September 2018 Webb's Auction Catalogue

Auction Dates —

Significant Art —

Tuesday 18 September 6.30pm

Decorative Arts —

Wednesday 19 September Lots 101 - 277 1.30pm Lots 278 - 515 6.30pm

Fine Jewels, Watches & Luxury Accessories — Thursday 20 September 6.30pm

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Special Enquiri Conditi Report

Lot 605

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Viewing Times — Preview Evening — Tuesday 11 September / 6pm – 8pm

Significant Art, Decorative Arts and Jewellery — Thursday 13 September / 10am – 4pm Friday 14 September / 10am – 4pm Saturday 15 September / 10am – 3pm Sunday 16 September / 11am – 3pm Monday 17 September / 10am – 4pm Tuesday 18 September / 10am – 12pm

Decorative Arts and Jewellery — Wednesday 19 September / 10am – 12pm

Jewellery — Thursday 20 September / 10am – 2pm

Specialist Enquiries and Condition Reports —

Amanda Morrissey-Brown Fine Art Specialist amanda@webbs.co.nz 027 929 5609

Tom Pan Asian Arts Specialist tom@webbs.co.nz 021 045 0118

Caolán McAleer Decorative Arts Specialist caolan@webbs.co.nz 027 929 5603

BSc, AJP, GG (GIA)

Marcus Atkinson Fine and Rare Wine Specialist marcus@webbs.co.nz 027 929 5601

Auctions Private Sales Valuations +64 9 529 5600 auction@webbs.co.nz

Christine Bronkhorst Marketing and PR christine@webbs.co.nz 027 929 5604

33A Normanby Road, Mount Eden, Auckland 1024, New Zealand

Lauren Boustridge

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Fine Jewels and Watches Specialist lauren@webbs.co.nz 027 929 5607

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New Zealand’s leading public gallery dedicated to the fields of design, craft and architecture

13 Rose Road, Ponsonby Open Tuesday to Sunday from 10am, free entry objectspace.org.nz

Lead Partner

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Strategic Partners

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GORDON WALTERS NEW VISION 7 JUL 4 NOV 2018 Principal partner

Exhibition partner

A partnership project between Dunedin Public Art Gallery and Auckland Art Gallery Toi o TÄ maki Gordon Walters Tiki II 1966, Barry Hopkins Art Trust. Courtesy Waikato Museum Te Whare Taonga o Waikato. Courtesy of the Gordon Walters Estate.

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Dulux_Colour Forecast 2 Webb’s_265x200mm

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Art: ‘Mustard’ by Stac

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Dulux_Colour Forecast 2019 Webb’s_265x200mm

Wall in Dulux Tata Beach

The future of interiors

Art: ‘Mustard’ by Stacey Lees; ‘Sculpture 13‘ by Mark Alsweiler

When the world is so busy and the influences so many, how do we filter out the noise and focus on what really matters?

Join us as we take you through the latest colour trends designed to nurture and empower.

In 2019 it’s all about creating your happy plac e and living your best life.

——— Explore the new colour trends at dulux.co.nz/colourforecast Dulux, Worth doing, worth Dulux and the Sheepdog device are registered trade marks of DuluxGroup (Australia) Pty Ltd. Due to limitations of the printing process, images may not represent the true colour. Always confirm your colour choice with Dulux Colour Swatches or Sample Pots.

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BESPOKE TAILORS 1 5 / 7 F A R A D AY S T, PA R N E L L

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Contents —

News

14

01 Significant Art

33

02 Decorative Arts

85

03 Fine Jewels, Watches & Luxury Accessories

141

Terms & Conditions

190

Index of Artists

192

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Obituary —

Remembering Milan — 1925–2018

right: Marti Friedlander Milan Mrkusich 1981 (detail) gelatin silver print, toned with gold 2000, Auckland Art Gallery Toi o Tāmaki, gift of Marti Friedlander, with assistance from the Elise Mourant Bequest, 2001

It is with great sadness that Webb’s acknowledges the recent death of Milan Mrkusich, one of New Zealand’s mostrespected abstract artists. Mrkusich began painting abstraction in the 1940s, at a time when most other New Zealand artists were entirely focused on landscape and regionalism.

Over the decades his pioneering exploration of abstraction, through geometry and colour, was influential and inspiring for other artists, such as Gretchen Albrecht, Julian Dashper and Shannon Novak.

Mrkusich is represented in all of New Zealand’s major public collections.

In 1972 and 1985, he had major exhibitions at Auckland Art Gallery and, in 2010, at City Gallery Wellington.

Three important commissioned works can be seen in Auckland: at St Joseph’s Catholic Church, Grey Lynn see his vivid stained glass windows and murals (1958-60), a mural on the facade of the old BJ Ball Paper building on Graham Street, central Auckland (overlooking Fanshawe Street), and the recently revealed glass mosaic at

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85 Fort Street - once the Chelsea Sugar Refinery building. Te Papa Tongarewa commissioned Mrkusich to create the mural of coloured enamelon-glass spandrels along the length of the Cable Street facade.

Mrkusich’s contribution to painting was honoured with a New Zealand Order of Merit award in 1997 and he was one of the first 10 artists to be acknowledged by an Arts Foundation Icon Award in 2003.

Art historian Michael Dunn had this to say: “Mrkusich’s works do encourage a silent consideration of the painted image rather akin to meditation.

They are not works that release their significance immediately but, rather, over a period of time, maybe years.

They are painted to repay contemplation, to allow return visits or, if you are lucky enough to own one, a daily interaction that never fails to deliver an emotional response.”

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New Zealand News —

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Object of Desire — A new site, look and direction for Objectspace on Rose Road Objectspace’s new building, designed by RTA Studio, at 13 Rose Road, Ponsonby, is well worth a visit. You’ll discover there great shows presented with design aplomb! A recent exhibition acknowledged typographer Kris Sowersby, typeface designer of Webb’s logo, and a survey of new work by Tuvaluan master artist Lakiloko Keakea is running from 29 September to 11 November. Keakea is acclaimed for her knowledge and expertise in the art of kolose (crochet) and the exhibition presents over 30 newly commissioned works exploring the fafetu (star) form. The project highlights and celebrates the significant role Keakea and the West Auckland-based women’s group Fafine Niutao i Aotearoa play in maintaining strong connections to their heritage and homeland through their art forms of kolose and weaving.

Lakiloko Keakea’s ingenuity and creativity as a contemporary artist has been acknowledged locally and her work is held in the collections of Auckland Art Gallery and Auckland Museum.

Congratulations to Objectspace and RTA Studio for being nominated as finalists for Gallery of the Year in the 2018 Architizer A+Awards – the world’s biggest award for architecture and design, alongside winning awards in the Small Project Architecture category of NZIA Auckland and Civic & Arts Property category of the Property Council New Zealand Awards. clockwise: RTA’s award winning Objectspace on Rose Road, Ponsonby Objectspace’s director Kim Paton Photo: David Straight Current exhibition: Lakiloko Keakea Fafetu (Star) 2018 Photo: Haru Sameshima

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Decorative Arts — Entries Now Invited December 2018

The auction will comprise of decorative arts covering a wide array of periods and styles from early-European antiques to pieces of mid-20th century modernist design, including furniture and furnishings, such as mirrors, clocks, rugs, ceramics, porcelain, silver and oriental porcelain.

Please contact our Decorative Arts Specialist for a complimentary, no obligation appraisal, or for more information regarding selling and buying at auction.

Contact Caolán McAleer Decorative Arts Specialist caolan@webbs.co.nz 027 929 5603

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Josef Hartwig Bauhaus Chess Set for Naef, Price Realised: $1,028.13 (including buyer’s premium)

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New New

Significant Art — Entries Now Invited November 2018

Entries are now invited to be included in a luxury catalogue. We welcome works by New Zealand modernist artists and contemporary practitioners.

Photography, sculpture, studio glass, important historical works and international consignments are invited. This catalogue will include text by leading New Zealand art writers and historians, contextualising the works and discussing their provenance and significance to New Zealand art history.

Please contact our Fine Art Specialist for a complimentary, no obligation auction appraisal for any items you are considering including in this auction or for more information regarding selling and buying at auction.

Contact Amanda Morrissey-Brown Fine Art Specialist amanda@webbs.co.nz 027 929 5609

Gordon Walters Untitled acrylic on paper 1978 Estimate $80,000 - $95,000

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New Zealand News —

from top: Ruth Buchanan BAD VISUAL SYSTEMS 2016 (installation view) Adam Art Gallery Te Pātaka Toi, Wellington, 2016 Jacqueline Fraser The Making of Mississippi Grind 2017 2017 (installation view) Auckland Art Gallery Toi o Tāmaki, 2017 Jess Johnson and Simon Ward Whol Why Wurld, 2017 soundtrack

by Andrew Clarke (installation view) , Carriageworks Sydney, 2017.

Pati Solomona Tyrell, Fāgogo (video still), 2016, ST PAUL St Gallery, AUT, Auckland, 2017

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Eyes on the Prize — Auckland Art Gallery Toi o Tāmaki until Jan 2019 Happily, The Walters Prize 2018 is on at the same time as is the exhibition of its namesake, artist Gordon Walters (Gordon Walters: New Vision) at Auckland Art Gallery. The Prize exhibition shows outstanding projects by Ruth Buchanan, Jacqueline Fraser, Jess Johnson with Simon Ward, and Pati Solomona Tyrell. An international judge will name the $50,000 award-winner in November.

The Walters Prize was established in 2002 by founding benefactors and principal donors Erika & Robin Congreve and Dame Jenny Gibbs, together with Auckland Art Gallery Toi o Tāmaki, with the intention to make contemporary art more widely recognised and debated. Over a two-year period, an independent jury of curators and artists researches national and international exhibitions to nominate four finalists whose work is recreated for display at the Gallery.

This years jury considered over 30 projects by New Zealanders here and abroad. In announcing the finalists they stated ‘Our selection includes work that expands ideas of sex, gender and ritual; installations exploring the legacies of feminism; and an immersive work that embraces and pushes technologies of moving image and animation.’

All of which sounds like the issues and experiences that dominate our life in 2018.

The New Zealand Herald described the four projects as ‘multi-sensory, bright and lively’ and noted ‘the nominated artists clearly want viewers to be actively involved with their work’.

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Private Viewing —

Call of the Wild — The Wildlife Photography of David Yarrow

Webb’s is pleased to represent Scottish-born photographer David Yarrow in New Zealand. He is known for his evocative and immersive photography of life on earth, which has earned him an ever-growing following amongst international art collectors.

His large monochrome images made in Los Angeles are on display in many leading galleries and museums across Europe and North America. By 2017, he had firmly established himself as one of the best-selling fine art photographers in the world, with his limited-edition prints (just 12 in an edition) regularly selling for more than $40,000 a piece.

However, philanthropy and conservation are central to Yarrow’s passion to document the animal and human worlds in a fresh and creative way. In 2017, charitable donations from the sale of his images exceeded $1.2 million.

His approach to photographing wildlife is guided by Robert Capa’s assertion that “if your pictures aren’t good enough, you’re not close enough”. When possible, Yarrow takes his photographs of dangerous wildlife using a remotecontrolled camera, acknowledging that a photographer can achieve perspective by capturing shots that look up at the animal from the ground.

For more information on these works

by David Yarrow, please contact Amanda Morrissey-Brown, Webb’s Fine Art Department.

Left: David Yarrow, 78 Degrees North 11, (detail) pigment print, flush mounted on aluminium, edition 5/12, June 2017 P.O.A.

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New Zealand News —

Fin &L En

Movers & Shakers Rhana Devenport, director of Auckland Art Gallery Toi o Tāmaki (AAG), is continuing her list of firsts by becoming the first woman director of the Art Gallery of South Australia, Adelaide, in its 137 years. When appointed to AAG in 2013, she became the gallery’s first woman director in 126 years.

Rhana brought excellent exhibitions to Auckland, such as Lee Mingwei and His Relations, and to the world through Lisa Reihana’s exhibition at Biennale Arte 2017 in Venice. She supported an active publishing programme of monographs on New Zealand artists. Alongside the major exhibitions, she secured a series of highly engaging family projects with artists such as Yayoi Kusama and Alfredo and Isabel Aquilizan. Webb’s wishes her every success for the future.

from top: Remai Modern, Saskatoon, Canada by KPMB Architects and Architecture49 Blair Jackson, Director of Christchurch Art Gallery Te Puna o Waiwhetū (CAGTPOW) Rhana Devenport, Director of Auckland Art Gallery Toi o Tāmaki (AAG)

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Blair Jackson became director of Christchurch Art Gallery Te Puna o Waiwhetū (CAGTPOW) in April, after serving as deputy director for a number of years, including during the earthquakes. He states: “I’m incredibly proud of what this gallery has achieved over our ‘earthquake years’… but even more excited about our future. CAG has always been innovative in the ways it has communicated with audiences, from the award-winning Bulletin, to commissioned art projects and events in and around the building and city during the earthquake years. It is so good having the gallery open again after being closed for five years but we’ve only just begun. There’s so much more that we want to do.” We are looking forward to the new directions Blair will surely bring.

Courtney Johnston, director of The Dowse Art Museum (and Hutt Museums), has been appointed to the newly created role of Director of Audience and Insights at Te Papa Tongarewa. Courtney has run an imaginative and influential programme

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at The Dowse, including Wunderrūma: New Zealand Jewellery and the current exhibitions, Embodied Knowledge and Can Tame Anything, which feature work by two generations of contemporary women artists, coinciding with the ‘Suffrage 125’ celebrations. We are hoping that Courtney continues to build audiences and insight through her entertaining and popular Instagram and Twitter accounts, and as a Radio New Zealand arts commentator!

Canada has a major new art museum but it’s not in Toronto, Montreal, Ottawa or Vancouver. Instead, the striking glassand-steel Remai Modern has opened in the remote prairie town of Saskatoon, located in the vast agricultural mid-west.

Its director is well-known New Zealand director and curator Greg Burke.

The opening exhibition of collections and desired acquisitions and artists’ projects, and including work by New Zealand artist Luke Willis Thompson, was envisioned as a sort of road map.

It might read like a mishmash of artists yet, according to one reviewer, “it works. It is a triumph of imagination.”

Burke’s intention for the museum, reported in Artforum International, is that it will “affirm the powerful role that art and artists play in questioning, interpreting and defining the modern era. It aims to be an imaginative and prescient museum and a leading centre for contemporary Indigenous art programming.” The Gallery has been generously supported by local philanthropist and namesake Ellen Remai who recently pledged C$1 million annually for art purchases for the next 25 years. The Frank and Ellen Remai Foundation’s total pledged contributions amount to C$103 million. Remai Modern has been recognised architecturally, and popularly – visitor attendance in the first six months exceeded the estimates for the opening year. Congratulations Greg!

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Fine Jewels, Watches & Luxury Accessories — Entries Now Invited December 2018

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This auction looks to include a curated collection of jewellery from the Edwardian and Art Deco periods, coloured stone jewellery and classic and contemporary diamond pieces.

Also of interest are timepieces from internationally renowned brands such as Cartier, Patek Philippe, Omega and Rolex to be presented alongside luxury accessories by leading designers such as Yves Saint Laurent, Hermès and Louis Vuitton.

Contact us to book an appointment with our Jewellery Specialist who can provide you with a complimentary appraisal for your precious pieces and guide you through the auction process.

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Contact Lauren Boustridge BSc, AJP GG (GIA) Fine Jewels & Watches Specialist Lauren@webbs.co.nz 027 929 5607

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Inter New

Announcing — The Roy Savage Collection of Classic Cars Part II March 2019

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Following the tremendously successful auction in December 2016, Webb’s is delighted to announce the second part of Roy Savage Collection of Classic Cars will be offered in March 2019.

The collection will comprise of prestige marques including Rolls Royce, Bentley, Allard and Mercedes.

Enquiries Caolán McAleer Single-Owner Collections caolan@webbs.co.nz 027 929 5603

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International News —

The Royal Acadamy of Arts, London

London —

Oceania

Royal Academy of Arts 29 Sept— 10 Dec 2018

The year is 1768 and Britain is in the throes of the Age of Enlightenment.

As a group of artists agrees to found the Royal Academy, Captain James Cook sets sail on a voyage of discovery in search of Terra Australis Incognita – the unknown southern continent, as Europeans called it. What Cook and his crew encounter on arrival is a vast number of island civilisations covering almost a third of the world’s surface: from Tahiti in Polynesia, to the scattered archipelagos and islands of Melanesia and Micronesia.

Marking 250 years since Cook’s first voyage to the Pacific, the Royal Academy celebrates the dazzling and diverse art of the region of Oceania, from the historic to the contemporary.

Oceania brings together around 200 exceptional works from public and private collections worldwide, and will span over 500 years. From shell, pounamu and ceramic ornaments, to huge canoes and dazzling house facades, it explores important themes of voyaging, place-making and encounter.

The exhibition draws from rich, historic ethnographic collections dating from the 18th century to the present, and includes seminal works produced by contemporary artists, exploring history, identity and climate change.

Ten of New Zealand’s leading contemporary artists will be exhibiting: Mark Adams, Yuki Kihara, Mata Aho Collective, Fiona Pardington, Michael Parekowhai, John Pule and Lisa Reihana.

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above: John Pule Kehe tau hauaga foou (To all new arrivals), 2007.

Auckland Art Gallery © John Pule left: Tene Waitere Tā Moko panel 1896-99. Te Papa © Image courtesy of The Museum of New Zealand Te Papa Tongarewa.

above: Fiona Pardington Portrait of a life cast of Matoua Tawai, Aotearoa, New Zealand 2010 With thanks Musée de l’Homme (Muséum National d’Histoire Naturelle), Paris.

Courtesy of the artist and Starkwhite.

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International News —

London —

Turner Prize

Tate Britain 26 Sept 2018 – 6 Jan 2019

Londo Opening on 26 September at Tate Britain is the 34th edition of the oftencontroversial Turner Prize. One of the four finalists is New Zealand-born Luke Willis Thompson, selected for his moving video autoportrait, 2017, presented first at Chisenhale Gallery, London, and, recently, in New Zealand at Adam Art Gallery, Wellington.

In July 2016, Diamond Reynolds broadcast live via Facebook the moments immediately after the fatal shooting of her partner, Philando Castile, by a police officer during a traffic-stop in Minnesota. Thompson invited Reynolds to work with him to produce an aesthetic response that could act as a ‘sister image’ to her broadcast, breaking with the wellknown image of Reynolds caught in a moment of violence, which had circulated widely online and in the news.

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autoportrait is a portrait of Reynolds’ grief but is also intended as a balance or counterpart to Reynolds’ own video.

Thompson’s silent, filmed portrait of Reynolds was made during a period of uncertainty between the charging of the officer who killed Castile and the subsequent trial.

Forensic Architecture, Naeem Mohaiemen and Charlotte Prodger are the other finalists. The winner will be announced in December.

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left: Luke Willis Thompson below: Luke Willis Thompson autoportrait, 2017 Chisenhale Gallery, London photo: Andy Keate courtesy of the artist, Hopkinson Mossman, Nagel Draxler, Cologne

from top: Frida Kah satin blou Photograp Muray © N Muray Ph

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Geneva—

Royal Jewels from the Bourbon Parma Family

London —

Frida Kahlo: Making Herself Up V+A until 4 Nov 2018

Sotheby’s Auction 12 Nov 2018

The exhibition presents an extraordinary collection of personal artefacts and clothing belonging to the iconic Mexican artist Frida Kahlo, one of the most recognised and significant artists and women of the 20th century, and explores how she fashioned her identity. It displays her clothes and intimate possessions, reuniting them with key self-portraits, films and photographs to offer a fresh perspective on her compelling life story. Working in close collaboration with Museo Frida Kahlo, the display includes more than 200 objects: Tehuana garments and embroidered shawls, letters, jewellery (some pre-Columbian), cosmetics – including her favourite lipstick, Revlon’s ‘Everything’s Rosy’, and red nail varnish – medicines and her handpainted medical corsets. All of these were discovered in 2004, 50 years after being sealed in the Blue House by her husband Diego Rivera, the Mexican muralist, following her death in 1954.

A review in The Guardian noted: “Everything about Kahlo was courageous. She was a revolutionary, a passionate lover, a bold artist... It’s fascinating to compare her few selfportraits in the exhibition with the many photographs of her on view. Kahlo, you realise, made herself less beautiful in her paintings than she was. She painted an inner self, not her exterior appearance.” from top: Frida Kahlo in blue satin blouse, 1939.

Photograph Nickolas Muray © Nickolas Muray Photo Archives

Frida Kahlo, 1949 The Love Embrace of the Universe, the Earth (Mexico), Me, Diego, and Señor Xolotl. © The Jacques and Natasha Gelman Collection of 20th Century Mexican Art and The Vergel Collection

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This event is all the world of jewellery is talking about right now! The fabulous collection of royal jewellery is made up of diamonds, natural pearls, sapphires and other gems. Pieces come from several generations of the BourbonParma family (at various times, kings of France, Spain and Austria) but, most exciting, includes some jewellery owned

by Marie Antoinette, Queen of France.

In 1792, when revolution was imminent, the Queen sent her jewels back to her brother, the Emperor of Austria, in Vienna for safekeeping. The Queen was beheaded in 1793 but her daughter escaped and received the jewels on her return to Austria; subsequently, they were passed down through the family line.

Highlights from the collection include Marie Antoinette’s pearl and diamond pendant, diamond necklaces and tiaras, diamond drop earrings and ruby brooches. These will be exhibited on a ‘worldwide’ tour and can be seen in Germany in September, then in London, New York, Hong Kong and Geneva, before the 12 November 2018 auction in Geneva.

Necklace made

by Matilde Poulat, Mexico City, c.1950.

Museo Frida Kahlo.

