Zulu warriors during the 19th century, particularly under the military reforms of King Shaka Zulu, which emphasized close-combat warfare and disciplined regimental organization.
The iron blade is hand-forged, with a broad cutting edge embedded into the pommel of the axe. L740 W60 D160mm
est $100 — $200
115 A Manilla, Baule, Ivory Coast c. 1850 CE
This substantial metal bracelet, cast in a copper alloy or bronze. Used both as a medium of exchange and an adornment of status among the Baule people and neighboring Akanspeaking groups of the Ivory Coast and Gold Coast region. H70 W117mm
est $500 — $700
116 An Achaemenid Period Bronze Dish, Persian 550-330BCE.
Shallow dish with fine incised concentric circles at the centre. A typical appearance of Achaemenid metalwork. Likely used for ceremonial libations. Rich patina preserves the intricate design, exemplifying the artistry of ancient Persia. H49 D160mm
est $700 — $900
117 A Black-Ware Terracotta Dish, Greek South Italy
3rd Century BCE
This shallow terracotta dish is finished with a characteristic black gloss, produced by a refined firing technique that gave the surface its lustrous appearance. The dish features gently sloping sides and a flattened base, exemplifying the functional yet elegant design typical of Greek South Italian pottery of the period. Originating in Magna Graecia, the Greek colonies of southern Italy. This dish reflects the Hellenistic influence on local craftsmanship during the 3rd century BCE. Black-glazed ceramics were highly valued for both domestic use and display, serving as everyday tableware while also demonstrating aesthetic sophistication. Pottery workshops in cities such as Taranto, Paestum, and Locri were known for producing such wares, blending Greek artistic traditions with local Italic styles. H34 W110 D85mm
est $300 — $600
118 An Epichysis, Apulia, Italy
4th Century BCE
This elegant epichysis, a pouring vessel used for perfumed oils or liquids, originates from the Gnathian tradition of Apulia in South Italy during the 4th century B.C. Characteristic of this regional style, the vessel is richly decorated in added red-brown and white pigments over a glossy black glaze. The body is adorned with finely painted bands of
olive leaves, a motif associated with fertility, peace, and domestic ritual. This epichysis comes from Gnathian ware, a distinctive style of pottery produced in Apulia, a region in South-Eastern Italy that was part of Magna Graecia the area of Southern Italy heavily colonized by Greek settlers from the 8th century B.C. onwards. By the 4th century B.C., Apulian pottery workshops had developed highly refined ceramic traditions that blended Greek artistic motifs with local innovations.
H155 W90 D90mm
est $1,600 — $2,000
119 A Contemporary Masi, Fiji
Bark of the paper mulberry tree (Broussonetia papyrifera), natural pigments made from soot, clay, plant dyes. A square sheet of masi bark cloth, made from handbeaten inner bark. The cloth is decorated using a traditional kupetistencil technique, featuring repeating geometric patterns in earthy tones. Masi is central to Fijian cultural and ceremonial life. It is used in weddings, funerals, chiefly installations, and as gifts in traditional exchanges. Masi making is predominantly a women’s art, passed down through generations
est $300 — $500
120 A Fragment of a Wedding Barkcloth, Tonga and Fiji
This fragment of wedding tapa cloth originates from the interwoven artistic and ceremonial traditions of Tonga and Fiji, where barkcloth (ngatu in Tonga, masi in Fiji) plays a central role in social and ritual life. Such cloths are traditionally exchanged during weddings, births, funerals, and chiefly ceremonies, symbolising respect, alliance, and continuity between families and communities.
This piece reflects the historical and familial connections between Tonga and Fiji, where intermarriage and shared customs continue to shape the making and use of ceremonial cloth.