Photograph Javier Hinojosa. © Diego Riviera and Frida Kahlo Archives, Banco de México, Fiduciary of the Trust of the Diego Riviera and Frida Kahlo Museums.

right: Nineteenth century, pair of diamond earrings from Marie Therese of Savoy, Duchess of Parma (1803-1879) Photo courtesy Sotheby’s.

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International News —

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Sydney —

Sydney Contemporary Art Fair 13 - 16 Sep 2018

left: Jean Dubuffet, L’Incivil (after maquette dated 2 August – December 1973), 1973/2014 Courtesy of Pace Gallery Work of art by Jean Dubuffet © 2018 Artists Rights Society (ARS), New York / ADAGP, Paris

Don’t miss Sydney Contemporary art fair, at Carriageworks in Sydney’s Redfern, 13 - 16 September. It’s Australasia’s largest and most diverse art fair with participating galleries from six continents and artists from 32 countries. The gallery exhibitions will be complemented by a dynamic programme of curated installations, talks, performances and events happening throughout the Fair period.

In 2018, Sydney Contemporary will welcome one of the world’s leading contemporary galleries, Pace Gallery, with bases worldwide including New York and Hong Kong,and Flowers Gallery of London and New York. Returning galleries include: Sydney’s Roslyn Oxley9 Gallery and Sullivan+Strumpf; Melbourne’s Tolarno Galleries; Auckland’s Gow Langsford Gallery and STARKWHITE; Sundaram Tagore Gallery of Hong Kong, New York and Singapore; and Singapore’s Yavuz Gallery.

Sydney Contemporary expects to build on the successes of its previous three editions, which, collectively, attracted more than 60,000 visitors and recorded more than AU$40 million in art sales.

Singapore —

Art SG

Singapore 1-3 November 2019

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left: Peter Rob Purple Ha Courtesy Hopkinso

right: Zheng Gu Grand Vis Transform Hevajra, 2 The Kenn and Yasuk Collection Contempo Art, collec Queensla Gallery

below: Sydney Contemporary at Carriageworks 2017

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In a joint statement, MCH Group, Angus Montgomery Arts and Tim Etchells have announced a significant new art fair in the region: Art SG in Singapore.: “It is the right time for Singapore, as a flagship art city and key art centre of South-east Asia…

It represents a collective market of 620 million people, significantly larger than that of North America or the Eurozone…”

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The new National Gallery and the Singapore Art Museum are markers of how “firmly established” the Singapore art scene is. More than 80 galleries have already expressed interest in the fair. 2019 is a busy year: January will see the first Taipei Dangdai fair, led by Magnus Renfrew, the original director of Art HK, followed by Art Basel Hong Kong (29–31 March 2019) and the launch of Art SG in November 2019

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Brisbane —

APT9

The 9th Asia Pacific Triennial of Contemporary Art 24 Nov 2018 - 28 April 2019

The 9th Asia Pacific Triennial of Contemporary Art (APT9) is an important showcase of the freshest, exciting new work being produced in Asia, the Pacific and Australia. APT presents a wonderful opportunity for more than 80 visual artists and filmmakers from across Australia and the Asia Pacific to share works that are a powerful expression of their cultures and experiences, drawing visitors with its unique mix of visual spectacle and cross-cultural insight.

Stretching from Iraq to Hawai’i, the exhibition will feature a wide range of art forms and give particular focus to artists exploring the ongoing presence

of spirituality in digital times, the multiple ways that wealth, value and labour operate, the agency of the body, and concerns for others as well as the vulnerability of the natural world. New Zealand artists included in APT9 are Kushana Bush, Gavin Hipkins, Anne Noble, Lisa Reihana, Peter Robinson, The Kiribati Project led by Chris Charteris, and Areta Wilkinson.

APT9 always has terrific public programmes including interactive artworks for APT Kids developed in collaboration with exhibiting artists.

There will be a two day symposium on the opening weekend.

left: Peter Robinson Purple Haze, 2018 Courtesy the artist and Hopkinson Mossman right: Zheng Guogu Grand Visionary Transformation of Hevajra, 2016 The Kenneth and Yasuko Myer Collection of Contemporary Asian Art, collection: Queensland Art Gallery

Brisbane —

QAGOMA James Turrell’s Night Life

As the sky shifts to dusk, James Turrell’s Night Life 2018 illuminates the Gallery of Modern Art from within. Through shifts in tempo, hue and intensity of colour, the artist invites us to consider how we are affected by light. A decade after the opening of GOMA, this dynamic work realises the architects’ vision of animating the building’s façade at night.

For more than half a century, James Turrell (United States, b.1943) has worked with light and space to create immersive and moving artworks that play with viewers’ perceptions.

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International News — right: Sun Xun Newspaper Paintings, 2015– 2018. Installation view, Museum of Contemporary Art Australia, Sydney, 2018.

No

below: Sun Xun at work on Invisible Magic, 2018 ink on paper-screen

Sydney—

Sun Xun

MCA Australia until 14 Oct 2018

Sun Xun is one of China’s most exciting young artists, best known for his animations made up of thousands of ink paintings, charcoal drawings and woodcuts. Containing very little dialogue, these handmade films use combinations of image, sound and text to raise questions about what we perceive as truth and explore the slippery dynamics of memory, history, culture and politics.

The works often highlight the absurd incongruities between authorised histories and personal recollections, and

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are particularly concerned with the ways in which history can be manipulated, by official narratives from public agencies, politicians and the media, and moremarginalised accounts that stem from ordinary people’s experiences.

“I’ve made beautiful works and ugly works. I have ferocious pieces, but also very gentle ones. I talk about politics but I also talk about time. I talk about Chinese politics and Western politics.

Everybody thinks that in China you have to be a dissident, critical of the government, but I’ve been to Western

countries and seen many things that are laughable. Those have become equal sources of inspiration,” the artist recounted to Sydney Morning Herald critic, John McDonald.

The exhibition at the MCA includes myriads of drawings on newspaper, exquisite ink painting on handmade mulberry paper screens, animations and an installation of woodcut paintings, made with glow-in-the-dark pigment lit by ultraviolet light.

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Asian Arts — Entries Now Invited November 2018

Entries are now invited for a specialist auction of Asian Arts.

Items within this auction category can include porcelain, jades, fans, bronzes, lacquer, costume, furniture, wooden carvings and more.

Please contact Tom if you have items you would like included in this auction, or for a complimentary no obligation appraisal.

Contact Tom Pan Asian Arts tom@webbs.co.nz 09 529 5600 I 021 045 0118 Webb’s新一轮的拍品征集活动已经启 动，如果您手上有想要出售的瓷器、 玉器、青铜器、漆器、服饰、象牙、 木雕等任何材质的古董或艺术品， 欢迎联系我们的专家团队商洽上拍事 宜，Webb’s将为您提供免费且保密的 估价服务。

汤姆 潘 亚洲艺术专家 tom@webbs.co.nz 09 529 5600 I 021 045 0118

A Pair of Rare and Important Daoguang Mark and Period Canton Porcelain Bowls and Plates.

Price Realised: $41,712.50 (including buyer’s premium)

清道光 春上阖家赏花粉彩瓷碗碟组 成交价：新西兰元41,712.50 2018年6月13日，奥克兰

that me e artist erald

ludes per, ade ons

e-dark

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Inter New

Fine Wines— Entries Now Invited

Melbo

Mo

October - December 2018

Natio until 7

top left: Gerrit Rie Red blue c c. 1918, pa The Muse New York Rietveld /

bottom le MOMA at installatio

We are now seeking quality examples of fine wine and spirits to be included in our upcoming auctions in October, November and December.

We are pleased to offer a complementary valuation of your wines or spirits and have appointments available to visit your cellar or to meet with you at our Mount Eden premises.

For more information on upcoming auctions, to make an appointment or to discuss the process and benefits of selling at auction, please contact our Fine & Rare Wine department.

Contact Marcus Atkinson Fine & Rare Wine Specialist marcus@webbs.co.nz 09 529 5601 027 929 5601

Steve Allen steve@webbs.co.nz 09 529 5600

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International News — Melbourne —

MoMA at NGV National Gallery of Victoria until 7 October top left: Gerrit Rietveld Red blue chair designed c. 1918, painted c. 1923 The Museum of Modern Art, New York © Gerrit Thomas Rietveld / Pictoright. bottom left: MOMA at NGV, installation view.

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top right: Cesare Casati C. Emanuele Ponzio Pillola lamps 1968 The Museum of Modern Art, New York © Cesare Casati bottom right: Piet Mondrian Composition in red, blue, and yellow 1937–42 The Museum of Modern Art, New York © The Museum of Modern Art, New York, 2018

The National Gallery of Victoria, in partnership with The Museum of Modern Art, New York, presents MoMA at NGV: 130 Years of Modern and Contemporary Art. With over 200 key works arranged chronologically into eight thematic sections, the exhibition traces the development of art and design from late-19th-century urban and industrial transformation, through to the digital and global present.

The emergence of a ‘new art’ at the dawn of the 20th century is represented by some of MoMA’s earliest acquisitions, including masterworks by Vincent van Gogh, Paul Gauguin and Paul Cézanne.

The pioneering cubist and futurist artists, including Pablo Picasso and Umberto Boccioni, appear alongside the radically abstracted forms of artists Lyubov Popova and Piet Mondrian. Also included are the surreal paintings by artists

like Salvador Dalí and Frida Kahlo, and the spontaneity and tactility advanced in works by Alexander Calder and Jackson Pollock.

Art from the 1960s, from pop to minimalism, is explored with the work of Roy Lichtenstein, Andy Warhol, Lynda Benglis and Sol LeWitt, among others. Significant artworks of the late-20th and early-21st centuries, including pieces by Cindy Sherman, Keith Haring, Kara Walker, Rineke Dijkstra and Huang Yong Ping, foreground ideas such as those around cultural and national identity, and mobility in a globalised world.

Throughout the exhibition, works of visual art are displayed alongside objects from MoMA’s Architecture and Design collection, many of which draw out concerns common to architects, designers and artists.

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Significant Art Tuesday 18 September — 6:30pm

Specialist Enquiries and Condition Reports — Amanda Morrissey-Brown Fine Art Specialist amanda@webbs.co.nz 027 929 5609

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1 Gavin Hipkins Tender Buttons (Doll)

type C photograph signed Gavin Hipkins, inscribed tender buttons (doll), editioned 5/8 and dated 2006 in graphite verso 450mm x 300mm $2,500 – $3,200

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2 Tony de Latour Head

oil on board with painted frame signed Tony de Latour and dated 2005 in graphite verso 495mm x 473mm $4,000 – $6,000 NOTE Painted on the artist’s kitchen cupboard door

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3 John Reynolds Tough Shit

oil stick on screenprint signed Reynolds, inscribed Tough Shit and dated 2008 in graphite 315mm x 245mm $1,000 – $1,500

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4 Allen Maddox Untitled

oil on canvas laid onto stretched canvas initialled am and dated 1.76 in brushpoint lower center 5120mm x 453mm $4,000 – $6,000

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5 Billy Apple Billy Apple R.

silkscreen and graphite on Arches 88, 200gsm paper editioned 10/10 in graphite lower left 560mm x 380mm $4,500 – $6,000

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6 Billy Apple Billy Apple TM.

silkscreen and graphite on Arches 88, 200gsm paper signed Billy and editioned 18/45 in graphite 560mm x 380mm $4,500 – $6,000 NOTE This work marks 45 years of the Billy Apple brand and its new trademark status

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7 Peter Robinson $3.125%

acrylic and oil stick on paper 580mm x 750mm $20,000 – $30,000 PROVENANCE Purchased from Anna Bibby Gallery, Auckland, 1990.

Accompanied by original purchase receipt

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8 Judy Millar Venice 3

oil and acrylic on canvas 1600mm x 1100mm $22,000 – $32,000 PROVENANCE Purchased from Gow Langsford Gallery, Auckland

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9 Abdul Abdullah Conciliation (Of Self) 2015

c-type print, edition of 5 + 2 AP 1000mm x 1000mm $5,000 – $6,000

10 Abdul Abdullah Restitution (Of Self) 2015

c-type print, edition of 5 + 2 AP 1000mm x 1000mm $5,000 – $6,000

11 Abdul Abdullah Reconciliation (Of Self) 2015

c-type print, edition of 5 + 2 AP 1000mm x 1000mm $5,000 – $6,000

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Abdul Abdullah is a name to commit to memory. Born in Perth as a seventhgeneration Australian, Abdullah and his artistic practice embody a necessary confrontation to the politicisation of identity and mixed identity in our current political and social climate. As a Malay, Muslim and Australian man, Abdullah directly relates to the sense of otherness experienced in Western society by minority groups. It is this part of his identity, and how it causes others to treat him, which provides the impetus for his work.

Conciliation (Of Self) 2015, Reconciliation (Of Self) 2015 and Restitution (Of Self) 2015 are three works from a wider series titled Coming to Terms, currently included in the exhibition Diaspora: Exit, Exile, Exodus of Southeast Asia at MAIIAM Contemporary Art Museum, Chiang Mai, Thailand. This exhibition holds the only other complete set of these three works, the remaining five editions and two artist proofs are dispersed between private and public collections with no other editions available.

Coming to Terms is a series Abdullah created as a response to the negative reactions ignited by an earlier series tilted Siege. The title refers to a ‘siege mentality’, a state of mind where an individual feels constantly under attack; an affliction suffered by many marginalised and minority groups, particularly young Muslims growing up in a post 9/11 society.

In this suite of three works, all selfportraits of the artist, Abdullah literally holds the reality of the reactions to

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his previous series in his hands in the form of Aky the Malaysian monkey. Aky is a rescue monkey from Abdullah’s mother’s home village who was unable to be reintroduced to the wild. Abdullah stands before the viewer masked by the subhuman projections imposed on minority groups in a calm and tender moment of reconciliation with the reactions of the Siege works. The titles of Abdullah’s works are just are as important as the images themselves which are highly theatrical and draw on a reciprocal engagement and relationship with the audience.

In 2009 Abdullah received a Highly Commended in the National Youth Self Portrait Prize at the National Portrait Gallery in Canberra and was named a Perth Rising Star by Insite Magazine.

In 2010 Abdullah was included in the inaugural Triple J list of 25 Under 25 + Smashin’ It. In 2011 he was a recipient of Kickstart funding for the 2012 Next Wave Festival, was selected as a finalist in the 2011 Archibald Prize and won the Blake Prize for Human Justice.

His work is included in the collections of the National Gallery of Australia, the University of Western Australia, Murdoch University, The Islamic Museum of Australia and The Bendigo Art Gallery. Most recently his painting I wanted to paint him as a mountain, of Aboriginal artist and activist Richard Bell, was selected as a finalist in the 2014 Archibald Prize. Abdullah was also shortlisted for the 2019 Venice Biennale.

Amanda Morrissey-Brown

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12 Colin McCahon 15 Drawings December ‘51 to May ‘52

16 framed lithographic prints on paper signed Colin McCahon, inscribed 15 Drawings and dated December ‘51 to May ‘52 on plate 260mm x 195mm $4000 – $5000 NOTE Presented in 16 archival frames.

Published by the Hocken Library, University of Otago, 1976 REFERENCE Colin McCahon database, www.mccahon.co.nz, reference number cm001655

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15 Drawings - December ‘51 to May ‘52 is presented here as sixteen individually, archival framed lithographic prints.

McCahon originally created the work in 1951 as a series of fifteen ink on paper drawings. This piece was then given to poet, friend and patron Charles Brasch in exchange for funding McCahon’s career-altering trip to Melbourne earlier that same year. After Brasch’s death, the hand-bound volume was gifted to the Hocken Library at Otago University. In 1979, in an attempt to allow McCahon’s work to be more accessible to the public, a series of copies were made. As a result, we offer this exquisitely framed series, which through their visual depiction of the life of Christ, give the viewer an intimate snapshot of McCahon’s thoughts and artistic enquiries during the 1950s.

Emma Brown

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13 Paul Dibble View Over the Vineyards

cast bronze signed Paul Dibble, inscribed NZ and dated 2006 incised on top of base 2700mm x 1000mm x 640mm $70,000 – $85,000

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Delicately resting on her raised pedestal, the geometric female form of View Over the Vineyards is reminiscent of an abstract line drawing by Pablo Picasso. Modelled in semi relief, the work juxtaposes the formal qualities of linear rhythm as the elegant lines of her form flow down from her distant gaze and drape themselves over the minimalist cube she rests on.

Large seated figures have appeared in Dibble’s oeuvre since the mid-1990s, a period where Dibble created straight and extended forms that were gestural to the point of surreal. Dibble has expressed a longstanding interest in the human body throughout his practice, composing his figures of simple geometric shapes.

However since 2004, Dibble’s figures have gradually become softer and more curved, a development clearly expressed in View Over the Vineyards.

While male figures appeared more prominently in the beginning of Dibble’s series of seated figures, female forms emerged as the series developed. Initially, the male figures referenced studies of the Napoleonic wars created by Francisco Goya. Goya depicted towering figures sitting in quiet contemplation, looking down from a hillside on the atrocities taking place below.

Originally commissioned for the Christensen Estate Winery on Waiheke Island, which has since closed, View Over the Vineyards embodies a softer, more guardian-like figure, observing the expansive landscape and casting a watchful eye over the vineyard. Dibble frequently makes use of narratives and icons from New Zealand and the Pacific, incorporating aspects of native flora and fauna into his pieces. For View Over the Vineyards, leaves similar to the cultivar of the winery were modelled to adorn the figure’s hair.

Amanda Morrissey-Brown

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14 Peter Robinson Painting 1999

oil and acrylic on unstretched linen canvas 2140mm x 4870mm $220,000 – $280,000**

Peter Robinson is easily one of New Zealand’s highest profile, blue chip artists, having (with Jacqueline Fraser) represented the country at its first invitation to participate in the Venice Biennale in 2001. He is Associate Professor at Elam School of Fine Arts at the University of Auckland. Of Ngāi Tahu descent, the first major phase of his practice frequently, and with plenty of ironic humour, explored his own emerging understanding of his Māori identity, having been born and grown up in one of the most unequivocally Pākehā parts of the country around the South Island town of Ashburton.

This important work, Painting 1999 comes right at the tail end of that first phase. It visually dominates in a minimal palette of red, black and white that evokes traditional Māori kowhaiwhai and pre-Second World War political branding, and takes a deliberately naïf form, part constructivist propaganda, part patchwork quilt, and an allusion to the agricultural landscape of the mid-Canterbury of the artist’s childhood, his tūrangawaewae (place to stand).

There is a Jimmie Durham-esque selfconscious and ambivalent irony there, a playful approach to the vagaries of authenticity and identity that marks a generation of young Māori artists, along with Shane Cotton and Michael Parekowhai, who emerged at the beginning of the 1990s into postmodern art practice.

The painting seethes with pop culture, art history and the half-digested fragments of the national Id frozen in time. “For Sale” signs suggest a selling out of values, the selling off of Māori land, the roadside sign-like qualities of the late work of Colin McCahon, and the percentages hint – half seriously, half tonguein-cheek – at the politics of indigenous blood percentages and legitimacy under the Treaty of Waitangi.

The shapes that resemble incomplete and neutered swastikas are likewise many-layered, mixing Gordon Walters’ koru with that most infamous symbol of white nationalist genocidal racism, to form a stylised aeroplane (the Pākehā waka). It is surprisingly aggressive compared with much of his later work, but leavened with a laid back, non-threatening sense of humour about it all comparable to the self-aware and carefully coded comedic strategies of the late Billy T. James.

The full force of the work hits the eye like a wave, but the jokes stand out – “Wharehouse” punning on the ubiquitous discount retail chain and the Māori word for “house” – literally “house house”, “Dirt Cheap” is a pun on parsimonious Waitangi Tribunal reparations, “A Wee Gem” perhaps refers to Tūhoe prophet Rua Kenana’s hidden diamond-guardian of the land. It’s political, but not intimidating or angry because the artist wants you to listen, and there’s a lot to unpack.

Painting 1999 is a significant piece of New Zealand art history, an example that is particularly representative of these many threads of Robinson’s interest, in play at least since the Hangover exhibition in 1996, and probably since he graduated from the University of Canterbury School of Fine Arts in 1988. His work is ever evolving, changing and investigating. Here you get the impression he’s about to tie off all those loose ends to explore the next phase of his practice, coinciding with the point in time where he felt he had been typecast as a Māori artist and an “identity artist” and was looking for new, more formal and conceptual horizons of 1960s postminimalist sculpture and arte povera to explore.

Robinson’s work has been exhibited widely in New Zealand and internationally. Aside from the Venice Biennale, he has participated in many international biennials and touring exhibitions. He won the Walters Prize in 2008 for his exhibition ACK at Artspace, Auckland.

In 2016 he was made a Laureate of the Arts Foundation of New Zealand.

Andrew Paul Wood

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15 John Reynolds Untitled

oil pastel on screenprint, quadriptych 690mm x 1960mm overall $10,000 – $15,000 PROVENANCE Purchased from Peter McLeavey Gallery, 2004

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16 Roy Good Lintel IV

acrylic on canvas signed Roy Good, inscribed “Lintel IV” and dated 74/09 in brushpoint verso 1500mm x 1700mm $7,000 – $10,000

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17 Gordon Walters Untitled

acrylic on paper inscribed signed bottom right Gordon Walters 1978 in graphite verso 450mm x 340mm $80,000 – $95,000 PROVENANCE Private Collection EXHIBITED Art Basel Hong Kong, 2014

For this letter see William McAloon, ‘Introduction,’ Gordon Walters: Prints + Design, pp. 9-10.