770 × 1560mm
est $1,000 — $2,000
121 A Contemporary Masi, Fiji
Bark of the paper mulberry tree (Broussonetia papyrifera), natural pigments made from soot, clay, plant dyes. A square sheet of masi bark cloth, made from handbeaten inner bark. The cloth is decorated using a traditional kupetistencil technique, featuring repeating geometric patterns in earthy tones. Masi is central to Fijian cultural and ceremonial life. It is used in weddings, funerals, chiefly installations, and as gifts in traditional exchanges. Masi making is predominantly a women’s art, passed down through generations
est $300 — $500
122 A Canoe Bailer, Reef Islands, Solomon Islands
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 and a short handle, allowing efficient removal of water from traditional outrigger canoes. The outer surface bears subtle faceted contours and visible tool marks, reflecting the artisan’s skill and the object’s handcrafted nature. In the maritime cultures of the Reef Islands, outrigger canoes are central to daily life, serving as essential vessels for fishing, inter-island travel, trade, and social exchange. The canoe bailer is a vital tool, used to swiftly remove seawater that
enters the hull during voyages, ensuring the craft remains buoyant and safe. With collection number written on the handle “64 94”. H100 W118 D405mm
est $150 — $200
123 A Large Wood Paddle, Micronesia
A carved wood paddle notable for its distinctive pointed blade and angular form. The blade departs from the morro common rounded shapes seen in other oceanic paddles, instead tapering to a pronounced point with sharply defined shoulders where the blade meets the shade. L1800 W170mm
est $300 — $600
124 A Matau Fish Hook, Tokelau
This handcrafted Tokelauan fish hook, known as “Te Kau-hi-palu”, is a remarkable example of traditional Pacific deep-sea fishing technology. Crafted from the exceptionally hard gagie wood and expertly bound with Te Afo coconut fibre rope. Unlike surface or reef fishing tools, the Te Kau-hi-palu was specifically designed for deep-sea drop-line fishing. These hooks are more than utilitarian tools they reflect a deep connection to the ocean, ancestral knowledge systems, and sustainable fishing practices passed down through generations. L440 W230 D40mm
est $250 — $450
125 A Stone Adze Head, Milne Bay Louisiade Archipelago, Papua New Guinea
This example features an unusual bifurcated base with two projecting prongs designed to straddle a wooden shaft in a hafted configuration. The surface of the stone is highly polished, attesting to both its functional readiness and aesthetic refinement. Of particular note is the ornate chevron ribbing design carved into the surface, an uncommon decorative feature that would have required significant time, skill, and precision to produce. This ribbing not only enhances the visual appeal but may also reflect symbolic or status-related significance.
Adze heads such as this were essential multi-purpose tools within traditional Melanesian societies, used for canoe carving, woodworking, and construction. Beyond their practical applications, such tools were valued as prestige items, often exchanged, inherited, or employed in ceremonial contexts. H60 W65 D305mm
est $300 — $500
126 A Stone Adze Head, Papua New Guinea
A distinctive stone adze head, intended for hafting, from Papua New Guinea. Crafted from a speckled green-grey stone, this example is notable for its striking visual form reminiscent of a stylised human face, with symmetrical bulging projections on either side of the blade that evoke eyes, possibly suggesting anthropomorphic or symbolic intent.
One side of the blade features a carefully carved sunken channel designed to receive and securely cradle a wooden shaft when hafted. This functional element reflects an advanced understanding of tool construction, combining form and utility.
The stone is finely shaped and well-balanced, with a smooth finish that shows signs of both workmanship and use. The visual and structural qualities of this piece suggest it may have held significance beyond the purely utilitarian potentially functioning as
both a practical tool and a status object within its cultural context. Adze heads of this kind were central to traditional lifeways across Papua New Guinea, used for woodworking, canoe building, and ceremonial architecture. When rendered with such care and distinctive form, they were often objects of pride and cultural value. H88 W43 D198mm
est $300 — $600
127 A Ceremonial Mace Head, Rennell Island
19th century. Laboriously carved from a single stone and highly polished. The neck of the mace is white with carved notches running up two sides, a flaring collar sits below the fluted head. Maces of this kind were not utilitarian weapons but rather prestige items, likely used in high-status exchanges, ritual performance, or chiefly display. Rennell Island, known for its distinct cultural expressions within the Solomon Islands group, produced mace forms that are both rare and aesthetically unique within the broader Melanesian region. L305 W175 D70mm
est $500 — $1,000
128 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 W75 D46mm ProvenanceThe vendor inherited from a private museum, Hawkes Bay
est $200 — $400
129 Three Bone Fragments of a North Island Giant Moa, Aotearoa
Recovered from beneath large limestone boulders near the windmills along the Napier-Taupō Road, these three bone fragments originate from the North Island giant moa (Dinornis novaezealandiae) the largest of New Zealand’s extinct ratites. Once standing up to 3 meters tall with neck extended, these flightless birds roamed forested and shrubland regions across Te Ika-a-Māori (the North Island) until their extinction in the centuries following human settlement. Recovered beneath limestone rockfall in a highland area, is consistent with accidental death or post-mortem displacement, with the rock cover providing excellent preservation conditions: cool, dry, and undisturbed. Such natural shelters have occasionally yielded well-preserved moa remains that offer critical insights into the physical characteristics and ecological range of these remarkable birds. This trio of bones include femoral or tibiotarsal elements. They represent not only a rare palaeozoological find, but a direct physical connection to one of Aotearoa’s most iconic extinct megafauna. Largest L510 W65 D100mm
est $400 — $800
130 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. L200 W800 D68mm Provenance The vendor inherited from a private museum, Hawkes Bay
est $200 — $400
131 A Dagger with Leather Handle from the Mahdist War, Sudan 1881-1899.
A fine Sudanese dagger dating to the period of the Mahdist uprising, featuring a double-edged steel blade inscribed in elegant Thuluth script near the forte. The script likely carries Quranic invocations or protective phrases, reflecting the spiritual fervour and religious symbolism central to the Mahdist movement. Such daggers were carried by Mahdist warriors and officers, serving both as weapons and as emblems of devotion to the Mahdi’s cause in their struggle against Ottoman-Egyptian and British forces.