In March 1978, Gordon Walters’ Wellington dealer Peter McLeavey was approached by the New Zealand Wool Board for a design proposal for a wall hanging from one of his artists. The Board aimed to produce 1000 woven wall hangings based on the design by the chosen artist to then be distributed to their clients. McLeavey suggested that Walters submit a design and the following month Walters acknowledged in a return letter that the Wool Board was using the design that he had sent them.1 Untitled (1978) is a version of that design.

The agglomeration of koru forms at the base of the composition, and the single red horizontal band a fifth of the way down from the top, all fit with an image that would become a larger and freehanging composition. The result would have been striking and iconic, like the Film Commission logo Walters delivered a year later, however, in the event, the Wool Board did not go ahead and produce the 1000 wall hangings it had promised. The Board’s Chief Officer later wrote to Walters that the transfer of his image “was not entirely satisfactory” and that “we all felt the simplicity and clarity of your design was lost.”2 The Board, established in 1944, was eventually dissolved in 2002 and the original design was sold at auction as part of its assets soon afterwards. Nevertheless, Walters was obviously pleased with the design he had produced in 1978 as he also

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1 See Gordon Walters: Prints + Design (Wellington: Adam Art Gallery Te Pataka Toi, 2004), p. 27 for a reproduction of the original design.

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made this version for himself to keep.

It remained in his possession and then that of the Walters Estate until recently.

It differs from the original submission only in the placing of the horizontal red band which is now situated slightly lower down. Perhaps Walters had rethought the original placement of the horizontal band? Or perhaps for the format of his own smaller acrylic on paper he felt this ‘looked right’ as he used to say? Walters’ purposeful juxtaposition of opposing visual elements (red band and jostling koru forms) are so placed that they engage and eventually steady the mind.

The ‘empty’ or black void space between functions to push our line of vision up and down. Our eyes latch onto one, then the other form, and the natural tendency for vision to converge in the middle is thwarted. It is as if the painting is forcing our looking apart, letting darkness and space rush in to fill the yawning void that opens up. The physical sense of gravity (it was for a wall ‘hanging’ remember) is ultimately keyed to the perfect yet mysterious balance of the painting’s foundation koru which are locked in a dance. Walters’ image is perfect not by reason of what it may mean but by reason of its distinctness, its emptiness, the ferocious boundedness of its imagining of a meeting of two elemental forms.

Laurence Simmons

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18 Ralph Hotere Black Painting

Renaissance art historian Giorgio Vasari recounts the following tale. The Pope sent an ambassador into Tuscany to find the best available artist to work in the Vatican. After collecting examples of the work of painters in Siena, he came to Florence and Giotto’s workshop. When he asked Giotto for a sample of his art to be sent to the Pope, Giotto took a piece of paper and a brush and, holding his arm firmly against his side in order to make a compass, proceeded to make a perfect circle in red paint. The courtier, disappointed, left convinced he had been duped but when the Pope saw Giotto’s drawing, and was told that it had been made without the aid of a compass, he appreciated the excellence of what Giotto had painted and hired him.

There is something about the circle and the circular that is so emblematic of painting that the quest for the perfect circle has haunted art history from its beginning. For physicists a circle is formed when a system finds an equilibrium at a minimum energy level. Using a similar argument, Gestalt perceptual psychologist Rudolf Arnheim (The Power of the Centre, 1982) has written of how the spatial organisation of all artworks is made up of two dynamics (in the sense of attraction or repulsion), which he calls centricity and eccentricity.

Ralph Hotere’s shiny, thin, perfect, purple circle on matte black acrylic in Black Painting (1969) — painted with a compass we need to admit — is in equilibrium, it both centres and is eccentric.

Hotere’s circle paintings of the late 1960s are themselves centred on three important artistic sources: Jasper Johns’ targets of the mid-1950s where Johns transformed the familiar image of a target into a tangible object by building up the surface with wax encaustic so that its concentric circles become less precise and more tactile. And Kenneth Noland’s circle paintings of the mid1950s, which were not targets, like Johns’, but abstract circles of blazing colour intensified by the circular format centred in square canvases. As they spun off their centres they seemed

acrylic on canvas signed Hotere, inscribed Black Painting, acrylic, 36” x 40 and dated ‘69 in brushpoint verso; signed Hotere, inscribed Black Painting, dated 1969 and inscribed Otago Museum 1969, Expo ‘70, Japan 1970, $180 on original artist’s label affixed verso 930mm x 1030mm $65,000 – $85,000 EXHIBITED Osaka Expo, 1970 and Frances Hodgkins Fellow exhibition, Otago Museum, 1969

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free of gravity, not to be read as solid substance. The third source for Black Painting lies in Hotere’s knowledge and admiration of the work of Ad Reinhardt.

(Hotere had cited a lengthy quotation from Reinhardt in his Zero Exhibition catalogue of paintings shown at the Barry Lett Gallery in 1967.) A ‘centric’ Reinhardt strived in his canvases for a superlative matte-ness that prevented any possible light reflection, as if in fear of interference from the phenomenal.

A ‘centric’ Hotere painting on canvas, Black Painting (1969) revels in a pictorial flatness that absorbs your gaze into its dark centre. Only the thinly painted purple line stands out against the infinite and disappearing black but, if you look hard, you can see the faint traces of concentric ripples as almost indistinct circles complete themselves inside the purple circle. “See whether it is understood or not,” was the message Giotto sent to Rome with his painted circle, and there it was “so perfect it was considered a miracle.” Hotere’s challenge to us is to ‘understand’ the formlessness of form.

As always, Hotere celebrates, like no other painter except perhaps McCahon, the limited virtues of black acrylic paint, density and fluidity. Through the moonless night sky of blackness his purple circle resonates like a twinkling halo lighting the way. No wonder Black Painting was chosen to ‘represent us’ at EXPO 70 in Osaka, and seeing it again I was reminded of lines from a poem by Bill Manhire who collaborated extensively with Hotere, providing the words that became building blocks for his pure abstract designs.

‘Poem beginning with a line

by Ralph Hotere’ The wind is blowing the year away.

The painter is holding a lamp.

Light fills the canvas, day after day.

Our eyes do dark adaptation.

The world takes shape but will not stay.

Laurence Simmons

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19 Milan Mrkusich Study: Untitled Red acrylic on canvas signed Mrkusich, inscribed Study: Untitled Red and dated 1994 in graphite verso 840mm x 915mm $20,000 – $30,000 PROVENANCE Purchased from Sue Crockford Gallery

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Milan Mrkusich’s almost seventy-year career was unusual among New Zealand abstract painters. He did not make his name by stopping painting in its tracks and setting off in a new direction. There is no emblematic Mrkusich invention, like a Richard Killeen cut-out or an Ian Scott lattice. No point where you can say, “There, that has changed things.”

Nevertheless, he is one of the most profound abstract painters New Zealand has known.

Mrkusich spent his career converting the rule-ridden zone of minimalist abstraction into a capacious yet disciplined place, reconnecting it to its roots in Abstract Expressionism. He is not a minimalist, which is a label lazily attached to him, although moments and parts of his painting register the historical logic of minimalism, its debunking of pictorial illusion and the realist rhetoric of landscape. He starts out with van Doesburg and De Stijl but in the end the painters who mattered the most to Mrkusich’s slow maturation were the abstract expressionists like Rothko not the modernists.

His work exudes a similar smouldering emotion that might be called passive expressive. It gives the lie that any art can be purely formal and completely abstract. He pursued the transition in the mind of sensation into feeling, an idea that is seemingly romantic, but one that Mrkusich observed with a monkish discipline as he forged a knowing of himself by forgetting himself in painting. But he never forgets painting as a physical object. Mrkusich displays, as he does in Untitled Red, bits of the frame, or its corners as he does in another one of his best series.

The device runs the risk of seeming gimmicky, and it often is with other artists, but not with Mrkusich whose dense planes of colour simply emphasise to the exclusion of all else the obtrusive fact that most paintings shape and frame background colour. He then brings these forward and makes them unavoidable.

Mrkusich’s abstractions progress from one idea of structure, proportion, colour, light and surface to another, and his

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trajectory encompasses a tremendous range of emotional energy and deep thought.

Looking at these paintings takes work. They attract and disassociate at the same time. Things are happening everywhere on the surface. In this way Mrkusich introduces the element of time into his work. His paintings are to be viewed episodically, time after time, without resolution ongoing. On first encounter they create sensations not yet transformed into feelings, a dance-like meditation in which viewers immerse themselves in visual experience by examining, from various distances, the subtle ways the marks and the pulsating ground work together.

Because of this required ‘phenomenology of seeing’ we might characterise his work as ‘slow painting’.

He seeks balance but his equilibriums are not standard. Look at how Untitled Red ‘breaks’ its frame at the top and lower left. He asks you as viewer to find your own equilibrium through a contemplative viewing. And so his painting is a sounding board for the spirit that resonates, complicated but also very simple, elemental even. (‘Elements’ was the title of a Mrkusich series of the 1960s). You get the image gradually as the previous layers of colour beneath the surface emerge and resonate. Mrkusich explores the malleability of pictorial space, how to shape it into a visual logic and how to make the plasticity and oddness of geometric forms relate to our emotional experience.

American philosopher and art critic, Harold Rosenberg, who first described Abstract Expressionism as ‘action painting’, once declared: “The modern painter begins with nothingness. That is the only thing he copies. The rest he invents.” It is a sentence we might readily apply to Mrkusich. Mrkusich’s art is an emigrant art, his parents arrived from Croatia in Dargaville where he was born seeking, as only emigrants do, the undefinable place of origin, the moment before everything began.

Laurence Simmons

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20 Bill Hammond Wild Life [Quiet Life]

acrylic and metallic print on paper, four panels signed W.B.Hammond, inscribed Wild Life [Quiet Life] and dated 1990 in brushpoint 1050mm x 2800mm overall $80,000 – $100,000 PROVENANCE Purchased from Ivan Anthony Gallery, Auckland.

Accompanied by original purchase receipt

1 Justin Paton, Bill Hammond’s Apocalyptic Wallpaper, in 23 Big Pictures (Dunedin, New Zealand: Dunedin Public Art Gallery, 1999), 8.

Paton, Bill Hammond’s Apocalyptic Wallpaper, 10.

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Continuously, furiously, his paintings restage the commonplace, unhouse the ordinary, and return us, changed, to the places we dwell in.

– Justin Paton, “Bill Hammond’s Apocalyptic Wallpaper,” in 23 Big Pictures1

Bill Hammond’s imagined New Zealand may contain landscapes of urban alienation and suburban neurosis, but these public and private spaces are also haunted by a uniquely local strain of gothic folk surrealism. It is a bewildering presence, and one that promises an alternate and ecstatic reality in parallel.

In Hammond’s world it’s a wild, wild life.

In Wild Life Quiet Life, Hammond’s domestic interiors are infused with the pleasures and pitfalls of the everyday, and echo the interior of the mind. On one hand, they are spaces of retreat: a man in an armchair rests his feet on the table either side of a television set. On the other, these private spaces are also groomed and presented for the public: a figure with triangular legs and torso vacuums the floor. Both the elongated vacuum cleaner and the floor are painted in an iridescent gold. A quiet life full of wealth and material comforts may be suggested. Yet as one might expect with Hammond, things are never that simple.

This important early painting in Hammond’s considerable body of work also contains expansive, spartan landscapes which serve as theatres for strange, mythic narratives performed by a cast of humanoid figures, repurposed cartoon characters and fantastical beasts. Here the public and private, material and psychic, real and imagined rub up against each other. In one frame of this comic strip-like array a cat plays with a ball of string, while in another it appears as a corporate authority figure in a business suit.

The term ‘wildlife’ traditionally refers to animals which are not

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domesticated, but has now come to include all plants and other organisms which grow or live wild in an area. The artist’s diverse catalogue of species also includes those introduced by humans; some to Aotearoa by waves of European colonists, such as the rabbit and the cat. In contrast to his active and anthropomorphised cat figure, a rabbit lies on the ground beneath a chain fence. The fence itself floats as a fragment in space – signalling protection, containment and captivity.

Hammond works directly on wallpaper, its glossy sheen and texture embedded in the painting’s surface as it buckles and warps beneath a palette of fluid black, white, red and gold. The painting’s support manifests as a kind of undulating topography, echoed in the torn strips’ lateral orientation across the wall.

If one reads a playful ambivalence towards consumerist materialism in the work – and a questioning of art’s implication in these tendencies – it may be most salient in the artist’s use of wallpaper. Writer and curator Justin Paton put it well: ...Hammond belongs to a generation for whom modern art was as likely to appear on the bedroom walls or curtains...as anywhere more august.

So why couldn’t fabric or wallpaper, in their turn, form a chassis for strange new art? Why couldn’t the patterns with which he grew up be stretched and deranged to tell a truth about interior life, about that feeling of being protected by the very thing that holds you captive?

Gathering and fusing the richest threads in his work hitherto – the tipped and vertiginous perspectives, the maze-like partitions, the spatial reverb, the volatile merging of figure and ground, the filigree beauty of his draughtsmanship – Hammond launched his own range of obsessive decor.2 Emil McAvoy

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21 Andrew Beck Open Window

silver gelatin print and acrylic on glass in artist made frame 2016 515mm x 410mm $3,000 – $5,000

22 Gavin Hipkins New Age (Valley I)

archival pigment print signed gavin hipkins, inscribed New Age (Valley) 2007-2011, editioned 1/3 and dated 2011 in graphite on verso 600mm x 600mm $4,500 – $6,500 NOTE Part of New Age series that commenced during the artist’s residency at the McCahon House in 2008

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23 Julian Dashper Drumskin

vinyl, drumskin, drumhead 555mm diameter x 164mm $18,000 – $24,000

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24 Ronnie van Hout Radioman toned silver gelatin print signed Ronnie van Hout inscribed ‘Radioman’ from return of the living dead, toned silver gelatin print, dated 1992 and editioned 1/20 in ink verso 340mm x 490mm $3,000 – $4,500

EXHIBITED Return of the Living Dead, Gow Langsford Gallery, Auckland, 1992

25 Ronnie van Hout Radioman toned silver gelatin print 340mm x 490mm $3,000 – $4,500

EXHIBITED Return of the Living Dead, Gow Langsford Gallery, Auckland, 1992

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26 Ans Westra James K Baxter reading the lesson, Hiruharama silver gelatin print 1972 290mm x 290mm $4,000 – $6,000

27 Ans Westra James K Baxter tangi, Hiruharama silver gelatin print 1972 290mm x 290mm $4,000 – $6,000

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28 Ralph Hotere Polaris

oil and mixed media on hardboard signed Hotere, inscribed Polaris and dated 10.62 in brushpoint lower right; signed R.Hotere stamped verso 498mm x 590mm $20,000 – $30,000

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Painted by Hotere at the height of the Cuban Missile Crisis, Polaris is an early example of the wider Polaris series which he began while living in Vence, France.

Initially consisting of only ten works, this was the first series by Hotere to directly address the anti-nuclear movement.

Polaris boldly displays the date 10.62 in the bottom right hand corner, an extremely poignant detail and reflective of the great uncertainty the world faced at that time.

Hotere’s initial influence for the Polaris series was the stationing of the Polaris Submarine by the United States at a newly established base in Scotland, sparking dramatic but successful protests which received wide media coverage1. October 1962 saw the international tension between the U.S.A, Cuba and Russia peak as the imminent threat of nuclear war plagued the world. Russia had taken threatening action and installed nuclear missiles in Cuba. The ensuing political stand-off

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held the world’s attention. This event became the catalyst for the mistrust that festered between the Soviets and the United States during the late 60s and throughout the 1970s Cold War Period.

Polaris is a work highly representative of Hotere’s personal insight and great concerns for world safety. Without doubt this work, and the wider series, presents a bold statement from a New Zealand artist engaging with and reflecting upon the anti-nuclear movements in both New Zealand and the United Kingdom. The work also demonstrates Hotere’s move towards abstraction and his increasing concentration on the application of paint. With Hotere’s focus moving towards abstraction, there is no modelling of forms present in this work to create an illusion of space, there is only literal layering of paint to create spatial depth2.

1 Baker, Kriselle, Ralph Hotere: The Vence Paintings: SANGRO, POLARIS, ALGERIE, Volume One, The University of Auckland Master of Arts Art History Thesis, February 2002.

Baker, Kriselle, Ralph Hotere: The Vence Paintings: SANGRO, POLARIS, ALGERIE, Volume One, The University of Auckland Master of Arts Art History Thesis, February 2002.

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29 Fiona Pardington Kererū Wings, Waiheke 2010

archival photographic ink-jet print 970mm x 2920mm overall $55,000 – $65,000 NOTE This large version, the only edition in this size, was made for the On Origins of Art exhibtion held at the Museum of Old and New (MONA), Hobart, Australia, November 2016 - April 2017

There is something heraldic about this diptych by one of our leading photographers, Dr Fiona Pardington (Ngāi Tahu, Kati Mamoe and Ngāti Kahungunu, MNZM and Chevalier de l’ordre des Arts et des Lettres); the way all the focus is on the magnificent wings of New Zealand’s native wood Pigeon (Hemiphaga novaeseelandiae) and the body almost incidental. It is a beautiful image at an unusual scale and has found appreciative audiences having previously been shown in the major exhibition On the Origins of Art at MONA, Hobart in 2016/17.

Birds are something of a speciality for Pardington, they are symbolic messengers between the heavenly and terrestrial realms and have deep spiritual significance for her. They speak to her love of nature and the unique wildlife of Aotearoa New Zealand, and her environmental concerns. The female kereru is, for her, a maternal symbol for her as a mother. This particular work however, though aesthetically exquisite, is also a traumatic work for the artist, a memento mori as Pardington recalls: It was the first Kererū death by window I’d ever experienced, both Jack [her son] and I were just crying.

The kererū died as I held it. I took her upstairs to wrap her in a pretty piece of fabric before burying her and noticed how her wings fell and witnessed for the first time up close the absolute radiance, the miraculous wing colours. They were hard to comprehend. I cried as I took the photographs, as I thought “how can I put you in the ground without remembering you?” It was a moment’s decision. I spread her out in the sunroom, and took a few photographs, I was too upset to take many. It was spur of the moment really. It was brutal hearing her thud in to the glass, and the dander leaves an eerie mark, I felt so guilty.

The iridescent winds of the kererū respond well to Pardington’s technique of drenching her still life subjects in intense lights of various kinds at once, absorbing, refracting and reflecting the different wavelengths and throwing back magical, saturated colour. In the traditions of some iwi, the trickster demigod Māui transformed himself into the first kererū in order to learn what his mother Taranga did when she vanished each morning. One evening Māui hid Taranga’s cloak, delaying her the next morning as she searched for it, forcing her to depart without it.

Māui donned Taranga’s cloak, turning into a wood pigeon, and followed her through a hole in the ground into the underworld where he found her with his father Makeatutara, a guardian of the underworld. Taranga introduced Māui to his father, who then at her request performed a ritual on the trickster to make him immortal. Accidentally (or perhaps deliberately), Makeatutara stumbled in his incantation dooming humankind to mortality forever. The kererū’s stunning plumage is, according to the legend, the cloak of Taranga.

Although this work is deeply rooted in Aotearoa and Pardington’s feelings of mana whenua (people of the land) and kaitiakitanga (guardianship/ conservation), the artist is also a figure of international standing. One of the few New Zealanders honoured by the French government by being made a Chevalier de l’ordre des Arts et des Lettres, her work is to be found in important overseas collections and she has exhibited in prestigious galleries, museums and festivals around the world for many years now. In September this year she will be participating in the Royal Academy’s Oceania exhibition in London, which will also be hosted by the Musée du quai Branly in Paris in 2019.

Andrew Paul Wood

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30 Allen Maddox Lattice (We Too)

oil on canvas dated 1999-2000 1215mm x 1825mm $68,000 – $88,000 PROVENANCE Private Collection

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31 John Reynolds Untitled

acrylic on canvas signed verso 1000mm x 2000mm $20,000 – $30,000

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32 Robin White Twenty-Eight Days in Kiribati hand-made book with hand-made case consisting of 28 woodblock prints signed Robin White, inscribed Twenty Eight Days in Kiribati, 5/7 and dated July 1988 in ink on third page 395mm x 300mm $24,000 – $32,000 NOTE Dakua wood from Fiji was used for the blocks which were pressed onto Velin Cu paper. Additional illustrations can be viewed online.

1 Pond Eyley, Claudia, Robin White in Kiribati, Art New Zealand, Issue 31, Winter, 1984.

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An important detail to note about this exquisite book created by Robin White is the work’s title. The people of Kiribati pronounce ‘ti’ as ‘s’, therefore, the correct pronunciation of ‘Kiribati’ is ‘Kiribas’. The bound book is housed in a beautiful hand-made Polynesian fabric wrap in vivid blue and orange. The woodblock prints have been pressed onto heavy paper with alternating pages decorated with folded patterned margins.

Two years prior to the work’s creation, White made her first trip to Australia where she visited the National Gallery of Victoria in Melbourne. While moving through the gallery, White was captivated by a painting by Dutch master Hans Memling titled The Man of Sorrows in the Arms of the Virgin. The work depicts Christ in the arms of his mother Mary, who weeps over her son after his descent from the cross. The central figures are surrounded by a combination of smaller images which together tell the story of Christ’s journey to the cross.

White was inspired by this notion of one work acting as a chain of thought to tell a complete story.

In 1984, White and her family moved to Tarawa, an atoll in Kiribati, after being asked by the National Spiritual Assembly of the Bahá’ís in New Zealand to volunteer with the Gilbertese Baha’i community1. Living on a beach, in a thatched rooved house completely exposed to nature and surrounded by minimal land and vast expanses of sea and sky, White found herself in a

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new and challenging environment. Oil painting was no longer an ideal medium to work with and so she began to explore new mediums. White’s first series from Kiribati is a collection of drawings titled Beginner’s Guide to Gilbertese which documented her own experience of a new land and a new culture.