L325 W34 D20mm
est $150 — $300
132 A Dagger and Sheath from the Mahdist War, Sudan 1881-1899
A straight-bladed Sudanese dagger dating to the Mahdist War, featuring a wooden handle shaped for firm grip and fitted into a leather-covered wooden sheath.
The Mahdist War was a seminal conflict in Sudanese history, beginning in 1881 when Muhammad Ahmad, proclaiming himself the Mahdi (“the Guided One”), led a religious and military revolt against the ruling Ottoman-Egyptian administration. Over nearly two decades, his followers, known as Mahdists, waged a campaign to unify Sudan under a theocratic state, culminating in the capture of Khartoum in 1885 and the establishment of the Mahdist State.
L280 W64 D50mm
est $150 — $300
133 A Dagger and Sheath from the Mahdist War, Sudan 1881-1899
A straight-bladed Sudanese dagger dating to the Mahdist War, featuring a leather handle shaped for firm grip and fitted into a leather-covered wooden sheath.
The Mahdist War was a seminal conflict in Sudanese history, beginning in 1881 when Muhammad Ahmad, proclaiming himself the Mahdi (“the Guided One”), led a religious and military revolt against the ruling Ottoman-Egyptian administration. Over nearly two decades, his followers, known as Mahdists, waged a campaign to unify Sudan under a theocratic state, culminating in the capture of Khartoum in 1885 and the establishment of the Mahdist State.
L280 W45 D25mm
est $150 — $300
134 A Silver Thurium Stater, c. 350-300 BCE
7.53g, LUCANIA. Head of Athena right, wearing crested Attic helmet adorned with Scylla. Bull charging right. Good to Fine. Thurium’s coinage reflects the blend ofAthenian cultural influenceandlocal Italic identity, making it one of the most attractive and symbolically rich series of the late Classical Greek world
est $600 — $800
135 A Shona Headrest, Zimbabwe
This finely carved headrest exemplifies the sculptural traditions of the Shona people of Zimbabwe. It features a central supporting column with a medallion-like motif, defined by raised ribs and surmounted by three carved triangles. These geometric elements introduce a rhythmic visual cadence, balancing form and function with a refined aesthetic sensibility. Shona headrests, known locally as mutsago, were traditionally used by men to support the head while sleeping, protecting intricate hairstyles and serving as portable, personal possessions. Often passed down through generations, headrests could be deeply personal objects imbued with social significance. H135 W160 D72mm
est $400 — $800
136 A Roman Silver Denarius Depicting Vespasian, AD 69-79
Judaea Capta. Rome Mint. Struck circa 21 December AD 69 - early CE 70 Laureate head right. Rev: IVDAEA in exergue, trophy; to right, Judaea seated right in attitude of mourning, head resting on hand. RIC II 2; Hendin 1479; RSC 226. VF (Very fine) Struck at the dawn of Vespasian’s reign, it marks both the end of civil war and the assertion of Roman authority over the East.
est $700 — $900
137 A Plait Woven Bag
With decorative vertical strips of plant fibre running up the length of the basket and forming braided handles. with collection number “732” written inside. L280 W480 D30mm
est $50 — $100
138 A Gourd With Braided Carrier
With collection information written to the underside. H250 D180mm
est $50 — $100
139 An Intricately Woven Basket, Wallis and Futuna
This finely crafted basket originates from Wallis and Futuna, a remote Polynesian territory in the South Pacific. Woven with exceptional precision using natural plant fibres the basket showcases a complex geometric weave, reflecting the deep cultural importance of fibre artistry in the region. Traditionally made by women, baskets like this one serve both practical and ceremonial purposes, used for storing food, transporting goods, or as offerings in communal events. The tightness of the weave and the rhythmic repetition of the pattern speak to a lineage of skill passed down through generations. In Wallis and Futuna, weaving is more than utility
it’s a form of visual storytelling and a marker of cultural identity. With collection number ‘Co.50’. H255 W370 D155mm,
est $200 — $400
140 A Folk Art Trinket box with Māori Motif, Aotearoa
This hand-carved wooden trinket box draws upon traditional Māori decorative motifs, blending indigenous design elements with a folk art sensibility. Featuring two stylized faces carved into the lid. Each face is characterized by bold, incised patterns that draw from traditional Māori whakairo (carving) techniques, with curved and linear motifs. The eyes of both figures are inlaid with iridescent pāua shell. Folk art objects such as this became especially popular in the mid-20th century, often crafted for domestic use or as souvenirs. Though not traditional taonga, they represent the ways in which Māori motifs have been adapted into wider New Zealand material culture, sometimes as tribute, other times as stylized commercial reinterpretation. H55 W170 D90mm
est $200 — $400
141 A Large Contemporary Kapeu Pendant, Aotearoa
A striking large Kapeu pendant carved from pounamu. Kapeu are traditional Māori pendants, often worn as neck adornments, symbolizing status, protection, and ancestral connection. his contemporary example demonstrates the enduring vitality of Māori carving traditions, blending respect for heritage with innovative personal expression. L190 D30mm
est $500 — $700
142 A Folk Art Wahaika, Aotearoa
This handcrafted wooden wahaika demonstrates a unique folk art interpretation of customary Polynesian weaponry. Carved from native hardwood, the wahaika retains the characteristic notched blade, rounded butt, and flat edge typical of the form, traditionally used in close combat. Produced primarily for the tourist market in the mid-to-late 20th century, such pieces were often sold in gift shops or at cultural events, offering visitors a tangible connection to Māori heritage. While not carved by a trained tohunga whakairo (master carver), these items reflect the broad cultural appeal and recognition of Māori art forms. H300 W105 D20 mm.
est $300 — $600
143 MICHELE POSSUM NUNGURRAYI Bush Fire
2014. Diptych Acrylic on board and canvas In Bush Fire, Michele Possum Nungurrayi powerfully interprets the dual nature of fire within the Australian landscape and its capacity for devastation and its vital role in regeneration. Executed as a diptych, the work spans both board and canvas, demonstrating Nungurrayi’s dynamic approach to storytelling through traditional iconography and contemporary technique. With intricate detailing and layered symbolism, this piece reflects deep ancestral knowledge and the cyclical forces that shape Country. Frame 460 × 660mm
est $300 — $500
144 Two Menate Headbands Including One Japanized Ainu Example, Japan
This lot comprises two traditional headbands (menate), including a rare example attributed to a Japanized Ainu individual. By the 19th century the Ainu, the Indigenous people of northern Japan had largely been confined to Hokkaido, where their material culture increasingly blended with that of ethnic Japanese settlers due to colonization and assimilation policies. The Japanized Ainu menate reflects this cultural hybridization, combining Ainu textile motifs or construction techniques with more mainstream Japanese materials or stylistic influences. These headbands were not only practical, securing the hair during labour or ritual, but also served as markers of identity, regional belonging, or status.
H65 W320mm
est $200 — $400
145 JULIEANNE NAIGANAJI TURNER Woman Ceremony
Julieanne Naiganaji Turner’s Woman Ceremony is a striking work rendered in acrylic on canvas, featuring a rhythmic composition of dots and concentric circles against a deep black ground. Reflecting the artist’s deep cultural connection and storytelling tradition, the work conveys a sense of ceremony, unity, and ancestral presence. The use of dot painting techniques and symbolic geometry speaks to the enduring strength of women in Indigenous Australian culture. Signed on the reverse.
305 × 305mm
est $200 — $300
146 A Fishing Hook, Tonga
A traditional fishing hook expertly crafted from white shell and tortoise shell. The combination of these durable, naturally sourced materials reflects indigenous knowledge of marine resources and skilled craftsmanship. The hook’s elegant form balances functionality with cultural aesthetics, designed for effective use in reef and deep-sea fishing. Fishing hooks like this were essential tools for Tongan communities, integral to daily subsistence and cultural identity. L83 W25 D25mm
est $200 — $400
147 A Dayak Waist Mat, Borneo
This finely woven seat mat originates from the Dayak peoples of Borneo, renowned for their rich textile and fibre arts traditions. Crafted from natural plant fibres, likely rattan or pandanus, the mat features a bold geometric design which is a hallmark of Dayak visual language, often echoing motifs found in tattoos, carvings, and woven textiles. Traditionally worn around the waist during ritual or ceremonial occasions, these mats also served a practical role as portable seating within longhouses or during travel. With collection number ‘90.114’ on a swing tag L570 W430mm
est $400 — $500
148 A Tabua, Fiji
A traditional Fijian tabua, made from a polished sperm whale tooth and pierced at each end for suspension with plaited coconut fibre. Tabua are among the most significant cultural items in Fijian society, functioning as powerful symbols of honour, respect, and high social status. Originally rare and obtained through inter-island trade or from beached whales, tabua were highly prized and
exchanged during important life events such as births, marriages, deaths, political alliances, and reconciliation ceremonies.
Tooth L130 D35mm Cord L440mm
est $900 — $1,200
149 A Stone Pestle, Western Province, Solomon Islands
Pre-contact, Western Province
This finely carved stone pestle originates from the Western Province of the Solomon Islands and features a distinctive anthropomorphic handle. The upper section is sculpted into a stylised human head, with clearly defined eyes and a mouth, possibly representing an ancestral or spiritual figure. The pestle tapers into a rounded, smooth grinding end, showing signs of use. Stone pestles of this kind were used in food preparation, particularly for pounding taro or other tubers.
est $400 — $600
L290 D50mm
150 A Stone Pestle, Solomon Islands
Contact period, Western Provence.