A visit from Claudia Pond Eyley and her teenage daughter Brigid in the summer of 1984, provided White with an opportunity to study another person’s experience of Kiribati.

Twenty-Eight Days in Kiribati recalls Brigid’s everyday experience of the patterns, colours and symbols of the Pacific. White observed a girl who optimised the collision of popular western culture from Auckland and the Pacifica environment of Kiribati.

With Memling’s inspiration settled in her mind, and the need to explore new mediums, Twenty-Eight Days in Kiribati references medieval wood cut tradition which focused on the combination of verbal and visual messages. These are the first works where White carved and printed from wood, a skill she taught herself. White has built a story about Brigid and Gilbertese culture by combining pictorial elements, using the same blocks in different ways and integrating images and text, occasionally incorporating some of White’s own childhood and ultimately creating a tangible chain of memory and thought.

Amanda Morrissey-Brown

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33 Doris Lusk Takaka Valley, Nelson

oil on board signed D. Lusk and dated 1966 660mm x 1295mm $35,000 – $45,000

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In 1973, Doris Lusk stoutly declared to interviewer Peter Cape: ‘I paint because I like painting’. This was an attempt to dodge the usual intellectual debate and enquiries into her supposed nationalistic, emotional, or literary leanings. Lusk, who was exploring the medium of watercolour in the 1960s, was also to explore a freer handling of paint at this time. Working from watercolour sketches in the field, she would later meditate on her findings in oil and acrylic. The scale of Takaka Valley, Nelson amplifies Lusk’s panoramic vision of a favourite location, and a famous one in New Zealand art history: the fertile farming valley of Takaka, Golden Bay. In Takaka Valley, Nelson rising hills offer an embrace to low-lying terrain. Cool light can be seen at the horizon and dark clouds move through the pale sky. The valley is articulated by ochre, deep rich browns to soft blacks and greys, fleeting accents of orange, enlivening daubs of cobalt, grey blues, and khaki to bright greens. Astringent daubs of white suggest the little wooden structures of the farming community; their houses topped with red and blue corrugated iron roofs. White lines run unevenly across the landscape into the distance – and up the canvas. They suggest light glinting off waterways making their way to the coast. Golden Bay was

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one of Lusk’s favourite places in Nelson – and the coastal area of Onekaka, particularly. Other painting locations over the years included Central Otago and Banks Peninsula.

Lusk’s desire since childhood was to have space to paint: ‘I wanted a studio of my own. The dream was like a parcel high upon a shelf I had to reach.’ This wish was to be granted in later years. She studied at the Dunedin School of Art in the 1930s after her family returned from the Waikato to the city of her birth. Many of the School’s students became firm friends, including Colin McCahon, Anne Hamblett, Rodney Kennedy and Toss Woollaston. Her teachers included the Canadian teacher Charlton Edgar, the British teacher Robert Nettleton Field, and Russell Clark. Edgar taught her about landscape painting and tonal values, while Field coached Dunedin students in modern art and theory. He had a particular enthusiasm for British moderns. Years later Lusk would recollect the impact the 1934 Empire Loan Exhibition in New Zealand made on her –Sir Mathew Smith’s ‘luscious’ application of paint really stood out. Lusk’s lively, luscious Takaka Valley, Nelson reveals why this was such an attraction.

Lusk married Dermot Holland in 1942 and moved to Christchurch. She

continued to paint and exhibit with The Group as well as the Canterbury Society of Arts, despite the lack of studio and while raising three children. Friends and associates included James K. Baxter, Rodney Kennedy, Woollaston, Leo Bensemann – who was born in Takaka, Charles Brasch and Allen and Betty Curnow. Woollaston’s subjects of the Nelson terrain encouraged McCahon and Lusk to work there, too. (During 1948, McCahon stayed with the Holland family while he painted his monumental Takaka, Night and Day.) When Lusk’s Takaka Valley, Nelson was painted, more recognition was brewing for her after decades of exhibiting in which her landscape painting garnered the most attention. In 1966, the year it was painted, Charlton Edgar organised a survey show of Lusk’s work at the Dunedin Public Art Gallery. She also became a drawing tutor at the Canterbury School of Fine Art where she worked until 1981. In 2016, Grant Banbury and Lisa Beaven curated a large-scale exhibition held at the Christchurch Art Gallery called Doris Lusk: Practical Visionary. Lusk’s oeuvre which includes painting and pottery, and subjects of landscape, portraiture and self-portraiture, is now well represented in national collections.

Kyla Mackenzie

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34 Sydney Lough Thompson The Roadman’s Team

oil on canvas incised The Roadman’s Team, Kaikoura, Sydney L Thompson, O.B.E on framer’s plaque lower center; inscribed “The Roadman’s Team”, Kaikoura, by Sydney L Thompson O.B.E on original Fisher’s Fine Art’s label affixed verso 495mm x 595mm $35,000 – $45,000

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35 Séraphine Pick Untitled

oil on Belgian linen signed S Pick and dated 2015 in brushpoint lower right 510mm x 610mm $9,000 – $12,000

36 Ron Stenberg Self Portrait in Forage Cap

oil on board signed Stenberg in brushpoint lower right; inscribed Ron Stenberg - Self Portrait, painted around 1955 while teaching in Dundee, Scotland in ink verso 380mm x 285mm $4,200 – $6,200

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37 Gretchen Albrecht Jet watercolour and collage on paper signed Albrecht, inscribed Jet and dated 89 in graphite 780mm x 1200mm $5,000 – $7,000

38 Justin Summerton Allans Beach, Otago Peninsula oil on canvas inscribed Justin Summerton, Allans Beach, Otago Peninsula, oil on canvas and dated 2000 in ink on Warwick Henderson Gallery label affixed verso 1080mm x 1520mm $4,500 – $6,500 PROVENANCE Purchased from Warwick Henderson Gallery, Auckland

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39 Simon Kaan Triptych (Waka + Whenua & Wairua + Waka) 1/1 pastel and pencil on parchment paper signed Kaan; individual titles inscribed, editioned 1/1 and dated 2001 in graphite on each 750mm x 130mm each panel $5,000 – $7,000

PROVENANCE Purchased John Leech Gallery, Auckland, 2000

40 Tim Wilson The God’s - Pig Root

oil on berge linen, diptych signed Tim Wilson and inscribed The God’s - Pig Root (diptych) in ink on Fisher’s Fine Arts label affixed verso 610mm x 2430mm overall $25,000 – $35,000

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41 Dick Frizzell PA-KOW!

fibreglass, acrylic and varnish signed Frizzell and dated 2003 in brushpoint on udder 1460mm x 2260mm x 760mm $10,000 – $12,000

Created by one of New Zealand’s most popular artists, PA-KOW! was produced

by Dick Frizzell for CowParade, an initiative that aimed to bring art to Auckland’s inner-city streets. Frizzell, who is best known for his stylized ‘Tiki’ and Four Square motifs uses a classic Pop Art aesthetic to adorn this vibrantly coloured fiberglass bovine. Born out of an era of social revolution and change, the Pop Art movement championed the power of the everyday object with artists such as Andy Warhol and Roy Lichtenstein using a burgeoning trend of consumerism as their inspiration.

With reference to this, PA-KOW! becomes a harmonious fusion of past and present that showcases Frizzell’s expansive knowledge of Pop Art through a contemporary sculptural form. In keeping with Frizzell’s expansive oeuvre, this work brings intrigue and delight to its surrounding environment.

Emma Brown

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42 Yue Minjun Hello Manet

lithographic print signed Yue Minjun, title inscribed in Madarin, Hello Manet, editioned A/P and dated 2001 in graphite 535mm x 750mm $13,000 – $15,000

43 Yue Minjun Hello Vermeer

lithographic print signed Yue Minjun, title inscribed in Mandarin, Hello Vermeer, editioned 5/10 and dated 2001 in graphite 750mm x 535mm $13,000 – $15,000

As an influential figure in the Chinese contemporary art scene, Yue Minjin’s brightly coloured depictions of frenzied smiling figures are influenced by both Pop Art and Surrealism. While candycoloured in their appearance, these multi-layered works also act as subtle but poignant critiques of the current social and political sphere, commenting on both Chinese history and the Western art historical canon.

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44 Takashi Murakami Flower Ball

Japanese born Takashi Murakami’s dynamic artworks have helped to distinguish him as one the most engaging artists practicing in the world today. With a signature style referred to as ‘Superflat’ art, Murakami takes inspiration from the aesthetics of Japanese graphic art encompassing visual references from traditional ukiyo-e woodblock prints to contemporary animation. As a part of his constantly evolving Flower Ball series, these works epitomise Murakami’s distinctly playful aesthetic.

offset lithographic print signed and editioned in ink lower right limited edition of 300 710mm x 710mm $5,000 – $7,000

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45 Takashi Murakami Flower Ball (x2)

off-set lithographic print signed and editioned on each in ink lower right limited edition of 300 710mm x 710mm $10,000 – $14,000

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46 Fatu Feu’u Vai Nu’u

acrylic on canvas signed Feu’u, inscribed Vai Nu’u, acrylic on canvas and dated ‘04 in ink verso 1520mm x 1975mm $8,000 – $12,000

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47 Oliver Perkins Untitled

arcylic on board 360mm x 600mm $3,800 – $4,500 EXHIBITED Translations, Hopkinson Mossman, Auckland, 2017

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Decorative Arts Wednesday 19 September — 1:30pm

Lots 101-277

— 6:30pm

Lots 278-515

Specialist Enquiries and Condition Reports — Caolán McAleer Decorative Arts Specialist caolan@webbs.co.nz 027 929 5603 Lots not illustrated in this catalogue are illustrated online at www.webbs.co.nz

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Coins, Banknotes & Antiquities

101 Four Large Antique Silver Coins 1780 - 1899

107 Five New Zealand Pre-Decimal Banknotes

112 Five Old English Collector Coins

Two Silver Maria Theresa 1780. Five Francs 1833. Great Britain Silver Crown 1889. Total weight 108.6g. $60 – $100

Three One Pound signed by Chief Cashier T.P. Hanna, 1940 - 1955.

Two Five Pound signed by R.N. Fleming, 1956 - 1967. $80 – $120

George I silver shilling 1723. George IV silver shilling 1826. George IV silver Maundy penny 1828. Two Victorian Pennies 1854 (one EF) $60 – $100

102 An Assortment of Nine Ancient Roman and Greek Coins About 2000 years old, Maximus, Ptolemy, Nero etc. $100 – $200

103 Four Old American Silver Metal One Dollar Coins Dates: 1800, 1845, 1862, 1885.

All in average condition.

Total weight 91.5g. $70 – $120

104 Five American Silver Metal One Dollar Coins and One Half Dollar Coin Dates: 1906, 1922, 1924, 1971, 1974, 1964. All in average condition. $80 – $120

105 An Elizabeth I Hammered Silver Coin Punched with two suspension holes and in worn condition. Fair order considering age. Date 1585. $100 – $200

106 Two Australian Pennies and a NZ Half Crown

108 An Assortment of Early Decimal New Zealand Banknotes 1985 - 1992 Face Value $147, including 1990 Waiting Anniversary and Farmers Trading Co. commemorative $10 Governors St Russell and D Brash. $160 – $200

109 Three Old Silver, Gold and Copper Coins Small Mexican 22ct gold coin 1865.

Ducat 1752 (silver gilt). Indonesia 1743. $100 – $150

110 A Vintage French Silver and Gold Parker Pen C. 1950

Enamel and root are intact but has had a break and been glued at some time. Grey enamel with full charcoal root. L85 W69mm $150 – $250

114 A Fossilised Megalodon Shark Tooth Early-Miocene to Pliocene Era 23 to 2.5 million years old. Enamel mostly intact with part root missing.

Good serrations with minor damage. L110 W20mm $200 – $400

Marked 925 with hallmarks in the allover crosshatched pattern, original box. $200 – $300

115 A Fossilised Megalodon Shark Tooth Miocene to Pliocene Era

111 A Collector Set of Australian 1966 Souvenir Coins

23 to 2.5 million years old.

Both sides of the root have been diminished. Brown enamel mostly intact with sharp serrations and a good point. L81 W61mm $100– $150

The ‘Hendo’ coin album last issue of Austrlian currency before decimal. February 1966. Extremly fine condition. $70 – $140

23 to 2.5 million years old. Pale grey enamel with minor root damage.

Good serrations with minor chips.

W70 x L107mm $200 – $400

117 Two Fossilised Megalodon Shark Teeth Miocene to Pliocene Era 23 to 2.5 million years old. Both with good enamel in grey and mottled brown tones. Minor root damage.

Quite sharp with good serrations.

L84-87 W66-70mm $160 – $250

118 Three Fossilised Prehistoric Skark Teeth Miocene to Pliocene Era 23 to 26 million years old. Two Mako and one Megalodon tooth. All with grey enamel and sharp edges.

L53-66mm W42-53mm $80 – $150

119 Babylonian Duck Bill Bronze Axe Heads 2000 BC With stand. L100 W50. L115 W75mm $100 – $200

120 Bronze Spear Head from Eastern Mediterranean 800 BC With stand. L410mm $500 – $800

Pennies 1931 and 1936. Half Crown 1942. All very fine condition. $60 – $100

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113 A Fossilised Megalodon Shark Tooth Miocene to Pliocene Era

116 A Fossilised Megalodon Shark Tooth Early-Miocene to Pliocene Era

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107 Detail

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Clock, Watches & Timepieces

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121 An American Waltham Keyless Openface Gold Filled Pocket Watch

126 A Swiss Late 19th Century Keywind Openface Pocket Watch C. 1890

Seventeen jewel engraved lever movement. Number 20704379.

Good enamel dial and original crystal. Dated 1916 with micro adjust and safety pinion. Note: bezel unscrews and movement hinges out after crown stem is pulled out to disengage. D55mm $100 – $200

Maker Jordan and Benet with center seconds cylinder movement. Brass case with gilt face and raised Roman numerals.With old nickel silver fob chain and multi-key, (working).

D55mm $100 – $200

122 A Swiss Silver Keyless Openface Tavannes Pocket Watch C. 1900 Case stamped 800 with dust cover engraved with award medals.

Sixteen jewel movement with micrometer adjustment. Cream enamel dial with sub/secs and 24 hours. D51mm $80 – $150

123 Three Victorian Pocket Watch Movements and One Dial 1. Rotherhams number 69886 with enamel dial and dust cover D38.3mm. 2. Silver and gold dial fusee and chain C. 1860 D40mm.

3. English silver and gold dial C. 1860 D43.9mm $50 – $80 128

124 Three Vintage Swiss Silver Cased Pendant Watches 1890 - 1910 Engraved cases with hallmarks and stamps. Enamel dials in good order.

One with wristwatch conversion lugs. All need restoration. $50 – $100

125 A Swiss Zenith Keyless Openface Pocket Watch C. 1918

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Lever movement with engraved dust cover Grand Prix Paris 1900.

Nickel silver case. Movement number 1851401. White enamel dial in good order (working). D46mm $120 – $200

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127 A Victorian Sterling Silver Fob Watch Case and Albert Chain London hallmarks, dated 1859.

Original crystal intact (no movement). Maltese cross fob pendant. $60 – $100

128 A late 19th Century Swiss Keyless 1/4 Repeating Gunmetal Cased Pocket Watch C. 1900 Gold bow, hands and repeat slide.

Jewelled calendar lever movement, running, dial repaired. $500 – $800

129 A 19th Century French Mantel Clock and Garnitures Architectural casing decorated with ormolu mounts, masks, Arabic numerals and stepped base.

Flanked by amphora garnitures.

H360 W585 D140mm $600 – $800

130 Sedan Chair Clock C. 1800 With circular turned mahogany case and traditional hanger and latched hinged back flap to permit rear winding with included key, circular convex white glazed enamel dial D 100mm, with arabic numerals and pierced brass hands, hinged cast brass bezel, verge escapement with 3-armed steel balance, engraved and pierced balance cock and circular gilded plates signed Richd.

Dawkins, Salisbury. D160mm $500 – $800

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131 Georgian Bracket Clock C. 1810, ebonised lancet shaped case with brass string inlays, lion mask side handles, plain white glazed enamel convex dial signed Thos. Moss, London No.222, double fusee movement with anchor escapement striking on a bell mounted on rear plate and pull cord hour repeat, engraved signed and shaped back plate, strike/ silent lever behind cast brass bezel.

Associated matching ebonised wall bracket and crank winding key. An identical clock is illustrated and described in The Georgian Bracket Clock, Richard C.R. Barder, pp. 199, 200. H380 Bracket 200mm $3,800 – $4,200

132 Early-English Marine Chronometer C. 1830, silvered and engraved dial marked French, Royal Exchange, London, No.5156 (i.e. Santiago James Moore French), signature and serial number boldly repeated on back plate, two-day duration with Arnold type spring detent escapement and fusee and chain movement in gimbals. Ratchet winding key is mounted on winding arbor below bowl. Bimetallic two-arm balance with helical blued steel balance spring and diamond endstone, wedge-shaped poising weights, blued steel hands. 90mm diameter bezel with convex bevelled glass. Three-part brass-bound mahogany case, engraved and filled on inset ivory plaque in middle part.

Box H170 W160mm $4,000 – $5,000

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133 Certina Exact Time Desk Clock

134 Japy Freres Marble Bell Mantel Clock

C. 1950, heavy gilt brass rectangular case. With forward sloping top, silvered dial with applied gilt hour numerals at quarters and batons at hours, gilt and polished baton hands with counterbalanced centre seconds hand that advances in 1-second jumps. Dial and case top marked CERTINA in raised letters, and EXACT TIME in engraved and blackened letters. Convex glass covering dial. Movement is highly jewelled with lever escapement, damascened and spotted 75mm diameter plates, compensated balance with whiplash regulator visible and accessible through aperture in protective back cover.

A complete secondary train enables the jumping seconds. The case back is marked 3 DAYS, 1412, with fold-down winder and hand setting knob. High quality and excellent finish throughout. Outer hinged fitted and padded carrying case lined with gray satin and felt and covered in red leather with CERTINA embossed on top in gold. L160 W140 H60mm $1,400 – $1,600

Cracked glazing. H290 W210mm $150 – $300

135 Portico Clock French, C. 1830 white marble base and pillars with ormolu mounts in foliate, drapery, stars and angelic forms. The silk suspension pendulum movement is mounted between two pillars, with convex white enamel dial and engraved bezel, gilt and pierced hands, and striking hour and half hour on a bell.

H400mm $1,200 – $1,600

136 French Mantel Timepiece French mantel timepiece, C. 1850.

Small ebonised wooden case. Plain white enamel dial with hinged bezel.

Compact size and nearly inaudible tick make it suitable for library or bedroom use. H200 W210mm $180 – $220

137 Wall Regulator Clock C. 1900, spring driven, 8-day movement, striking hour and half hour on a single chime bar. Silvered metal dial with black Arabic numerals.

Mahogany case with glazed door and side panels, fluted and turned pillars with finials at base. H720mm $300 – $500

138 A 19th Century French Mantel Clock C. 1865 8-day striker, with sevres painted porcelain panels and gilt ormolu mounts. H480 W400mm $900 – $1600

139 Gravity Timepiece-Steel

by depressing the lever at the side to raise an internal weight. Made

by Watson and Webb, London, the Keeless Clock Company. H260mm $350 – $550

140 Gravity Timepiece- Brass C. 1920. Brass cased circular movement slides on two vertical columns descending from top to bottom in 30 hours and rewound daily by raising the movement to the top.

The mechanism uses a compound pendulum with two small brass spherical bobs and visible escapement, and the time is shown by brass hands behind the glass front panel reverse painted with white arabic numerals. Made by Watson and Webb, London, the Keeless Clock Company. H260mm $350 – $550

C. 1920. Circular steel case with black crackled finish mounted on ebonised wooden base with chrome plated steel bezel. The compound pendulum and visible escapement movement is in front of the dial with white painted arabic numerals and with white hands. It is wound

138

135

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141 Wall Regulator Clock German, C. 1900, spring driven, 8-day movement, striking hour and half hour on a coiled wire gong.

Enamel dial with Roman numerals and Junghans trademark. Blued steel pierced hands. Gridiron pendulum rod and bob having an enamel insert with regulating indications R/A for slow/fast.

Wooden case with ebonised half round fluted and turned side olumns, surmounted by headpiece, with ebonised finials above and below. H780mm $350 – $550

143 An Ansonia Marble Mantel Clock Porcelain face, with visual ovement. H310 W365mm $100 – $200

144 A Large French Marble Presentation Clock with Porcelain Face C. 1907. H460 W475mm $150 – $300

145 Ansonia Marble Clock

142 A Junghans Regulator Wall Clock

H370 W345mm $100 – $200

With pendulum and key. H480mm $200 – $400

146 French Marble Clock H395 W395mm $150 – $300

147 French Marble Clock with Porcelain Face and Cathedral Gong Floral engraved decoration.

H315 W450mm $150 – $300

148 Ansonia Iron Mantel Clock H315 W355mm $100 – $200

149 Ingraham American Marbelised Wood Clock H285 W375m $100 – $200

139

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Rugs & Textiles

171

150 Indian Gabbeh Rug

154 Caucasian Turkmen Rug

159 Prayer Rug

Beige wool ground inset with figures and animals. Dark yellow woven with motif of figures.

2480 x 1760mm $600 – $900

Coral ground with ivory coloured niches decorated with overall geometric design. 1460 x 970mm $600 – $900

Mustard and coral coloured ground.

Overall geometric pattern. 1400 x 940mm $600 – $900

155 Mushwani Baluch Prayer Rug

160 Caucasian Prayer Rug

Overall geometric decoration. Rich plum red ground. 1360 x 990mm $600 – $900

Red ground with prayer niches outlined in ivory coloured wool.