This intricately carved stone pestle features an anthropomorphic head at the top and a distinctive hand guard terminating in four scalloped protrusions. The carved human face is stylised, with minimal but deliberate features. The hand guard flares out into four evenly spaced, scallop-edged projections, a rare and striking detail that adds both visual rhythm and symbolic resonance. In the Western Province, stone pestles were functional tools used in food preparation, yet they were often elevated through careful carving that imbued them with ancestral or ceremonial meaning.
L355 W50mm
est $400 — $600
151 A Stone Pestle, Solomon Islands
Contact period, Western Provence.
This stone pestle from the Western Province of the Solomon Islands is distinguished by a finial carved in the shape of either a sun or flower, crowning the handle with radiating petal- or ray-like forms. The handle is further decorated with vertical ribs that run its length, creating a textured grip and visual rhythm.
Stone pestles like this were primarily used in the preparation of staple foods such as taro, yams, and other root vegetables. The smooth grinding end was employed to pound and pulverize foodstuffs, facilitating cooking and consumption.
At the end of the hand guard, a central design of crosses encircles the pestle, carved with precision and likely bearing symbolic significance. The grinding end is smoothly finished and shows signs of use.
L355 D25mm
est $400 — $600
152 Two Ammunition Pouchs, a Scabbard, and Musket Ball
From the Boshin War, Japan
Circa 1868-1869.
The Boshin War was a pivotal civil conflict between forces loyal to the Tokugawa shogunate and those supporting the Imperial restoration under Emperor Meiji. As Japan stood on the threshold of modernisation, soldiers carried both traditional melee weapons and Western-style firearms, often with locally made or imported accessories like these pouches and scabbards. Ammunition pouches were essential for storing paper cartridges or musket balls, while scabbards remained part of a soldier’s standard
kit reflecting the blend of old and new military practices. Larger pouch L130 W180 D68mm, scabbard L500mm
est $200 — $300
153 A Jingasa from the Boshin War, Japan
Circa 1868 to 1869
This compact jingasa from the pivotal Boshin War which marked the fall of the Tokugawa shogunate and the rise of imperial power under the Meiji Restoration. Made from wood and leather, the hat is lacquered for weather resistance and features a bold mon (family crest) painted in yellow and red indicating the wearer’s clan or allegiance. Jingasa were traditionally worn by ashigaru foot soldiers and lower-ranking samurai, prized for their lightweight construction and practicality in battle. H155 D275mm
est $300 — $500
154 A Selection of Matchlock Equipment from Different Clans, Japan
During the Edo period (1603-1868), firearms were regulated but remained in use across Japan, particularly among samurai retainers and domainal armies. Powder flasks (hinawa-utsu or enpitsu) were essential for reloading matchlock guns (tanegashima), which had been introduced to Japan by Portuguese traders in the 16th century.
The circular flask bears the mon of the Ohara clan, the gourd flask is that of the Matsudaira clan, the flask with shell inlay is from the Abe clan. Also included is a lead shot and leather packing, a bullet mould and a carving. Gourd L160 D95mm, bullet Mould L170mm
est $300 — $600
155 A Baule Figure, Ivory Coast
Baule figures represent ancestors or usu spirits that populate Baule life, making these figures a reflection of individual devotion. This figure has many of the core characteristics reflected in Baule figures such as arms held tightly to the abdomen, knees slightly bent, and a face of tranquillity. Carved from a single piece of wood. This figure has dense arrangements of scarification on the back, face, chest, and stomach.
H565 W105 D120mm
est $200 — $400
156 A Dogon Mask, Mali
This striking Dogon mask, carved from wood and painted with black and red pigment in a dotted pattern, is a representation of an antelope and belongs to the category of Kanaga masks. These masks are traditionally worn during dama rituals, sacred ceremonies conducted to guide the spirits of the deceased from the village and into the afterlife.
The mask features a rectangular head form, with a slender, arrowshaped nose, a projecting mouth, and four vertical horn-like projections extending upward, evoking both animal and spiritual symbolism. Fibre rope ties remain at the back, indicating its original use as a wearable ritual object.
The Kanaga mask is emblematic of Dogon cosmology, where it is believed to represent the connection between the earthly and spiritual realms. Its form and decoration reflect a deep cultural significance within Dogon funerary practices.
H515 W200 D140mm
est $300 — $500
157 An Ibo Peoples Maternity Figure, Nigeria
This maternity figure carved by the Igbo people of southeastern Nigeria represents an embodiment of fertility, motherhood, and ancestral continuity. The figure is depicted with a voluminous form, holding one child at her stomach and carrying another on her back a rare and symbolically potent composition that emphasizes the nurturing and reproductive power of women within Igbo cosmology.
The figure likely formed part of a shrine or altar, either for chi a personal spiritual guardian, or alusi tutelary deities, functioning as a protective spirit or intercessor. Figures such as this were commonly associated with fertility cults, women’s initiation rites, and goddess worship, particularly honouring Ala, the Earth Mother and moral authority in Igbo belief systems H375 W115 D120mm
est $600 — $1,200
158 A Hand-built Earthenware Pot, Timor
This hand-built earthenware pot from Timor features a distinctive wrapped ring base and is decorated with incised lizard motifs, a design element deeply rooted in the symbolic and spiritual traditions of the region. Lizards in Timorese cosmology are often associated with protection, regeneration, and ancestral presence, reflecting the animist belief systems that have shaped the island’s material culture. H245 D240mm
est $100 — $200
159 A Metal Cooking Pot, Timor
This utilitarian cooking vessel, originating from Timor, is crafted from hand-beaten copper, a material valued for its superior thermal conductivity and resilience. The pot’s interior features a series of ribbed impressions, possibly intended to reinforce structural integrity or increase surface area for more efficient heat distribution. Its base and sides are deeply blackened, bearing the marks of prolonged exposure to open-flame cooking, a testament to its long-term, practical use. Subtle traces of verdigris (the green patina that forms on copper over time) are visible, suggesting age and continued interaction with moisture and heat. Despite its simplicity, the pot reflects the deep material knowledge and utilitarian craftsmanship of its makers. H205 D240mm
est $100 — $200
160 An Intricately Carved Dayak Gourd Vessel, Borneo
This ritual gourd vessel displays the refined craftsmanship and symbolic vocabulary characteristic of Dayak material culture. The body of the gourd is soot-blackened, likely through exposure to smoke or deliberate charring, giving it a deep, matte finish. A finely carved dog figure is positioned at the lower section of the vessel, serving either as a symbolic guardian or totemic reference. On one side, a stylized human face motif is incised, its features abstracted into angular forms typical of Dayak design. The vessel rests on a ring base wrapped in plant fibre. Among various Dayak groups, carved gourds were used in both ritual and domestic settings, often for the storage of medicinal herbs, magical substances, or offerings. The inclusion of animal and human motifs aligns with animist beliefs wherein such vessels could serve as protective or mediating objects between the human and spirit worlds. H180 D150mm
est $300 — $500
161 A Scrimshawed Bone Batak Calendar Walking Stick, Indonesia
An intricately scrimshawed walking stick composed of multiple sections of bone, likely water buffalo, with a wood shaft. The bone section is engraved with traditional Batak calendrical and cosmological motifs. The surface is covered with fine incised line work, filled with dark pigment to highlight the elaborate decorative and symbolic elements.
Of particular note is the inclusion of porhalaan, the traditional Batak lunar calendar, used for divination and the timing of ritual activities. These calendars were typically known only to ritual specialists (datu), who employed them for determining auspicious days for planting, ceremonies, or healing. L1030 D35mm
est $700 — $1,400
162 A Ili Lā ‘Au Hardwood Fan, Samoa
TheIli Lā ‘Au is a traditional Samoan fan, handcrafted from finely carved hardwood slats, Traditionally used to create airflow during hot weather, it is also held or displayed during formal gatherings. L790 W265 D25mm
est $250 — $350
163 A Scrimshawed Bone Batak Calendar Walking Stick, Indonesia
An intricately scrimshawed walking stick composed of multiple sections of bone, likely water buffalo, joined together and richly engraved with traditional Batak calendrical and cosmological motifs. The surface is covered with fine incised line work, filled with dark pigment to highlight the elaborate decorative and symbolic elements.