1630 x 900 $800 – $1,200

151 Afghan Rug Ivory ground with red octagonal central medallion. Red ground primary border.

1910 x 1280mm $900 – $1,200

152 Kazak Cloud Band Rug Indigo blue ground with stylised animals and three bold medallions.

2260 x 1370mm $900 – $1,200

153 Afghan Runner Six central medallions on a red ground. Ivory ground principal border.

3030 x 960mm $800 – $1,200

156 Afghan Baluch Rug Large central diamond shaped medallion with bird decoration.

Ivory ground with similar birds plus animal decoration. 1960 x 1090mm $800 – $1,500

Large shaped red ground medallion with Boteh designs. Ivory ground.

Blue ground border.1560 x 960mm $1,000 – $1,500

157 Afghan Prayer Rug

162 A Caucasian Rug

Overall and coral ground and geometric design. 1310 x 950mm $500 – $800

Red ground with two large central medallions and geometric pattern principal border. 1970 x 980mm $600 – $800

158 Caucasian Turkmen Rug Overall coral ground and geometric decoration with central elephant foot motif. 1540 x 980mm $800 – $1,200

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161 A Tabriz Style Rug

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163 A Qashqai Kilim

164 Rajasthani Muslim Embroidery Pieces Rug From Jodhpur. Eminently collectable. 1550 x 1050mm $600 – $800

165 An Afghan Rug With Blue Mosque Design Three unusual central windows depicting the Blue Mosque of Mazar-i-Sharif on mustard coloured ground. Red and Indigo traditional border. 1400 x 960mm $600 – $900

166 A Baluch Kilim Madder coloured ground with strips of diagonal design. 1440 x 820mm $400 – $600

167 A Pakistani Carpet Impressive Turkmen style with overall elephant foot pattern on beige ground. Nine finely decorated borders. 2950 x 1930mm $700 – $1,000

Three Diamond shaped medallions on a teal blue ground.

1560 x 1030mm $500 – $700 92

178

168 A Matching Pair of A Hand Knotted Rugs

172 A Large Hand Knotted Chinese Carpet

Both with all over stylised floral decoration. Unusual fan or spade shaped at each corner.

2000 x 1300mm $1,200 – $1,800

Blue ground with four five-claw dragons surround a central roundel of two five-claw dragons. Characters to dark blue border.

4060 x 2920mm $2,000 – $3,000

169 A Hand Knotted Kashan Rug Intensely decorated in the typical garden format. Indigo and red grounds. 2000 x 310mm $600 – $900

170 A Stylish Art Deco Design Belgian Wall Hanging / Table Cloth C. 1925. Woven in a geometric pattern with brown tonings of lineal design.Fringed at one end. 1400 x 850mm $300 – $500

173 A Kashan Very Fine Wool Rug Red central ground with floral decoration. Central diamond shaped medallion. Principal border with birds and blue ground.

1730 x 107mm $1,800 – $2,500

174 A Large Hand Knotted Kashan Rug Central field in red with subsequent borders in ivory. Overall floral decoration.

298 x 195mm $1,800 – $2,500

171 A Large Hand Knotted Kashan or Tabriz Carpet

175 A Large Machine Woven Rug

Yellow ochre ground with animals, birds and lanterns decoration with central blue ground medallion and principal border. 3800 x 2730mm $2,500 – $5,000

Central ground in beige with palmette decoration. Principal border with cypress decoration on mustard ground. 3900 x 3000mm $1,000 – $1,500

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176 A Large Sisal Matt

180 Two Large Persian Cushions

4900 x 3480mm $600 – $900

L800mm each $200 – $400

177 A Large and Rare Iranian Rava Kirman Carpet

181 A Caucasian Runner

Ivory coloured Pashmina wool ground, warp and weft. With large oral scroll medallions on a divided eld, multiple ower and leaf borders.

C. 1850. Signed by the workshop.

4500 x 3500mm $15,000 – $25,000

178 A Large Tabriz Persian Carpet Red ground with intense pattern overall to the center and all borders.

Kork wool on a cotton foundation.

2940 x 3860mm $2,000 – $3,000

179 A Large Kashan Persian Carpet Bright red ground with four ivory coloured arabesque corners and further palmette decorations in the principal border. 3970 x 2950mm $2,000 – $3,000

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Large geometrically shaped, red ground medallion surrounded with tree of life designs on indigo ground.

2570 x 1100mm $700 – $1,000

182 A Persian Runner Indigo ground with continual stylised garden decoration.

Ivory ground border.

3900 x 1000mm $1,000 – $1,500

183 A Caucasian Runner Large diamond shaped red coloured central ground with pear or cone design in each triangular corner.

3100 x 1250mm $500 – $800

Silver 184 Two Pieces of Egyptian Silver Ewer and basin, ornately decorated, Hallmarked Cairo C. 1960. Jug H395mm $150– $300

185 A Victorian Sterling Silver Christening Cup Half reeded design on with rolled handle, gilded interior, later engraving & M.M.J 1923.

Hallmarked London 1896, maker Barnard Brothers. H90mm $200 – $400

186 George IV Sterling Silver Toddy Ladle Marked Tattersalls Hotel Twist handle. Maker David McDonald, Hallmarked Glasgow 1828.

L450mm $500 – $800

187 Scottish Basket Hilt Sword Letter Opener

190 Russian Silver Christening Cup

193 A Suite of Ivorine Handled Fish Eaters

Hallmarked Edinburgh, 1888, L270mm $600 – $1,000

Marked C.O 1893. H70mm $200 – $300

6 pairs of knives and forks and a pair of servers (14) Maker Cooper Brothers & Sons. Handles marked Sheffield 1866. Blades plated steel. $100 – $200

188 Silver Basket Hilt Sword Letter Opener Hallmarked Birmingham 1900, L200mm $200 – $400

189 Six Sterling Sliver Goblets Impressed grape motif. Each in original box. Maker Cavalier Tableware, Hallmarked Birmingham 1977.

H175mm $300 – $400

191 Stuart Devlin Letter Opener In original presentation box, Queen Elizabeth II cypher to blade, gilded, rippled handle. Provenance: gifted from the Queen during the 1990 Commonwealth Games. L230mm Weight 92g $500 – $700

192 30 Pieces of Plated Cutlery 10 forks and 10 knives with lily design plated handles and steel blades C 1880. With 10 plated later spoons. $100 – $200

194 Two Sterling Silver Cream Jugs The larger with pain ribbed handle, Birmingham 1920, H100mm. Smaller with acanthus leaf thumb piece Birmingham 1919, H80mm $200 – $400

195 A Sterling Silver George II Christening Cup Of plain baluster shape with single stepped foot and scroll handle, engraved ACT. Hallmaked London 1748. H100mm $250 – $450

186

The famous marble bar, located in Adams Tattersalls Hotel, Sydney.

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197

197 A Pair of Sheffield Plate Three Light Candelabras The branches and body decorated with achantus leaves, the stems taper with reeded decoration to circular stepped foot. Maker Matthew Bolton of M Bolton & Co. C. 1784.

H530mm $800 – $1200

198 A Sheffield Plate Coffee Pot C. 1830 188

Of baluster form with rosewood handle, engraved lion. H270mm $100 – $200

199 Three Edwardian Sterling Silver Coin Purses Hallmarked London 1915, Chester 1920, London 1921. $300 – $600

196 A Sterling Silver George III Christening Cup Of banded barrel shape with banded loop handle, engraved NT. Hallmaked London 1748, maker George Baskerville. H80mm $150 – $250

187

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200 A George III Sterling Silver Sauce Boat With scalloped rim and three hoofed feet, inverted scroll handle. Maker Walter Brind, hallmarked London 1817. H100 L150mm W202g $500 – $800

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201 Sterling Silver Salver Maker Cavalier Tableware, Hallmarked Birmingham, 1979.

D310mm $250 – $500

202 A Dutch Sterling Silver Sugar Caster Of swirling reeded baluster shape, the foot ends in gadroon border, flame finial to the top. Hallmarked 1851. H200mm $400 – $600

203 A Sterling Silver Open Salt with Cut Crystal Body Hallmarked Birmingham 1900, maker Henry Hutton Bourne.

Along with two hallmarked napkin rings,miniature perfume phail and tea caddy. $150 – $250

204 A Victorian Silver Plate Butlers Tray Of rectangular shape with chamfered corners, pierced gallery on four hoofed feet and acanthus shoulders, engraved armorial.

C. 1860. L690 W410mm $200 – $400

Paintings, Prints & Muiltiples 205 ARTIST UNKNOWN 19th Century Portrait of a Turk

213 RICHARD BOGUSZ Australian Landscape

Oil on board, unsigned, 215 x 180mm $800 – $1,200

Oil on board, signed. 605 x 680mm $700 – $900

206 ARTIST UNKNOWN Georgian Military Portrait Oil on board. 250 x 200mm $600 – $900

207 ARTIST UNKNOWN 19th Century Portrait of a Gentleman Oil on board. 340 x 265mm $400 – $800

208 A Suite of 14 Mid-19th Century Daguerreotypes Depicting gentlemen, ladies and child, some with names. Stored in small case. $700 – $1,000

209 ARTIST UNKNOWN A Pair of 18th Century Oval Portraits

214 Pair of Oil Paintings by Ewald Riche Steeplechase and Neck to Neck.

Oil on board. 100 x 130mm $100 – $200

205

215 SEIKICHI TAKARA Spring Oil on canvas, signed and dated 1974. 280 x 355mm $200 – $400

216 GROOM Italian Water Scene Oil on canvas, signed and dated 90.

800 x 1220mm $200 – $400

217 LAURITZ SORENSEN Nautical Scene Oil on canvas, signed.

420 x 670mm $300 – $500

Depicting lady and gentleman, oil on board. 260 x 200mm $800 – $1,000

206

210 Large Decorative Print Depicting 18th century parlour scene. 165 x 136mm $200 – $400

211 ASTON GREATHEAD The Road to Mount Cook Oil on board, signed, 400 x 550mm $300 – $500

212 ASTON GREATHEAD Haast Pass Oil on board, signed, 400 x 550mm $300 – $500 209

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218 JOHN WEEKS Stall Morocco Pastel on paper, signed J.WEEKS lower left. Certificate of authenticy, inscribed number 328 and artists biography affixed verso.

290mm x 290mm $900 – $1,200

219 SHEILA MAJENDIE Four Sailing Boats

218

Oil on canvas, signed.

630 x 450mm $200 – $400

226 IDA EISE Limeworks

Oil on canvas, signed in monogram.

510 x 610mm $100 – $200

Linocut, titled and signed L.G Eise.

Original signed drawing, newspaper clippings and photographs attached verso. 150 x 105mm $500 – $800

220 SHEILA MAJENDIE Dancers

227 ARTIST UNKNOWN Portrait of a Gentleman

Oil on board, signed in monogram 840 x 690mm $500 – $1,000

221 SHEILA MAJENDIE Porphyria’s Lover Oil on board, 400 x 320mm $400 – $800

222 SHEILA MAJENDIE Nude Oil on board, 400 x 310mm $200 – $400

223 ARTIST UNKNOWN Gentlemans Portrait Oil on canvas laid on board.

610 x 500mm $300 – $500

224 LILIAN SNELLING Suite of 19 Hand Coloured Botanical Lithographs C. 1930 Signed bottom left, 253 x 157mm (each). $400 – $600 226

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225 SIGRID BACH KNUDSEN Scandinavian Woman in a Kitchen

S E P TE MB E R 20 18

Oil on canvas. 900 x 750mm $500 – $800

228 NORDSOEN Ships Oil on canvas, signed and dated 1922. 440 x 530mm $200 – $400

229 V.H. KOCH Sailing Oil on canvas, signed. 580 x 680mm $400 – $600

230 EDWIN ALEXANDER Cocksfoot Grass Watercolour on paper, signed E A and dated 1903 lower right; inscribed 36/2040 verso. PROVENANCE: Doic, Wilson and Wheatley, Fine Art Dealers & Printsellers, Picture Restorers and Framers to His Majesty the King, 90 George Street, Edinburgh, establised 1840.

264 x 150mm $600 – $900

Ceramics, Decorative Arts & Furniture 231 A Royal Copenhagen Polar Bear In the classic blue grey colour, made

by Jeanne Grut. H200 L300mm $250 – $500

232 A 53 Piece Hutschenreuther Tavola Pattern Dinner Set Comprising 8 dinner plates, 8 side plates, 8 bowls, 8 cups, 8 saucers, 8 soup bowls, 1 large soup serving bowl, 1 platter, 1 sauce boat. $400 – $800

233 Imperial Amphora Art Nouveau Vase

231

Stamped Amphora, Made in Czechoslovakia. H355mm $200 – $400

234 Imperial Amphora Vase

238 Crackled Glaze Bottle Vase

Gilt decoration with grapes and vines. Stamped Made in Czechoslovakia. Amphora label to base. H275 D315mm $200 – $400

H220mm $200 – $300

235 Imperial Amphora Figure Group Basket decorated with putti and grapes. Stamped Made in Czechoslovakia. T 20098 Amphora mark to base. L450 W20 H230mm $200 – $400

236 A Large Set of Clarice Cliff Bizarre Capri A Large Set of Clarice Cliff Bizarre Capri11 cups, 11 saucers, 11 plates, 1 sugar bowl, 1 large jug, 1 smaller creamer and 1 serving plate (37 pieces). Height of larger jug 165mm $1,000 – $2,000

237 A Pair of Austrian Royal Dux Bohemia Water Carrier Figures Shapes 1074 & 1075, Royal Dux marks to base. H500mm $600 – $800

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239 A Versace Porcelain Vase for Rosenthal Gilt on red ground base with original box. H179mm $250 – $500

240 A Set of Four Pot Lids D175mm $250 – $500

244 An Edoardo Tasca Porcelain King Tutankhamun Head Signed and numbered 964. H390 W330mm $200 – $400

245 A Large Set of Venetian Glassware C. 1950s 11 champagne glasses, 8 wine glasses, 4 sherry glasses, one larger glass, decanter, jug. $300 – $500

249 Three Crystal Decanters Two by Louis XIII Remy Martin & Co Crystal, made in France by St Louis and another XO Made by Baccarat Cristal, France.

H270 W160mm (each) $420 – $480

250 Two Old 19th Century Apothecary Jars H170mm $40 – $60

246 A Pair of Waterford Crystal Champagne Flutes

251 A French Style Brass Putti Lamp Base and Shade

247 Waterford Crystal Vase

252 A Blackmoor Putti Figure Style Lamp Base and Shade

D175mm $250 – $500

Marked Waterford. Signed Jim O’Leary 1998. H200 W105mm $300 – $500

Brass on marble base. To top of shade H640mm $200 – $300

243 Royal Copenhagen Blue and White Tea Set

248 A Mid-Century Hand Blown Glass Bowl

253 A Brass Horse Head Lamp

241 A Set of Four Lids D145mm $250 – $500

242 A Set of Five Pot Lids

Comprising teapot, milk jug, 10 cups, 11 saucers, 1 side plate, faults $400 – $600

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Sky flutes from the W collection, original box. $150 – $250

Of floral form in orange, unmarked.

H170 W250mm $60 – $100

To top of shade H780mm $300 – $500

To top of shade H680mm $200 – $300

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254 A Brass Standard Lamp H1730mm $300 – $500

255 Jewellery Box in Book Form L244 W185 H100mm $200 – $300

256 A Brass Bound Writing Box Fitted interior (some missing), with red velver and side drawer. L450 H155 D225mm $150 – $250

257 Papier Mache Chinoiserie Crumb Tray and Brush C. 1920 Tray W290mm $100 – $150

258 A Metal and Beaded Decorative Eiffel Tower H1020 W310mm $150 – $300

263 Victorian Papier Mache Hand Painted Face Screen

272 A Pair of Marble Topped Side Tables

275 Pair of Cameo Backed Louis XVI Style Side Chairs

L435mm $80 – $120

Gold metal frame with cabriole legs.

W550 D550 H390mm $200 – $400

Pink velvet upholstery. H880mm $100 – $150

264 An English Aneroid Banjo Barometer 19th century, in oak case.

L800 W245mm $200 – $400

265 A New Zealand Souvenir Spoon by C.J.N. & Co A New Zealand Souvenir Spoon

by C.J.N. & Co. With tiki and Maori portrait. L125mm $50 – $80

273 A Painted Louis XVI Style Side Table Inlaid glazed top with single freize drawer, resting on fluted legs.

W800 D520 H780mm $200 – $400

276 Smith and Caughey Chair C. 1940s. H800mm $100 – $150

277 A Louis XVI Style Painted Chaise Lounge

274 Brass Jardiniere Stand

L1770 H800 W670mm $300 – $500

Oriental decoration C. 1920s.

H660 W330mm $100 – $200

277A Green Glass Art Nouveau Tulip Vase H280mm $150 – $250

266 Maori Adze L135 W56 D22mm $60 – $100

267 Over Mantle Mirror H105 W106mm $300 – $500

259 Anglo Indian Carved Box L200 W123 H53mm $60 – $100

260 A Framed Finely Woven Tapestry Depicting 19th century Italian lady holding bowl of fruit against landscape. 540 x 440mm $150 – $250

261 A Single Orante Andrion Ornately decorated with scrolls, acanthus and satyr mask. H400mm $80 – $150

262 An Old Victorian Cast Iron Coffee Grinder C. 1850. The octogonal shaped body hinged in half an internal dish.

Long swing handle with rosewood knop. Wooden base. Efficient working order. H200mm $100 – $200

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268 A Painted Louis XVI Style Side Chair Cameo backed in pink velet upholstery. H780mm $60 – $100

269 A Faux Bamboo Bar Cart With large front spoke wheels, chromed frame and glazed shelves.

L790 W455 H740mm $100 – $200

270 A Contemporary Rococo Style Mirror 750 x 700mm $100 – $200

271 A Louis XVI Painted Mirror Backed Dressing Table W1050 D500 H2050mm $300 – $600

233

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Decorative Arts Wednesday 19 September — 6:30pm

Lots 278-515

Ceramics & Decorative Arts

279

278 An English Pewter Art Nouveau Photo Frame H200mm $150 - $250

279 A Pair of English Pewter Art Nouveau Archibald Knox For Liberty Vases C. 1902, embossed with his iconic traditional honesty plants. Stamped pattern number 0226. H190mm $600 – $900

280 An Archibald Knox Designed for Liberty’s Tudric Pewter Enamel and Copper Mantel Clock C. 1904, embossed with the honesty plant decoration. Stamped English Pewter with pattern number 0384. H170mm $2,500 – $3,500

281 A Mid-Century Basket Style Chandelier C. 1950s, drop 500mm, D320mm $500 – $800

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282 Barbet Coloured Engraving Versicoloured Barbet Engraving.

Eubucco versicolor (Mayna barbet, Bucco maynanensis). Illustration drawn and engraved by Richard Polydore Nodder. Handcoloured copperplate engraving from George Shaw and Frederick Nodders “The Naturalists Miscellany,” London, 1800. 175 x 115mm $100 – $200

283 Three Pieces of 19th Century Miniature Portrait Jewellery Oval ivory lady portrait miniature in a brooch frame with hairplait inset to back, 83 x 66mm. 19th century oval portrait miniature of a gentleman on ivory with gilt metal frame, glass missing, 64 x 40mm.

A Victorian pinchbeck metal framed circular portrait locket, engraved EFB, D40mm $400 – $600

284 A 16th Century Stained Glass Window Continental, dated 1517 the year of Martin Luther’s Protestant Reformation.

485 x 370mm $2,500 – $3,500

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285 Len Castle Large Earthenware Platter With alkaline blue glaze impressed initials. L430 W420mm $600 – $800

286 Len Castle Large Earthenware Platter With alkaline blue glaze (lighter) impressed initials.

L425 W425mm $600 – $800

287 A Massive Len Castle Charger In turquoise and blue glazes C. 1990, impressed LC mark. D510 H120mm $800-$1,200

288 A Large Bronze Antelope Sculpture Seated with polished brown patina.

L1830 H910 W560mm $3,000 – $5,000

288A An Old Middle-Eastern Sea Chest

287

Ironbound, in rosewood, shaped top, with interior fittings.

L510 W270 H300mm $250-$500

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289 Seven Russian 19th Century Religious Icons Hand painted, one with oklad.

Largest 360 x 310mm $800 – $1,200

290 An Orthodox Bronze and Enamel ‘Blessing Cross’ Crucifixion Icon Mid-19th century. The gaunt image of Christ upon the cross surmounted by trumpeting angels and surrounded by church Slavonic liturgical text in Cyrillic. L260 W145mm $500 – $700

289

291 German Cast Religious Icon H160mm $60 – $80

292 Georgian Candle Box L325 W195 D100mm $200 – $300

293 A Finely Carved Victorian Wax Religious Icon L340 W220mm $250 – $500

294 A Russian Brass and Blue Enamel Triptych Travelling Icon W155mm $300 – $400

295 Ethiopian Blessing Cross L240mm $300 – $500

296 A Mahogany Brass Bound Writing Slope Fitted interior with blue velvet and side drawer. L505 D290 H195mm $150 – $250

299 Taxidermy Antelope Head H650 W260 D450mm $600 – $900

300 A Large and Impressive 19-Point Taxidermy Stag Head H1260 D900 W940mm $800 – $1,200

301 An Eight-Point Taxidermy Stag Head H115 W680 D580mm $600 – $1,000

301A A Pair of Bronwynne Cornish Sphinx ‘Sisters’ 299

Hand built earthenware.

L340mm (each) $800 – $1,500

297

297 Royal Worcester Highland Cattle Urn Vase by Harry Stinton Signed, ornate gilt enrichments, shape 1969. Printed mark to base.