Of particular note is the inclusion of porhalaan, the traditional Batak lunar calendar, used for divination and the timing of ritual activities. These calendars were typically known only to ritual specialists (datu), who employed them for determining auspicious days for planting, ceremonies, or healing. L860 W150mm
est $1,000 — $2,000
164 Three Obsidian Daggers, Admiralty Island, Papua New Guinea
20th Century
This set of three finely crafted daggers originates from the Admiralty Islands in Papua New Guinea. Each weapon features a sharply flaked obsidian blade, prized for its razor-sharp edge and glass-like sheen. The blades are securely mounted using a natural resin derived from the parinarium nut, bonding them to handles carved from ochre-stained pithwood. In the Admiralty Island cultures, daggers like these were not only utilitarian tools and weapons but also held symbolic and ritual significance. Handles fashioned from pithwood, a lightweight material, allowed for ease of use. Largest L280 W55 D35mm
est $300 — $500
165 A Stone Hand Adze, Solomon Islands
Pre-contact period, prior to late 18th century
The tool’s form is enhanced by a Janus head detail carved directly into the stone. Stone adzes of this type were essential tools for shaping wood in construction, canoe carving, and creating ritual objects. The hammer-finished surface enhanced cutting efficiency and durability. L240 W120 D50mm
est $600 — $800
166 An Obsidian Dagger with Male Figure Handle, Admiralty Islands, Papua New Guinea
This striking dagger from the Admiralty Islands features a finely flaked obsidian blade affixed to a carved wooden handle shaped in the form of a male figure. The blade, renowned for its sharpness and glossy black surface. Such anthropomorphic handles are characteristic of Admiralty Island craftsmanship, where form and function intertwine with symbolism. Daggers like this served both as weapons and as ritual objects, reflecting the social status of their owners and their connection to ancestral lineage. The integration of the obsidian blade with the figurative handle exemplifies the region’s sophisticated woodworking and symbolic artistic traditions, merging natural materials and cultural meaning in a single object. L290 W48 D25mm
est $350 — $400
167 An Editioned Print of Te Rangihaeta by Charles Heaphy
Published by J.H.Bethune and co. Wellington 1965 Te Rangihaeta 1840 by Charles Heaphy, VC, Draughtsman to the New Zealand Company No. 351 of prints limited to 500 Charles Heaphy’s Te Rangihaeta, 1840 is a historically significant portrait of Te Rangihaeata, a prominent Ngāti Toa rangatira and military leader during the early period of European colonisation in Aotearoa. Created while Heaphy was employed as a draughtsman for the New Zealand Company, the work reflects the colonial impulse to document and visually categorise Māori individuals and communities encountered during early land acquisition efforts.
Te Rangihaeata was a key figure in resisting British encroachment on Māori land and sovereignty, particularly in the 1840s during conflicts in the Hutt Valley and Wairau.
Frame 370 × 265mm
est $300 — $500
168 An Albumen Print of Te Hira Te Kawau, Aotearoa
This 19th-century albumen print depicts Te Hira Te Kawau, a rangatira of Ngāti Whātua and son of Āpihai Te Kawau, the influential leader who signed Te Tiriti o Waitangi in 1840 and gifted land for the founding of Tāmaki Makaurau. In the portrait, Te Hira is shown wearing a traditional kakahu (woven cloak) and bearing a moko kauae.
The style and format of the portrait posed and frontal are consistent with colonial-era photographic conventions, often used to document Māori leaders and dignitaries for both local and European audiences.
The print is mounted on a studio card marked “Dougall, Invercargill NZ”, with a handwritten inscription on the back of the frame reading: “From Dougall’s Studio, Esk Street, Invercargill NZ.” This attribution suggests the image was likely taken or printed in the 1870s-1880s by one of the Dougall family photographers known to be active in the South Island during that period.
Photographers of this time often aimed to capture what they believed were “vanishing races” or “noble savages”, framing Māori as part of a disappearing world in need of preservation through imagery, though in reality Māori communities were resilient, actively resisting colonial rile and maintaining their culture identity.
Frame 270 × 215mm
est $200 — $300
169 A Editioned Print of Te Rauparaha 1839 by Charles Heaphy
Marked; Published by J.H.Bethune and co. Wellington 1965 Te Rauparaha 1839 by Charles Heaphy, VC, Draughtsman to the New Zealand Company.
Original in possession of W.F. Airey, Esq, Lower Hutt.
Printed by C.M. Banks Ltd No. 351 of prints limited to 500. Charles Heaphy (1820-1881) was a British-born artist, surveyor, and explorer who played a notable role in early colonial New Zealand. He arrived in Aotearoa in 1839 as the official draughtsman for the New Zealand Company, tasked with producing illustrations that would help promote and legitimise British settlement. Heaphy’s work is among the earliest visual records of Māori life and the New Zealand landscape from a European perspective. While valuable as historical documents, his artworks must also be understood within the colonial framework in which they were produced often portraying Māori subjects for the interest and reassurance of British audiences.
One of his most well-known subjects was Te Rauparaha (c.1760s-1849), the paramount chief of Ngāti Toa Rangatira, a formidable strategist, orator, and warrior. Te Rauparaha was a dominant figure in 19th-century Aotearoa, remembered for both his military campaigns during the Musket Wars and his political influence in the years surrounding the signing of Te Tiriti o Waitangi
Frame 370 × 270mm
est $300 — $500
170 A Woomera, Cooper Pede, Australia
This wooden woomera, originating from the Coober Pedy region of South Australia, is a traditional Aboriginal spear-thrower designed to increase the speed and distance of a thrown spear. The elongated, slightly concave form, typical of Central and Western Desert styles, shows evidence of practical use, with wear consistent along the shaft and butt. An inscription near the butt end reads ‘85.8 Cooper Pede / Alice’, likely referencing its collection in August 1985, between Coober Pedy and Alice Springs, two key locations within the arid interior of Australia.