H310mm $3,000 – $5,000

298 An Important New Zealand Native Timber Jewellery Box

by Anton Seuffert The top inlaid with a border of geometric laid native timbers, surrounding a cartouche with fine scroll inlays and fern inlays. The sides with gothic arched cartouches displaying various native timbers.

Label to the interior, with lift-out tray with scroll inlaid lids.

L323 H135 D241mm $16,000 – $20,000

298A A Louis XIII Crystal Decanter

by Baccarat With original box. H270mm $300-$400

298

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302 SIR WALTER LAWRY BULLER A History of the Birds of New Zealand John Van Voorst, London, 1873, coloured illustrations by J. G. Keulemans. 5p of reviews and notices concerning a proposed issue of Supplement. $4000 – $6,000

303 An Early-19th Century Brass Table-topTelescope French, stand and wooden case.

L885 H600mm $500 – $800

304 An Urn Shaped Lampbase, Royal Worchester Hand Painted and Signed by Raymond Rushton Pembroke Castle, dated 1951.

Printed mark to base. H410mm $700 – $900

305 Large Finely Cast and Chased Bronze Grand Tour Borghese Urn Patinated bronze decorated in high relief with scrolls, ancanthus, beaded rim, reeded handles with satyr mask terminals and on a pedestal base with square plinth.

H740 W630mm $1,000 – $2,000

306 detail

306 A Rare and Very Stylish Ladies French Cartier Gold & Enamel Three Piece Vanity Set C. 1925 Comprising a lipstick holder, folding comb case and accessory case. All decorated with a turquoise green enamel band of geometric design on engine turned and polished gold panels. Stamped .585 (14ct) and Cartier with hallmarks and GS makers stamp, other indistinct marks.

Comb holder L90, accesory case L58, lipstick L50mm. $9,000 - $12,000

307 An Large 113 Piece Set of Susie Cooper Set Dresden Spray Pattern China C. 1935 includes: 4 espresso cups, 4 espresso saucers, 6 teacups, 6 saucer plates, 5 plates, 10 fish plates, 7 dinner plates, 7 side plates, 1 large serving plate, 1 tureen, 1 large bowl, 1 bowl, 5 breakfast bowls, 8 small bowls, 6 smaller bowls, 7 two handled soup bowls, 1 sugar bowl, 1 condiments set with tray (salt, pepper, mustard) and three graduating in size jugs. (113) $250 – $500

308 Baccarat Champagne Cooler Faceted rim descending to an intended centre band above vertically paneled tapering sides, With Baccarat acid stamp to base. H230 D193mm $400 – $800 302

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309 Two Maori Carved Pou Pou Panels Early-twentieth century, high relief carving with inlaid paua shell eyes.

H930 W270 D60mm each $800 – $1,200

310 Pair of Designers Guild Ariana Cushions Green with embroided floral patterns, Ex Shibui Interiors. L500 W350mm $150 – $250

311 A Pair of Old Concrete Garden Urns Of traditional form with swags, wreaths and lion masks to three sides. H580 D700mm $400 – $800

312 Four Georgian Oval Portrait Miniatures Watercolour portrait of Mary Angelina Hughes, 170 x 140mm, overall. Watercolour portrait of a lady in gilt frame, 180 x 155mm, overall. Watercolour portrait of a child, circular in oval gilt frame, 325 x 270mm overall. Watercolour portrait of a gentleman in oval gilt frame, 130 x 115mm overall $300 – $500

313 Pair of Oval Gilt Framed Chromolithograph Portraits 200 x 180mm (each) $200 – $400

314 Four Portrait Miniatures Georgian portait of a gentleman (Andre de Majendie), 100 x 75mm overall. Georgian ebonsied oblong framed watercolour portrait of a gentleman, dated verso 1811, 133 x 114mm overall. Portait miniature of a lady, Christine Maria Mansergh, purple velvet frame, 172 x 134mm overall. Portait miniature of a lady in gold gilt frame 150 x 140mm overall. $300 – $500

315 A Pair of Mid-Century Japanese Style Lamps

309

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Ceramic orange base, with Japanese style floral relief decoration.

H740 (base to top of shade) W410 (shade). $500 – $700

Furniture 316 A French Louis XV Style Walnut Extending Dining Table Shaped apron scroll motifs, the parquetry top with geometric details. Under the top two expanding leaves, cabiole legs with carved achantus.Unextended L1480 W1100 H790mm $800 – $1,200

317 A Pair of Walnut Art Nouveau Side Chairs American, C. 1900. H950mm $400 – $600

318 An Oak Pedestal Desk

317

C. 1940, kneehole flanked by pedestals each with three drawers and moulded wooden handles. L1800 D1230 H760mm $500 – $800

319 A Large Victorian Extension Dining Table In mahogany, with crank mechainism, two leaves, standing on large baluster shaped turned legs, with brown porcelain castors. Length 1600mm, fully extended (2 extensions 2740mm) W1520 H760 each extension is 570mm wide $1.200 – $1.600

320 A Late-19th Century Mahogany Tea Table Shaped drop leaves and two drawers to frieze. End supports joined by two turned pole stretchers on brass castors. W1280 D505 H700mm $300 – $500

321 A 19th Century Mirror Doored Armoire The top surmounted with Rococco carvings, standing on short carved escargot legs, in book matched walnut veneer, the interior lined in birdeye maple. H2550 W1040 D500mm $1,000 – $1,500

322 A Victorian Chest of Drawers 322

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Five drawers graduating in size, ormolu mounted handles, resting on bun feet. W1090 D550 H1180mm $500 – $700 10 8

323 Map Showing Great Distances and Azimuths from Wellington to all parts of the World Printed on canvas laid on board.

980 x 830mm $200 – $400

324 A Regency Style Circular Games Table With leather inset top and wells for counters, standing on a four point reeded sabre leg base. H760 D1350mm $800 – $1,200

325 A Set of Six Very Fine Regency Dining Chairs in Rosewood C. 1820

325

The top rail with gadrooned carving and inset inlaid brass panel, reeded front legs, later drop-on upholstered seats. H835mm $2,400 – $3,200

326 A Regency Extension Dining Table in Mahogany C. 1810 Standing on eight reeded legs, terminating in brass capped castors.Fully extended length 1790mm, W1450 H730, not extended 1220mm $2,000 – $2,800

327 French Provincial Dresser Base 19th century pine country dresser base, plain three-plank top, two frieze drawers and well-proportioned tapering square section legs.

L2090 W765 H7700mm $1,000 – $2,000

326

328 A Victorian Mahogany Card Table Fold-over top with circular playing surface, raised on octagonal column base with four scroll feet resting on castors.W905 D445 H730mm $800 – $1.200

329 A Georgian Mahogany Fold-over Card Table H850 W750 D460mm $600 – $800

327

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330 A French Early-20th Century Butcher’s Block A handsome well dished, solid parquetry maple top, with steel strapped corners. Steel base contsruction with driptray and wheels to one side. L1860 W630 H1030mm $600 – $1,200

331 An Aqua Creations Morning Glory Floor Lamp Designed by Ayala Serfaty 1993.

Made of silk and metal framed, fabric requires attention. L1800 W800mm $500 – $800 359

332 Victorian Demi-Lune Console Table The central large baluster shaped and turned leg flanked by a pair of stile supports, raised on a shaped triform base on flat bun feet. W1035 D500 H725mm $300 – $500

333 A Victoian Mahogany Chiffioner Bookcase

337 A Victorian Style High Quality Reproduction Dining Table Standing on two carved tripod bases, with carved stretcher rail, the top with rounded ends above a carved freize. L2400 W1200 H770mm $700 – $1,000

H1870 W280 D415mm $800 – $1,200

338 Four Framed Oriental Screens

334 A Prie Dieu Chair

Handmade, repersenting the four seasons, late-19th/early-20th century. 1340 x 450mm each $800 – $1,200

With turned walnut legs resting on castors, floral button backed upholstery. H700mm $100 – $200

335 An 18th Century Carved Oak Coffer L900 D460 H445mm $300 – $500

336 A Victorian Cylinder Topped Twin Pedestal Desk In mahogany, turned knobs. H1140 W1370 D810mm $1,00 – $2,500

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339 A Small Louis XV Style Marbled Commode Of serpentine form with painted landscape decoration, ormolu mounts, shaped apron on cabriole legs. W735 D360 H780mm $800 – $1,200

340 19th Century Cylinder Top Bureau Desk Four drawers graduating in size, flanked by turned columns, Shaped apron. W1030 D500 H1070mm $800 – $1,200

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341 A Louis XVI Style Bed Frame Mahogany with inlaid walnut, mother of pearl. Shaped top decortated with ormolu shell mounts. L2020 H1520 W1500mm $400 – $800

342 A Royal Botania Ninix Extendable Outdoor Table and 4 Chairs Designed by Kris Van Puyvelde.

Brush stainless steel with glazed white top. With four moulded plastic unmarked chairs. Ex ECC. L240 W100 H740, Extended L3605mm $3,000 – $5,000

343 A Victorian Three Doored Sideboard In kauri with three ogee shaped drawers, H960 W1670 D500mm $600 – $1,000

344 A 19th Century Double Bed Frame Headboard, baseboard, siderails.

L2100 W1500mm $1,200 – $1,600

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345 A Gilt Overmantle Mirror With porcelain castors, 19th century. Provenance Highwick House.

1060 x 1280mm $600 – $800

346 A Louis XV Style Canape Settee

Painted and carved with scrolls and acanthus, resting on cabriole legs, with pale green upholstery and scatter cushions. L1870 H950 D800mm $1,500 – $2,500

347 A Georgian Foldover Topped Supper Table In cuban mahogany raised on Marlborough tapering legs. H710 W840 D405mm $500 – $800

348 A Chinese Cantonese Jardiniere Stand Ornately carved and pierced with blossoms, masks and leaves, supported on four legs with ball and claw feet and circular platform base, the octagonal top with marble insert. C. 1920s. H840 W460mm $800 – $1,200

349 A Pair of Contemporary Camel Back Sofas Velour seat covers. L2240 D930 H820mm (each) $1,800 – $2,200

353 A Late-Victorian Mirroed Marble Topped Walnut Credenza Serpentine front, with mirroed doors, and foilate carving. W1370 D420 H950mm $500 – $800

354 Three Ostrich Egg Lights European plugs. Light approx H240mm $300 – $500

355 Italian Green Marble Pedestal Column H107 W390mm $1,000 – $2,000

356 A Victorian Mahogany Chest of Drawers The bow front with two half width drawers and three full width drawers resting on bracket feet.

Distressed. H1045 W985 D500mm $400 – $800

357 A Victorian Chest of Drawers W940 D480 H1020mm $400 – $800

358 A 1940s Armchair Chair

359 A Louis XVI Style Gilt Caned Canape Sofa Carved with foliate, floral and scroll decoration, on turned fluted legs, cane seated and striped upholstery and with floating cushion.

Provenance Elizabeth Hargreaves Antiques. L1060 H840 D560mm $1,000 – $1,400

360 A Victorian Mahogany Sideboard Two cupboard doors flanked by acanthus and scroll carvings, interior drawer and freize with two drawers. L1520 D520 H900mm $600 – $800

361 A 19th Century French Louis XV Style Bergere Chair Barrel back, adorned with twisted ribbons detai, crested on the upper rail, arms adorned with scrolled knuckles. Raised on fluted and reeded legs, decorated with carved rosettes on the knees. Blue floral silk upholstery. W700 D700 H1085mm $1,800 – $2,200

362 A Victorian Music Canterbury In inlaid walnut, single glazed door opens to interior shelves. H940 W560 D370mm $400 – $600

Brown vinyl and studded upholstery.

W580 D600 H800mm $300 – $500

350 A Louis XVI Style Painted Bed Frame Orantely carved with ancanthus, scrolls and floral wreaths and resting on fluted legs. C. 1910. L1560 W1840 H2000mm $1,000 – $1,600

351 A Louis XVI Painted Three Doored Armoire Ornately carved, matching the previous lot. H2190 W1920 D590mm $1,000 – $2,000

352 An Early-20th Century Travel Trunk L1020 D540 H410mm $200 – $400 361

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20th Century Design 363 A Fantastic Mid-Century Lounge Suite C. 1960s A gondola shaped sofa and two lounge chairs, with geometric and brown vinyl period upholstery.

Sofa L2280 D800 H750mm.

Chairs H750 W940 D800mm each. $2500 – $4500

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365

364 A Contemporary Coffee Table Chromed legs with black marble top.

W750 D 750 H460mm $400 – $800

365 Pair of Pierre Paulin F598 Groovy Chairs

366 Four Arne Jacobsen Black 3107 Chairs

367 Le Corbusier LC6 Dining Table

Originally designed in 1973, manufactured by Artifort, Netherlands. Upholstered in red wool and resting on metalic feet.

W820 H630 D670mm $2,500 – $5,000

Originally designed in 1955, manufactured by Fritz Hansen Denmarked. Black lacquered bent plywood seat and chrome plated steel frames. Labelled and marked Fritz Hansen Made in Denmark 1985. H770 W460 D480mm $2,000 – $4,000

Designed in 1928. Glass topped dining table, with metal frame, manufactured by Cassina. No. 010774. L2255 W845 H690mm $1,000 – $2,000

366

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368

368 A Danish Mid-Century Rosewood Dining Table

369 Grant Featherston A310H Chair

370 Grant Featherston R160 Armchair

371 Mid-Century Teak Cocktail Cabinet

L3600 W1360 H710mm $800 – $1,500

In taupe upholstery, resting on tapered legs. Ballantynes plaque to base. H720 W665 D570mm $1,500 – $2,500

Designed in 1951. In red chenille upholstery resting on tapered legs.

H940 W710 D780mm $3,500 – $5,000

Doors open to fitted interior.

W765 D380 H825mm $300 – $400

369

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372

373

372 Jutta and Herbert Ohl for Rosenthal Swing Chair Black enamel spring steel cantilever chair, C. 1980s. H820 W430 D480mm $500 – $800

373 Charles Pollock Penelope Chair Designed in 1982, manufactured by Castelli. With chromed frame and a seat made from black perforated metal. H800 W560 D650mm $400 – $800

374 Tecno PS 148 Chair Cocoa leather upholstery, on castors. Designed and manufactured by the Centro Progetti Tecno, Italy.

C. 1970s. H785 W580 D540mm $600 – $900

374

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375 Arne Jacobsen Egg Chair and Stool In cognac brown leather. Originally designed in 1958. Manufactured by Fritz Hansen in Denmark 1985. Egg chair model 3316 with stool model 3127. Fritz Hansen Made in Denmark 1985 label to base. Stamped Made in Denmark FH 3316-2022.

Chair H1060 W830 D700mm. Stool W560 H400 D410mm $7,000 – $10,000

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376 A Mariano Fortuny Floor Lamp Originally designed in 1907, Italian Futurist movement, Fortuny for Pallucco. Fabric shade, steel frame.

H1900 D870mm $1,500 – $3,000

377 A Kartell Gnomi Attila Stool In gold, designed by Philippe Starck, batch-dyed thermoplastic technopolymer. H450 D330mm $150 – $250

378 A Caned Bentwood Rocking Chair H1000 W560 D1100mm $600 – $800

379 A Set of Four Ditte & Adrian Heath Danish Cantilevered Dining Chairs Solid ashwood frames with original khaki stripe canvas in excellent condition. Manufactured by France & Son with plaquette to underside of each chair. Designed 1969.

H830 W520 D560mm $600 – $1,000

380 AH McIntosh Teak Sideboard C. 1960s. In teak, with three central drawers, cocktail fittings to left side.

L2010 D490 H815mm $2,000 – $4,000

376

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380

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381 Patricia Urquiola for Moroso ‘Lowseat’ 3-Piece Modular Sofa Designed 2000, in red wool upholstery, Moroso label.

L296 D900 H590mm $3,000 – $5,000

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Asian Decorative Arts

382 A Qing Dynasty Hand Painted Dish Decorated in three colours with flowers. Six characters blue and white seal marks of Chenghua under the base. Qing Dynasty, Kangxi Period (1662-1722). D360 H60mm $1,400 – $2,200

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383 An Early-17th Century Chinese Blue and White Porcelain Plate

383

384

385

386

386 A Chinese Blue And White Porcelain Large Bowl

389 A Late-17th Century Blue and White Qilin Porcelain Plate

Early-Ming Dynasty, Yongle Period. crack near the rim. D190mm $350 – $550

Hand painting with Chinese characters and dragons. Fine quality and good condition. Square mark seal under the bottle. D200 H90mm $300 – $450

Ming Dynasty, Chongzhen Period Qing Dynasty, Shunzhi Period.

D290mm $350 – $550

384 A Late-17th Century Chinese Blue and White Porcelain Plate

387 A Pair of Ivory Style Paperweights

Late-Ming Dynasty. D190mm $300 – $500

385 A Late 18th Century Chinese Blue Enamel Large Bowl

L295mm $300 – $500

388 A Japanese Taisho / Showa Signed Satsuma Porcelain Revolving Appetizer Dish

Very fine hand painting, decorated with Chinese traditional flowers. Six characters iron-red seal marks of Jiaqing (1796-1820). D180 H90mm $4,700 – $7,600

C. 1930. Six painted and gilt shaped dishes around a central dish.

Lazy Susan Style Base. All signed with gilt kanji in a red reserve.

D340mm $200 – $300

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390 A Pair of 19th Century Chinese Blue and White Porcelain Soup Bowls Beautifully painted peaches, pomegranates and fingered citrons (Buddha’s Hands). Four-character blue seal marks of Jing Tang Fa Ji under the base. Jing Tang Fa Ji, a famous workshop which made porcelain for high officials and the wealthy people of the late 19th Century during the Qing dynasty GuangXu Period.

D130 H65mm $1,800 – $3,000

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391

393

391 An 18th Century Chinese Blue Glazed Porcelain Tea Pot

393 A Late-17th Century Blue and White Porcelain Wine Pot

395 A 20th Century Chinese Famille Rose Porcelain Vase

Qing Dynasty, Qianlong period (1736-1795). H130 W160mm $300 – $450

Fine blue and white hand painting, depicting a Chinese figure and a garden scene. Fine quality and good condition. Late-Ming Dynasty (1522-1619). H200 W180mm $4,000 – $6,400

Very Fine hand painted depicting a beautiful lady. Signed by Wang Qi (1884-1937). H250 D80mm $350 – $550

392 An 18th Century Chinese Export Blue and White Porcelain Plate Finely hand painted with landscape and garden scenes. Qing Dynasty, Qianlong Period. 340 x 260mm $350 – $550

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394 A 17th Century Korean Blue and White Porcelain Hexagonal Vase H310, D200mm $300 – $450

396 An 18th Century Chinese Export Blue and White Porcelain Rectangle Plate Very finely hand painted, decorated with flowers. Qing dynasty, Qianlong Period. 320 x 230mm $300 – $500

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500 An 18th Century Chinese Pottery Vase Qing Dynasty, Qianlong Period.

H200mm $700 – $1100

397

397 A 19th Century Chinese Allite Red Plate Fine quality and in good condition.

Decorated with peach, pomegranate and fingered citron. The top centre of the plate depicts a symbol representing long life painted in gold. This type of plate was typically used for birthday celebrations for elders. The base has the imperial six-character Tong Zhi reign marks in allite red. D300mm $500 – $800

398 A Late-17th Century Japanese Porcelain Plate

399 A Pair of Small Early-20th Century Chinese Famille Rose Saucer Dishes Republic Period. Shi Lu (Liang Duishi) seal marks under the base.

D140mm $3,500 – $5,500

400 A Late-17th Century to Early 18th Century Japanese Flask Vase

401

401 An 18th Century Chinese Pottery Vase

403 A Japanese Kutani Vase with Painted Figures And Flowers

Qing Dynasty, Qianlong Period.

H200mm. $700-$1,100

Meigi Period. H310mm $400 – $600

402 Four 18th Century/Early 19th Century Chinese Saucer Dishes Mid-Qing Dynasty. $250 – $350

Good condition. Edo Period. H230 D170mm $400 – $600

Good Condition. Edo Period. D230 H60mm $ 200 – $400

404 A Pair of Chinese Green Glazed Garden Stools H450mm $300 – $500

405 A 13th Century Chinese Long Quan Plate Song Dynasty (960-1279 AD).

D230 H45mm $250 - $400

398

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403

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400

405

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406

407

409

406 A Chinese Ornamented Brown Jade Disc

409 An 18th Century Chinese Imari Porcelain Tea Pot

411 A 19th Century Chinese Canton Porcelain Tea Pot

414 An 18th Century Chinese Famille Rose Goblet

D120mm $50-$100

Early-Qing Dynasty Kangxi Period.

H160 D110mm $600 – $950

Late-Qing Dynasty. H140 W190mm $400 – $600

Qing Dynasty Qianlong Period. Six Characters Seal marks of Da Qing Qian Long Nian Zhi under the base.

H100 D130mm $2,000 – $3,000

407 A Chinese Canton Famille Rose Porcelain Vase Fine hand painting with Chinese figures in a garden. H280 W130mm $600 – $950

408 A Large Chinese Liquor Stand H480 W350mm $200 – $400

411

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410 Four Old Japanese Edo Period, Fuchi for Samurai Sword, C. 1750 - 1850 Katana and Wakizashi in Iron, Copper, Sentoku, Shakudo with nanako grounds and relief. Gold and silver decoration. Largest L40 W25 D50mm $200 – $400

412 A 19th Century Chinese Famille Rose Tea Pot Late-Qing Dynasty. H90 D105mm $300 – $450

413 A Chinese Republic Cloisonne Garlic Vase

415 A 20th Century Chinese Green Jade Lidded vase Very finely carved. H180 W95mm $250 – $400

Lao Tian Li. H250 D130mm $400 – $600

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420 A Chinese Cameo Peking Glass Brush Pot H130 D85mm $500 – $800

421 Four Early Japanese Iron Samurai Sword Tsuba 1550 - 1700 D60-70mm $300 – $500

422 An 18th Century Japanese Edo Period Iron Tsaba Oval Shape with stylished dragon scolls amongst clouds. Signed Masatomo. D64mm (Wakizashi size). $200 – $400

423 A Japanese Iron Tembo School Wakizashi Tsuba Mokko gata form with raised edged rim and kikko pattern, tortoise shell design. Signed Saku. Early-18th Century. D69 mm $200 – $300

416

416 A Chinese 20th Century Famille Rose Porcelain Plaque Very finely hand painted with eight horses. Signed by Zhang Zhitang (1893-1971), a famous 20th century ceramic artist from Jingdezhen, China. 550 x 330mm $4000 – $6400

417 A Longan Wooden Carving Depicting The Immortals H630mm $1,000 – $1,600

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418 A 19th Century Chinese Painting Depicting Ducks Playing On Water Shen Qinan seal marks on painting.

Shen Qinan was born in Suzhou and was a famous Ming Dynasty painter.

He also was the founder of Wumen Huapai. Qing Dynasty.

610 x 400mm $250 – $350

419 A Chinese Tough Silk Painting with Landscape Scene Painted by Qian Gong.

2000 x 470mm $950 – $1500

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424 A Japanese Tembo School Forged Iron Tsuba 18th Century Mokko gata form with hammered surface and pierced cloud scrolls.

73 x 76 mm $200 – $400

425 A Pair of Meiji Period Japanese Koros Patinated bronze koros C. 1880. Relief fish twin handles with three legs on circular base. H480 D230mm $800 – $1,200

426 Three 18th Century Japanese Edo Period Fuchi Sword Fittings and One Kashira Copper, shibuichi, silver and bronze with gold paulownia mon, gold crabs and window scene decoration. $200 – $400

420

427 A 19th Century Japanese Sword Fitting Menuki Tie Slide, C. 1820 - 1920 An interesting and famous subject depicting Kinko riding his giant carp. Mixed metals: copper, silver and shibuichi, with silver backing and slide. For European market.

L59mm $150 – $250

428 An Early Edo Period 17th Century Oval Iron Tsuba Tsuchime-ji with scalloped rim and inlaid and raised design of a butterfly above wild flowers in glod, silver and copper inlay. Wakizashi.

Size 65mm $250 – $350

429 A 16th-18th Century Indian Bronze Mogul Handle H85mm $250 – $400

430 An Early Edo 17th Century Japanese Tembo School Iron Tsuba Tsuchime-ji in mokko gata form with hot punched cloud design.

One plugged hitsu-ana. D76mm (katana size). $250 – $350

431 Antique Chinese Kangxi Ming Style Sancai Glazed Parrot Bird Export H250mm $200 – $400

432 A Large Japanese Muromachi Oval Iron Tsuba 16th Century D85mm $300 – $400

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429

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433

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435 436

433 A Good Meiji Period Carved Ivory Tennin Netsuke, C. 1880

435 A Japanese 19th Century Carved Ivory Gourd Netsuke

437 A Meiji Period Carved Ivory Study of a Fruit Eating Bat

The buddhist deity was known for flying through the air and clouds holding a lotus flower. Signed “Tomochika”. L45mm $600 – $900

Well carved with trailing vine and light staining. Two wormholes.

L40mm $500 – $800

Lightly worn with finely carved details and inlaid horn eyes. Quite rare subject. L37mm $600 – $900

434 Two Meiji Period Wooden Netsuke, C. 1880 1. A well carved mask of Hannya with fierce expression.

2. A humorous study of a man standing on getta, holding his stubbed toe. Both signed.

L 37 & 45mm $500- $800

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436 An Early 19th Century Edo Period Carved Ivory Pumpkin Netsuke Well worn with yellowed patina. Has a humorous element with a worm working its way through the pumpkin body. Natural stork himotoshi.

L38mm $600 – $900

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439

444

438

442

443 441

438 A Very Fine Small Marine Ivory “Doug Marsden” Netsuke

440 A Japanese 19th Century Edo Period Carved and Painted Sambasso Dancer Netsuke

This unusual study depicts Okame asleep in a seashell. Her head and the tiny fingers of one hand are visible. Doug Marsden b.1958 well respected New Zealand carver with pieces exhibited by the Japanese Netsuke Association C. 1992.

H43mm $700 – $1,000

Evenly worn with all over patches of paint decoloration typical in these rare painted pieces. H50mm $400 – $600

439 A Chinese Ivory Carving Depicting An Immortal

441 A Meiji Period Carved Ivory Netsuke Study of an Ox with Halter Signed Tomokazu. Lightly smoke stained with worn patina and portrayed in a recumbent pose. Inlaid black horn / coral eyes. L47mm $800 – $1,200

H110mm $600 – $950

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442 An 18th Century (Edo) Period Carved Boxwood Wolf Signed Tomotada. A macabre but classic netsuke subject of a wolf guarding a human skull, probably stolen from the public execution grounds. Double inland horn eyes.

L60mm $1,000 – $2,000

443 A Late Meiji Period Ivory Frogs on Skull Okimono/ Netsuke A rather macabre study with two frogs clambering over a human skull. Sumi inkwork staining and well worn patina. Signed Shuzan.

L40mm $600 – $900

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444

445

444 A 20th Century Chinese Enamel and Silver Three Feet Censer H120mm $800 – $1,200

445 A Late-14th Century/Early 15th Century Tibetan Bronze Buddha H220 W150mm $200 – $350

446 A Chinese Gilded Bronze Buddha A Chinese Gilded Bronze Buddha Wei dynasty (386-557 AD) H100mm $900 – $1,400

447 A Thai Standing Buddha

In Rattanakosin Style in Abhaya Mudra on wooden stand. H635mm $150 – $250

448 A Chinese Soapstone Seal

446

Made by Wu Dacheng. H100 W26mm $450 – $700

449 A Chinese Soapstone Seal Made by Nai Qing. H45 W30mm $300 – $450

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450 Eight Japanese Plates Painted landscape decoration.

W155mm $100 – $200

451 A Japanese Satsuma Vase H460mm $150 – $250

452 Two Pieces of Hand Embroidered Japanese Silk Early-20th century. Landscape decoration 330 x 550mm. Birds and floral decoration 440 x 520mm $300 – $400

453 A 19th Century Chinese Gilt Qilin Qing Dynasty. H80mm $450 – $ 700

454 Two Small Bronze Buddhas from Tibet H70mm $300 – $450

455 Two Indian Rajasthan Hindu Silver Items of Jewellery 1. A long silver belcher link necklace/chain with heart shaped pendant.

2. A fringed silver bracelet with screw clasp stamped PJ. L480mm and 280mm $60 – $90

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456 A Good and Finely Cast and Gilt 19th Century Sino/ Tibetan Bronze Trantric Buddah Figure Avalokitesvara sits on a double lotus plinth in the open handed reasoning gestures of lalitasana pose.

The base engraved with double vajra motif. H230mm $5,000 – $7,500

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457

458

459

460

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457 A 19th Century Chinese Ivory Carving Depicting an Old Man

461 An Old Chinese Painting with Landscape Scene

Late Qing Dynasty. H200mm $950 – $1,500

H1800mm $250 – $350

458 An Early 20th Century Japanese Ivory Brush Pot

462 An Old Chinese Painting with Landscape Scene

Very finely carved depicting lions.

H130mm $700 – $1,100

L1800mm $250 – $350

459 221 BC - 220 AD Chinese Pottery Figurine Qin Dynasty Han Dynasty.

H340mm $2,300 – $3,600

460 A Pair of 618-907 AD Chinese Pottery Horses Tang Dynasty. H300 W280mm $3,500 – $5,500

463 A Chinese Painting with Chanticleer and Plantain Painted by Wu Fuzhi.

2050 x 750mm $750 – $1,200

465 A Chinese Soapstone Seal Made by Pan Xifeng. H75 W30mm $350 – $550

466 A 19th Century Chinese Huangyang Wood Ruyi Qing Dynasty. Very fine carving depicting bats, cranes and auspicious clouds. H390mm $700 – $1,100

467 A 19th Century Chinese Ivory Chess Set Late Qing Dynasty. H110 H50mm $800 – $1,200

464 A Large Chinese HuangHuali Wood Brush Pot H280 D280mm $9,000 – $13,000

464

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469

470

471

468 A Late-18th Century/Early 19th Century Chinese Yixing Tea Pot Qing Dynasty. Made by Jiang Zhenxiang. H75 D110mm $700 – $1,100

469 A Mid-20th Century Chinese Water Dragon Yixing Tea Pot Made by Zhu Aizhen (1960).

H105 D120mm $700 – $1,100 472

470 A Chinese Yixing Tea Pot with Three Feet Made by Gu Jingzhou.

H75 D120mm $950 – $1,500

472 A Chinese Republic Yixing Square Tea Pot H110 W110m $600 – $950

473 A 17th Century Large Chinese Zhangzhou Fujian Red and Green Porcelain Bowl Ming Dynasty. H135 D275mm $600 – $950

474 A 20th Century Chinese Stone Carved Tea Pot Seal marks under bottle.

140 x 80 x 70mm $300 – $450

471 An Early-Mid 20th Century Chinese Yixing Tea Pot Pei Shimin seal marks under the base. 150 x 100 x 70mm $800 – $1,200

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475 A Mid-20th Century Chinese Soapstone Depicting a Landscape 360 X 190mm $300 – $450

476 A Chinese Purple Granulated Tea Pot 474

H200mm $500 – $800

482 A 20th Century Chinese Famille Rose Porcelain Little Vase

477 Two Chinese Revolution Cacique Yixing Tea Pots

Very fine hand painting depicting eight horses and mountain scene.

Six characters iron-red seal marks of Qianlong under the base. H130 D60mm $350 – $550

478 A 206 BC-220 AD Chinese Pottery Incense Burner With Three Feet Han Dynasty. H220 D200mm $300 – $450

479 A 19th Century Begonia Flower Shape Silver Plate Late Qing Dynasty. 270 X 200mm $700 – $1100

478

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481 An Early 20th Century Oriental Silver Wine Pot

Two colour purple granulated teapot, marked on the base. H70 W105mm $60-$100

One is carved with the portrait of Chairman Mao, it has crack on the lid. Another is carved with the portrait of Xu Xiangqian. H110 D110.

H80 D70mm $350 – $550

476

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483 A Mid-20th Century Chinese Dehualar White Porcelain Vase Handmade and decorated with a noble lady surrounded by vegetation. H200mm $300 – $450

484 A Chinese Purple Granulated Tea Pot Three Character marks Chen Guangfu under the base. Cheng Guangfu (1621-1644) is from Yixing, Jiangsu. Although he was partially blind, the teapot he made is excellent. He is one of the best purple granulated teapot maker of the Ming dynasty Chong Zhen period in Jiangsu. H40 L125 W82mm $350 – $550

485 A Pair of 19th Century Jadeite Leaf Drop Earrings

491 A Jadeite Pendant

Qing Dynasty, H33mm $700 – $1,100

With 18ct white gold bale set with three round cut diamonds.

L36mm $1,200 - $1,600

486 A 19th Century Jadeite Impressive Large Ring

492 Walrus Ivory Cigarette Holder

Qing Dynasty. D32 H25mm $1200 – $1,900

487 A Jadeite Carved Bat and Ruyi Pendant

Translucent bright green with white patches.

L42 W20 D7mm Weight 51ct including mounting.

Complete with testing certificate from Hong Kong. $7,500 - $12,500

488 A Jadeite Carved Ruyi Pendant Translucent bright green with intense green and white patches.

L39 W17 D4mm.

Weight 30ct including mounting.

Complete with testing certificate from Hong Kong. $12,500- $16,500

489 A Chinese HeTian Dragon Jade

Late-Qing Dynasty. H35mm $1,800 – $2,800

493 A 19th Century Jadeite Pendant in a Gold Setting Qing Dynasty. W35 H23mm $700 – $1,100

494 A Jadeite Bangle With a 14ct gold insert.

D74 H10 inside D57mm $4,000 - $5,000

495 An Early 19th Century Jadeite Ling Guan Mid-Qing Dynasty. H70mm $3,000 – $4,800

496 A Chinese Jade Carving and A Seed Crystal Brooch W58mm $1,200 – $1,900

497 A Chinese Grey Jade Carving Depicting Guanyin

507 Six Ancient Chinese Jade Pieces

H60mm $600 – $950

Very finely carved Chinese dragon.

D85mm $450 – $700

498 An Interesting Ethnic Chinese Necklace, C. 1900 It comprises an assortment of glass, hardstone beads, agate, lacquer and large peach stone beads to a silver cartouche panel and carved agate pendant (restrung on monofilament). L480mm $400 – $700

499 An Ancient Chinese Natural Red Coral and Diamonds Pendant with A 18K Gold Setting L30 W15mm $1700 – $2,500

500 A 19th Century Chinese Jade Brooch Late-Qing Dynasty. W70mm $1,800 – $2,700

501 A Late Qing Dynasty Chinese Jade Butterfly Brooch L45 W65mm $1,200 – $1,900

60 x 60mm $7,000 – $11,000

502 A Pair of Late 19th Century Chinese Gold Plated Silver Bangles

490 A Chinese Light Green Jade Carving With The Auspicious Beast

D60mm $ 700 – $1,100

H40mm $1,400 – $2,200

503 A Late 19th Century Jiugong Bagua Silver Lock H380mm $600 – $950

489

504 A Late 19th Century Chinese Silver Longevity Lock H270mm $600– $950

505 A Chinese Light Green Jade Cicada Carving

490

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290 x2 10mm $400 – $600

509 A pair of Late 19th Century Chinese Silver Bangles D70mm $350 – $550

510 A Late 19th Century Chinese Silver Bracelet Decorated With A Chinese Dragon D60mm $350 – $550

511 A Rhinoceros Horn Ring D15mm $350 – $550

512 Two Japanese Kutani Plates Meiji Period. Fu character seal marks under the base. D250 H35mm $350 – $550

513 A pair of Late 19th Century -Early 20th Century Chinese Two Ears Bronze Vases Decorated with Chinese Dragon, Phoenix and Flowers using high quality hand-carved. Detailed carving with two elephant shaped ears.

Marks from Ming Dynasty, Xuande Period. Original wooden plinth base H275 W180mm $300 - $500

514 A Fine Quality Edo Period Silver and Gold Whooping Crane Menuki Brooch Flying high with all details and feathers carved. Shakudo tail and brooch pin mount. L31mm $300 – $400

H50mm $600 – $950

515 Two Ethnic Indian Rajasthan Hindu Necklaces

506 A Pair of Amber Earrings

Comprising silver amulets and silver links strung with red and green cotton. L640 and L800mm $50 – $100

H20mm $ 600 – $ 950

W EBB’S

508 A Han Dynasty Engraved Brick

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488

485

486

491 493

487

492

494

495

Lot 626

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Fine Jewels, Watches & Luxury Accessories Thursday 20 September — 6:30pm Specialist Enquiries and Condition Reports — Lauren Boustridge BSc, AJP, GG (GIA) Fine Jewels & Watches Specialist lauren@webbs.co.nz +64 9 529 5607 Lots not illustrated in this catalogue are illustrated online at www.webbs.co.nz

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Fine Watches 601

A Gentleman’s stainless steel Worldtimer wristwatch, Frederique Constant, circa 2000’s. Automatic.

42mm. Ref. FC-718MC4H6. Serial number 547/1888. Circular silver toned guilloche dial with roman numerals. Date subdial at 6 o’clock.

Sapphire crystal case back. Case, dial, strap and buckle signed.

Original box and manual. $2,500 – $3,500

602

A Gentleman’s stainless steel Master wristwatch, Longines, circa 2010’s. Automatic. 39mm. Ref. L2.631.4. Serial number 32033726.

Circular silver ‘barleycorn’ dial with arabic numerals and blue steeled hands. Sweeping seconds and date aperture at 3 o’clock. World time GMT. Case, dial, strap and buckle signed. Original leather strap. Box. $1,400 – $2,400

601

603

A Gentleman’s white gold and steel America’s Cup edition Seamaster wristwatch, Omega, circa 2002.

Automatic. 42mm. Ref 2833.50.91.

Serial number 60445352. Circular black dial with luminous markers and date aperture at 3 o’clock.

White gold bezel. Case, dial, strap and buckle signed. Original box and papers. $2,400 – $3,500

602

604

A Gentleman’s stainless steel Riviera wristwatch, Baume & Mercier, circa 2010. Automatic.

46mm. Ref. 65599. Serial number 46600335. Chronograph, circular white dial with luminous markers and date aperture at 6 o’clock.

Case, dial and buckle signed.

Extra links, papers and box. $2,200 – $3,000

603

604

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605

A Gentleman’s white gold Calatrava wristwatch, Patek Philippe, circa 1999. Manual wind. 33mm. Ref. 3919G-000. Movement number 1863096/4039597. Cal. 215.

Circular white porcelain dial with roman numerals. Dial and buckle signed. Non-original leather strap.

Original box and papers. $10,000 – $13,000

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607

608

606

609

606

607

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A Gentleman’s stainless steel Evidenza wristwatch, Longines, circa 2010’s. Automatic. 33 x 38mm. Ref. L2.642.4. Serial number. 34875687. Cal. L615.

Tonneau silver ‘flinique’ dial with arabic numerals and blue steeled hands. Sweeping seconds subdial and date aperture at 6 o’clock.

Case, dial and buckle signed. Box. $850 – $1,200

A Lady’s white gold and diamond De Ville wristwatch, Omega, circa 1971. Manual wind. 22 x 20mm.

Ref. 8238. Cal. 485. Serial number 32315825. Circular dark grey dial, with applied batons. Diamond bezel comprising of round brilliant cut diamonds of estimated total weight 0.96 carats. Dial, case and buckle signed. Original mesh bracelet.

Jewellers valuation available. $2,000 – $3,000

608

A Gentleman’s white gold Ellipse wristwatch, Patek Philippe, circa 1970’s. Automatic. 36mm. Ref. 3586/1. Elliptical blue brushed dial with applied batons and sweeping seconds. Integral mesh bracelet, numbered 17. Dial and buckle signed. $8,000 – $9,500

609

A Lady’s stainless steel Constellation wristwatch, Omega, circa 2000’s. Quartz. 22.5mm. Ref. 14657100. Cal. 1456. Serial number 5658745. Circular mother-ofpearl dial with applied silver toned batons. Diamond set bezel. Case, dial, clasp signed. $1,500 – $2,200

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613

611

610

610

A Gentleman’s white gold De Ville wristwatch, Omega, circa 1970’s.

Manual wind. 24.7 x 22.3mm. Case numbered D12714 8196. Movement numbered 3605. Rectangular blue dial with applied luminous batons.

Mesh style bracelet, numbered 711 1678. Dial and buckle signed.

Jewellers valuation available. $3,000 – $4,000

611

A Gentleman’s stainless steel Hampton wristwatch, Baume & Mercier, circa 2011. Quartz.

24mm x 11mm. Ref. 65446. Serial number 3695499. Rectangular white dial with applied steel batons, date aperture at 6 o’clock. Case, dial and buckle signed. Original box and papers. $700 – $1,200

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612

612

A Lady’s stainless steel Tank Française wristwatch, Cartier circa 2000’s. Quartz. 31 x 25mm.

Ref. W51011Q3. Serial number 621964CE. Silver dial with roman numerals. Case, dial and bracelet signed. Extra link. $1,500 – $2200

613

A Lady’s Art Deco platinum, gold and diamond wristwatch, Hamilton, circa 1930’s. Manual wind.

10mm x 13mm. Tonneau cream dial with applied batons. Diamond set bezel, lugs and bracelet. $1,600 – $2,200

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614

A gold Oyster Perpetual Day-Date wristwatch, Rolex, circa 1985.

Automatic. 36mm. Ref. 18038.

Serial number 8812697. Circular gold dial with diamond markers.

Sweeping seconds and date aperture at 3 o’clock. Diamond bezel comprising of sixty claw set baguette cut diamonds of estimated total weight 1.02 carats. Original President bracelet numbered 8385. Case, dial and buckle signed.

Original box. $12,000 – $15,000

614

615

A Gentleman’s gold Eclipse shutter pocket watch, Cartier, circa 1920’s.

Manual wind. 42x28mm. Case numbered 21658/418395/1649.

White dial with black roman numerals. 18ct yellow gold. 18ct fob chain 52cm. Original Box. $8,800 – $10,000

615

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616

A Lady’s gold Oyster Perpetual Datejust wristwatch, Rolex, circa 1989. Automatic. 26mm. Ref: 6917/8. Serial number L520053.

Gold dial with diamond markers.

Diamond set pyramid bezel. Case and dial signed. Original President bracelet numbered 8570F. Box, manuals, original fluted bezel.

Gemmologist’s report available. $12,000 – $16,000

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619

618

617

618

A Gentleman’s rose gold wristwatch, Omega, circa 1950’s.

Automatic. 35mm. Circular light champagne dial with black arabic numerals and gold batons.

Sweeping seconds. Dial signed.

Non-original 9ct gold bracelet.

Jewellers valuation available. $2,400 – $3,400

619

617

A Lady’s rose gold and diamond Gondolo wristwatch, Patek Philippe, circa 2007. Manual Wind. 37 x 22mm. Ref. 4991R 001. Cal. 16-250.

Serial number 3376637. Motherof-pearl dial with applied black batons. Diamond bezel and lugs of estimated total weight 1.05 carats.

Case, dial and buckle signed.