Woomeras such as this one are emblematic of the adaptive technologies developed by Aboriginal peoples to survive and thrive in arid environments L845 W78 D20mm
est $150 — $250
171 A Pair of Message Sticks, Australia
Message sticks have historically served as vital communication tools among Aboriginal communities, conveying messages, invitations, or signals between groups across vast distances. The intricate painted motifs are not merely decorative but carry symbolic meanings understood within their respective cultural contexts.
A striking pair of traditional Australian message sticks, painted predominantly in vibrant yellow. Each stick features a central band adorned with a distinctive cross-hatch design in yellow, white, and red. Each with collection numbers painted to the end. Larger L515 W72 D32mm
Provenance: Collected in 1965
est $100 — $200
172 A Woomera, Arnhem Land, Australia
This woomera from Arnhem Land, Northern Territory, is a traditional Aboriginal spear-thrower, designed to extend the throwing arm and increase the speed, distance, and impact of a spear
in hunting contexts. The object is not only functional but also richly decorated, indicating cultural and artistic significance.
The surface is coloured with yellow ochre pigment and features intricate rarrk (cross-hatching) designs rendered in shades of yellow and brown. These linear patterns are characteristic of Arnhem Land painting styles and often hold ceremonial or clan-based significance. The application of natural pigments reflects longstanding traditions of body and object decoration in the region.
An inscribed collection number ‘62’ appears near the butt of the object, indicating it was acquired in 1962, likely as part of mid-20th century collecting efforts in remote Aboriginal communities. L740 W62 D32mm
est $150 — $300
173 A 19th Century Warriors Sword, Sudan
Emperor Menelik II (reigned 1889-1913)
The straight steel blade is etched on both sides with flourishing scrollwork and a lion motif near the hilt, emblematic of royal strength and courage, qualities often associated with the Lion of Judah, a national symbol of Ethiopia. The sword is fitted with a wooden handle of smooth, slightly waisted form, terminating in a brass domed pommel. The overall composition demonstrates the fusion of functional military craftsmanship with the decorative refinement characteristic of Ethiopian and Sudanese arms from this period.
Weapons of this type were carried by regional warriors and officers during Menelik’s campaigns to unify Ethiopia and repel foreign incursions, culminating in the historic victory over Italian forces at Adwa in 1896.
L830 W95 D48mm
est $200 — $400
174 A Sepik Ancestor Carving, Papua New Guinea
This powerful ancestor figure originates from the Sepik region of Papua New Guinea, an area renowned for its rich tradition of ancestral art and spiritual carvings. Its striking cowrie shell eyes are carefully inlaid, believed to hold protective and watchful qualities, connecting the living with their ancestors.
H660 W175 D77mm
est $50 — $100
175 A 19th-Late 20th Century Masai Sword, Kenya/Tanzania
A traditional Maasai seme, or short sword, with a leaf-shaped iron blade and a distinctive red leather scabbard. The blade is double-edged, broadest at the centre, and tapers to a rounded point designed for efficient cutting and thrusting.
The scabbard is constructed from wood and covered in bright red leather, a colour symbolic of strength, bravery, and warrior status within Maasai culture. The scabbard is polished and tightly wrapped, showing wear consistent with age and use
L615 W80 D20mm
est $200 — $400
176 An Argillite Hog Back Toki, Aotearoa
A finely worked adze hewn from dark grey-green argillite, exhibiting the classic ‘hog back’ form with a gently convex dorsal surface and flatter ventral face. The poll has been expertly pecked and flaked techniques characteristic of traditional Māori stone toolmaking, used to shape and refine the rear of the blade for hafting. This toki exemplifies the high level of
craftsmanship associated with Māori stone working. H55 W46 D195mm Y08003
Provenance: Ex John Perry Collection*
est $800 — $1,000
177 A Ko Digging Stick, Aotearoa
The ko is a traditional Māori agricultural tool used primarily for digging and cultivating soil, especially in the planting of kūmara, a staple crop. Shaped from a single piece of hardwood, this ko features a long, slightly curved shaft tapering to a chisel-like point. More than a utilitarian tool, the ko reflects the ingenuity and adaptation of Māori horticultural practices. It is emblematic of the deep spiritual and practical connections to the land in te ao Māori. L1910mm*
est $300 — $500
178 A Large Worked Stone, Aotearoa
A large, roughly worked stone of quadrangular cross section, fashioned from a coarse, porous material. The object lacks sharp edges. The exact function of this piece remains uncertain; it may represent a preform or blank for a toki or other tool, or possibly a utilitarian object used for pounding, grinding. L330 W71 D48mm Y22661*
est $200 — $400
179 A Large Chinese Tibetan 19th Century Lacquerpainted ‘ Dragon’ Screen
est $4,000 — $6,000
*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. 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.
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