Original strap. Original box, papers and additional strap. $21,000 – $26,000

A Gentleman’s rose gold Portofino wristwatch, IWC, circa 2008. Automatic. 40mm. Ref. IWC356302. Cal. 30110. Serial number 3229349. Circular cream dial, sweeping seconds, date aperture at 3 o’clock. Case, dial and buckle signed. Original Leather strap. Inscription on the case back.

Original box and papers. $5,500 – $6,500

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620

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622

620

A Gentleman’s rose gold Reverso Duoface wristwatch, Jaeger-LeCoultre, circa 2000’s.

Manual wind. 36 x 26mm. Ref. 270254. Serial number 1849223.

Rectangular silver tone guilloche dial with arabic numerals, blue steeled hands and seconds sub dial at 6 o’clock. Reverse case with dark brown guilloche dial with arabic numbers, applied batons and luminous hands. Day and night time sub dial at 6 o’clock. Case, both dials, strap and buckle signed.

Original box. $9,000 – $11,000

621

A Lady’s stainless steel and gold Oyster Perpetual Date wristwatch, Rolex, circa 1983. Automatic.

26mm. Ref. 6917. Serial number 8168245. Circular gold dial with gold batons. Centre sweeping seconds, date aperture at 3 o’clock. Jubilee bracelet. Case, dial and buckle signed. Original papers and box. $2,000 – $3,000

A gold Breguet wristwatch. Manual wind. 32 x 26mm. Ref. 2744.

Oval gold toned dial with roman numerals. Case and dial signed.

Original leather strap. $5,000 – $6,000 Illustrated online at webbs.co.nz

623

A gold Reverso wristwatch, JaegerLeCoultre. Manual wind. 33 x 23mm. Ref. 250110. Serial number 1724007. Rectangular black tone dial with arabic numerals, luminous hands. Date aperture at 6 o’clock.

Case, dial and buckle signed.

Original leather strap. $6,800 – $8,500

624

A gold wristwatch, Omega. Manual wind. 30mm. Circular rose gold toned dial with roman numerals.

Dial signed. Non-original strap and buckle. $500 – $800

623

Illustrated online at webbs.co.nz

621

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Luxury Accessories 625

A Musette Salsa GM handbag, Louis Vuitton. Features Damier Ebene leather canvas and brown leather shoulder strap. Terracotta leather interior. Brass hardware.

Approximately 36 x 30cm. Shoulder strap drop 50cm. Serial number SL0064. Dustbag. $850 – $1,200

625

626

A Brilliant MM satchel, Delvaux.

Features black leather canvas, trim and rolled leather handles.

Beige leather interior. Silver toned hardware. Approximately 27 x 22cm. Handle drop approximately 12cm. Accompanied with leather bound travel mirror. Original dustbag and authenticity card. $3,500 – $4,500

626

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627

A Boy Chanel Flap handbag, Chanel.

Features khaki gold quilted leather canvas with antique gold toned chain and leather pad strap. Light gold coloured interior. Antique gold toned hardware. Approximately 22 x 30 cm. Handle drop approximately 45cm. Serial number 16573934.

Original dustbag and box. $4,000 – $5,000

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628

A Mirabeau GM handbag, Louis Vuitton. Features black Ebi leather canvas and black smooth leather trim and handles. Alcantara leather interior. Silver toned hardware.

Approximately 37 x 26cm. Handle drop approximately 8.5cm. Serial number SN0123. Original receipt and detachable shoulder strap. $2,200 – $2,800

628

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629

A Pont Neuf handbag, Louis Vuitton. Features red Ebi leather canvas, red leather trim and handles. Alcantara leather interior.

Brass hardware. Approximately 22 x 25.5cm. Handle drop 15cm.

Serial number MI0074. Dustbag. $950 – $1,300

629

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630

A Diorissimo handbag, Christian Dior. Features khaki leather canvas, trim and handles. Pink leather interior. Silver toned hardware.

Approximately 38 x 26 cm. Handle drop approximately 12cm. Serial number 08-MA-0153. Original dustbag and detachable strap. $2,500 – $3,500

631

630

An Intrecciato Messenger satchel, Bottega Veneta. Features black, signature intrecciato leather canvas and a black leather adjustable shoulder strap. Mauve fabric interior. Black metal hardware.

Approximately 34 x 28cm. Shoulder strap drop approximately 58 cm.

Serial number 2598A. Dustbag. $700 – $1,200

632

A 2.55 double flap handbag, Chanel. Features black quilted leather canvas with a silver toned reissue chain. Burgundy leather interior. Silver toned hardware.

Approximately 31 x 20cm. Handle drop approximately 30cm. Serial number 12312673. $3,000 – $4,000

633

A Boy Chanel wallet on chain, Chanel. Features a black quilted leather canvas and trim. Leather and gold-toned chain shoulder strap. Black fabric and leather interior. Gold toned hardware.

Approximately 19 x 12cm. Shoulder strap drop approximately 60cm.

Serial number 18118096. $1,000 – $1,500

634

A pair of low-top sneakers, Prada.

Grey suede with white cap-toes and laces. Leather lining. Size 37½. $200 – $300

635

631

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A Messenger satchel, Louis Vuitton.

Features a Damier Ebene canvas, brown leather trim and brown shoulder strap. Brown canvas interior. Gold toned hardware.

Approximately 36 x 30cm. Shoulder strap drop 30cm. Serial number CA0096. Dustbag. $850 – $1,300 Illustrated online at webbs.co.nz

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632

633

634

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637

A pair of sneakers, Louis Vuitton.

Orange, blue and white leopard motif fabric with gold toned logo and eyelets. Rubber soles.

Size 36 ½. $450 – $600

637

636

A Lady Dior bag, Dior. Features navy blue quilted leather canvas, trim and handles. Navy monogram fabric interior. Silver toned hardware. Approximately 22 x 20cm. Handle drop approximately 12cm. Serial number 16-BO-1101. Accompanied with dustbag, shoulder strap and authenticity card. $1,500 – $2,200

636

638

An Intrecciato wallet, Bottega Veneta. Features a navy signature intrecciato leather exterior.

Navy leather trim and interior.

Approximately 20 x 10 cm. Serial number 420 C. Accompanied with leather bound travel mirror. $150 – $250

638

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639

A Hermès Kelly handbag, Hermès.

Features feu Epsom leather canvas, handles and interior. Gold toned hardware. Approximately 23 x 32cm. Handle drop approximately 15cm. Serial number XIS272.

Original receipt. Accompanied with original lock and keys, two handbag raincoats, shoulder strap and dustbag. $12,000 – $15,000

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640

A pair of Moccasins, Salvatore Ferragamo. Mustard suede with gold toned buckles. Leather lining. Size 37½. $280 – $380

641

A Campana Hobo bag, Bottega Veneta. Features orange signature intrecciatio leather canvas, leather handles and trim. Gunmetal hardware. Approximately 27 x 38mm. Shoulder strap drop 25cm.

Serial number 124864V00167663.

Original receipt. $1,000 – $1,400

642

A Peekaboo Mini handbag, Fendi.

Features a Giallo syrup leather canvas and handles. Giallo syrup leather interior, silver toned hardware. Approximately 22 x 17cm. Handle drop approximately 8cm. Serial number 8BN244K4P-148-2516. Original dustbag and authenticity card. $850 – $1,300

640

641

642

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643

A pair of Hangisi pumps, Manolo Blahnik. Green satin with embellished buckles. Leather lining and sole. Heel measures 70mm. Size 37½. $450 – $700

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Fine Jewels

648

645

646

647

644

644

A blue bag charm on chain, Tiffany & Co. A small enamel Tiffany blue shopping tote charm, hung on a fine chain. Sterling silver. Weight 4.9 grams. Charm length 2cm. Chain length 45cm. Original pouch. $150 – $250

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645

An Estate 1.52 carat diamond ring, claw set old European cut diamond centre of estimated weight, accented either side with one bar set baguette cut diamond of estimated total weight 0.19 carats.

Platinum. Weight 4.1 grams. Ring size K. Gemmologist’s report available. $6,500 – $7,500

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646

A 1.13 carat loose diamond, emerald cut diamond of known weight, colour ‘J’ and clarity ‘VVS1’. $3,200 – $4,500

647

A pair of diamond stud earrings, two claw set round brilliant cut diamonds of estimated total weight 1.0 carats. 18ct white gold. Weight 1.6 grams. Gemmologist’s report available. $2,000 – $3,000

648

A diamond bow pendant, fortyeight grain set round brilliant cut diamonds of estimated total weight 0.55 carats, in a tied ribbon motif.

18ct white gold. Weight 7.5 grams.

Pendant 2.5 x 2.4cm. Total length 48cm. Gemmologist’s report available. $1,400 – $2,200

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651

649

652

650

649

A pair of diamond flower earrings, sixty-six grain set round brilliant cut diamonds of estimated total weight 0.50 carats, in a floral motif.

14ct white gold. Weight 4.7 grams.

Length 1.8cm. $900 – $1,500

650

A 1.02 carat diamond cluster ring, claw set cushion cut diamond centre of known weight, ‘F’ colour, ‘IF’ clarity, surrounded by seventy-four pavé set round brilliant cut diamonds of estimated total weight 0.46 carats, in a double cluster. Platinum. Weight 5.7 grams. Ring size M. GIA certified.

Gemmologist’s report available. $12,000 – $15,000

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651

A diamond bracelet, one hundred and ninety-two bezel set round brilliant cut diamonds of estimated total weight 1.94 carats, set in a three row articulated bracelet. 18ct white gold. Weight 17.6 grams.

Length 18.5cm. Width 0.8cm.

Gemmologist’s report available. $3,000 – $4,000

652

A Return to Tiffany necklace, Tiffany & Co. The heart shaped tag pendant is hung on a large link chain with toggle clasp. Sterling silver. Weight 67.2 grams. Pendant length 2.5cm. Chain length 40.5cm.

Original pouch and box. $200 – $300

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653

A 1.23 carat diamond solitaire ring, claw set round brilliant cut diamond centre of estimated weight, ‘E’ colour, ‘SI2’ clarity. Platinum.

Weight 4.8 grams. Ring size K½.

Gemmologist’s report available. $9,500 – $11,000

653

654

A sapphire and diamond cluster ring, claw set oval cut sapphire centre of estimated weight 1.56 carats, accented by sixteen round brilliant and tapered baguette cut diamonds of estimated total weight 1.0 carats. 18ct white gold. Weight 4.2 grams. Ring size P. $1,500 – $2,500

655

An Estate diamond ring, three old European cut diamonds of estimated total weight 1.08 carats.

Platinum. Weight 2.8 grams.

Ring size N. $1,700 – $2,800

654

656

An aquamarine and diamond cluster ring, claw set cushion checkerboard cut aquamarine centre of estimated weight 2.50 carat, surrounded by thirty-six grain set round brilliant cut diamonds of estimated total weight 0.54 carats. 18ct white gold weight 6.0 grams. Ring size J½. $1,900 – $2,800

655

657

A 1.04 carat diamond solitaire ring, claw set round brilliant cut diamond centre of estimated weight, ‘G’ colour, ‘VS1’ clarity. 18ct white gold.

Weight 6.9 grams. Ring size N. Gemmologist’s report available. $9,500 – $11,500

658

A full circle diamond eternity ring, seventeen semi bezel set round brilliant cut diamonds of estimated total weight 1.30 carats. 14ct gold.

Weight 2.9 grams. Ring size M. Gemmologist’s report available. $1,000 – $1,400

656

Illustrated online at webbs.co.nz

659

An 1837 necklace, Tiffany & Co. Interlocking rose gold and silver circles, suspended on a fine chain.

18ct rose gold and sterling silver.

Weight 6.1 grams. Chain length 42cm. Original pouch and box. $350 – $500

657

Illustrated online at webbs.co.nz

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LOT 654

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660

662

661

664

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660

662

661

663

A gold fancy graduated link chain, comprised of articulated textured bar links. 14ct gold.

Weight 32.7 grams. Length 45cm.

Gemmologist’s report available. $1,200 – $1,800

An antique ruby and diamond ring, five claw set oval cut rubies of estimated total weight 1.26 carats, accented with four early cut diamonds of estimated total weight 0.01 carats, in a decorative engraved bridge setting. 18ct gold.

Weight 4.6 grams. Ring size M½. Hallmarked. $600 – $800

A pearl spray brooch, comprising of fourteen 6.3-6.5mm Akoya pearls with gold ribbon detail. 14ct gold.

Weight 10.6 grams. Length 2.4cm.

Width 5.3cm. $300 – $400

664

An oval, hinged diamond bangle, two hundred and forty-three pavé set round brilliant cut diamonds of estimated total weight 2.68 carats, set in small clusters. 18ct gold.

Weight 17.7 grams. Inside diameter 6cm. Width 1cm. Gemmologist’s report available. $3,500 – $4,500

665

A Victorian oval seed pearl hinged bangle, fifty-nine claw set seed pearls in an ornate flower and leaves motif. 15ct gold. Weight 8.7 grams.

Inside diameter 5.6cm. Original box. $450 – $600

A diamond ring, bezel set round brilliant cut diamond centre of estimated weight 0.30 carat, on a wide two-tone band. 18ct yellow and white gold. Weight 11.5 grams.

Width 10mm. Ring size L. $1,000 – $1,400 Illustrated online at webbs.co.nz

665

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666

668

669

667

666

An Edwardian aquamarine and seed pearl pendant, five bezel set round cut aquamarines of estimated total weight 0.43 carats, accented with ten seed pearls in an ornate mount, hung on a fine box chain. 9ct gold.

Weight 11.2 grams. Pendant length 5cm. Chain length 50cm. $300 – $400

667

668

A pair of diamond heart shaped drop earrings, seventy grain and bezel set round brilliant cut diamonds of estimated total weight 1.05 carats, in a double drop heart motif. 9ct rose gold. 7.1 grams.

Length 3.5cm. $1,700 – $2,200

669

A Happy Diamond heart ring, Chopard, circa 2000. A domed heart centre featuring one diamond of estimated weight 0.04 carat.

18ct gold. Weight 10.6 grams. Ref: 82/1952-20. Length 1.2cm. Width 1.4. Ring size M½. Gemmologist’s report available. Original box. $800 – $1,400

A Victorian gold and diamond bangle, the oval hinged bangle is comprised of seven grain set old mine cut diamonds through top section of estimated total weight 1.40 carats, with hand engraved side detailing. 18ct gold. Weight 14.3 grams. Width 0.8-0.4mm. Inside diameter 5.7cm. Gemmologist’s report available. $2,500 - $3,500

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670

An imperial topaz and diamond pendant, claw set pear cut imperial topaz centre of estimated weight 11.80 carat, accented above by one claw set round brilliant cut diamond of estimated weight 0.17 carat, hung on a fine chain. 18ct gold. Weight 9.4 grams. Pendant length 3.6cm.

Chain length 45cm. Gemmologist’s report available. $5,000 – $6,500

671

A Victorian seed pearl brooch, forty-eight claw set seed pearls in a starburst motif. 15ct gold. Weight 6.4 grams. Length 3cm. $300 – $400

672

A cameo brooch, three oval cameos featuring the profile of a young women, in an ornate decorative frame. 18ct gold. Weight 57.0 grams. Length 6.3cm. Width 11.7cm. $200 – $400

673

A turquoise, pearl and diamond choker, bezel set turquoise oval cabochon 12.3 x 10.5mm centre surrounded by twenty-eight round brilliant cut diamonds of estimated total weight 0.28 carats, suspended between three rows of two hundred and fifty-two round 3.8mm pearls, with a diamond set clasp of estimated total weight 0.18 carats.

18ct gold. Weight 27.8 grams.

Length 36cm. $2,600 – $3,500

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670

672

673

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674

A Happy Diamond circle pendant, Chopard. The circle shape pendant comprises of twenty-one round brilliant cut diamonds of estimated total weight 0.60 carats, hung on a chain. Serial number 3009445.

18ct white gold. Weight 23.6 grams.

Pendant length 2.2cm. Chain length 42cm. Original box. $3,500 – $4,500

675

A strand of pearls, thirty-nine graduated 9.8-12.5mm round Tahitian pearls with a gold spacer placed between every three pearls.

18ct gold. Weight 71.2 grams.

Length 48cm. Gemmologist’s report available. $1,400 – $2,200

674

676

A 1.16 carat loose diamond, princess cut diamond of known weight, colour ‘F’ and clarity ‘SI1’.

GIA certified. $5,000 – $6,500

677

A 2.13 carat loose diamond, round brilliant cut diamond of known weight, colour ‘H’ and clarity ‘I1’.

Gemmologist’s report available. $11,000 – $13,000

678

A Bulgari Bulgari ring, Bulgari. A large disk ring with a circle onyx inlay centre. 18ct white gold. Weight 13.2 grams. Ring size K. Diameter 2.4cm. Original box. $1,200 – $1,700

679

An Astrale ring, Bulgari. A curved shield shape alternated with white gold and ceramic disks. 18ct white gold. Weight 10.9 grams. Length 2.1cm. Width 2cm. Ring size N½.

Original box. $1,200 – $1,700

680

An Art Deco diamond brooch, five bezel set old European and Swiss cut diamonds through centre of estimated total weight 0.38 carats, surrounded by sixteen grain set rose cut diamonds of estimated total weight 0.12 carats in an elongated design. 18ct gold and platinum. Weight 4.4 grams. Length 6cm. Width 0.7cm. Original box.

Gemmologist’s report available. $1,200 – $1,500

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679

678

680

675

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682

681

684

681

An opal necklace, two claw set oval cabochon cut opals of estimated total weight 25.0 carats, suspended on a fine gold chain. 18ct gold.

Weight 16.5 grams. Necklace length 50cm. Gemmologist’s report available. $2,500 – $3,500

682

A tourmaline and diamond ring, claw set emerald cut tourmaline centre of estimated weight 1.15 carat, accented either side with a claw set trilliant cut diamond of estimated total weight 1.0 carats.

14ct white gold. Weight 3.6 grams.

Ring size K. Gemmologist’s report available. $1,800 – $2,500

683

A diamond dress ring, sixtyeight claw set round brilliant cut diamonds of estimated total weight 1.70 carats, in fold over design. 18ct gold. Weight 10.7 grams. Width 1.9cm. Ring size N. $500 – $750

684

A ruby and diamond dome ring, Chatila. Thirty-three tension set square cut rubies of estimated total weight 2.50 carats, accented by twenty-two grain set round brilliant cut diamonds of estimated total weight 0.60 carats. 18ct gold.

Weight 9.2 grams. Width 11mm.

Ring size O. Reportedly gifted to the owner by the Royal Bolkiah Family of Brunei. Gemmologist’s report available. $2,200 – $3,200

686

An Edwardian ruby and seed pearl pendant, three bezel set round cut rubies of estimated total weight 0.30 carats, accented with twenty four seed pearls in a ornate floral setting. 9ct gold. Weight 3.4 grams.

Length 6cm. Width 2.5cm. $400 – $600

687

A watermelon tourmaline ring, claw set octagonal step cut watermelon tourmaline centre of estimated total weight 2.65 carat, accented either side with a baguette cut diamond of estimated total weight 0.11 carats.

18ct gold and platinum. Length 1.4cm. Width 0.8cm. Ring size L. Gemmologist’s report available. $1,200 – $2,000

685

A pink treated topaz and diamond ring, claw set round mixed cut treated pink topaz of estimated weight 7.05 carat, surrounded by eighteen round brilliant cut diamonds of estimated total weight 0.07 carats. 14ct gold. Weight 7.0 grams. Ring size T. Gemmologist’s report available. $500 – $700 Illustrated online at webbs.co.nz

Illustrated online at webbs.co.nz

686

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688 689

687

688

An Estate multi-colour gemstone ring, seven claw set oval cut gemstones including emeralds, amethyst, sapphire, ruby, diamond and tourmaline. 9ct gold. Weight 1.4 grams. Ring size K½. $150 – $200

689

A tourmaline and diamond pendant, claw set rectangular mixed cut tourmaline of estimated weight 8.40 carat, accented above with one claw set radiant cut diamond of estimated weight 0.50 carat, hung on a fine chain. 18ct yellow gold.

Weight 9.1 grams. Pendant length 3.3cm. Chain 48cm. Gemmologist’s report available. $2,200 – $3,200

690

A gold and silver enamel miniature of the Order of the Knights of the Holy Spirit, one hundred and sixtynine pavé set rose cut diamonds in a Maltese cross accented by gold fleur-de-lis and an enameled knight in combat portrait on a central gold disk with diamond set dove on reverse. Gold and silver. Weight 7.4 grams. Length 3cm. $1,300 – $1,900

691

A ruby and diamond flower brooch, one claw set round cut ruby centre of estimated weight 0.14 carat, surrounded by six claw set round brilliant cut diamonds of estimated total weight 0.31 carats. 18ct gold.

Weight 2.5 grams. Length 5.8cm.

Gemmologist’s report available. $380 – $500

691

690

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692

695

694

693 696

692

A diamond pendant, eightyfive pavé set round brilliant cut diamonds of estimated total weight 0.50 carats, in a contrast folding motif, hung on a fine box chain.

18ct white gold. Weight 8.7 grams.

Pendant length 4cm. Chain length 40cm. Gemmologist’s report available. $1,200 – $1,800

693

694

A diamond cluster ring, six pavé set baguette cut diamonds in centre of estimated total weight 0.61 carats, accented with one hundred and ninety-eight round brilliant cut diamonds of estimated total weight 1.39 carats, in an ornate fancy scroll design. 18ct white gold. Weight 8.6 grams. Length 3.4cm. Width 1.7cm.

Gemmologist’s report available. $3,500 – $4,500

A pair of diamond hoop earrings, two hundred and eight pavé set round brilliant cut diamonds of estimated total weight 1.46 carats. 18ct white gold. Weight 9.7 grams. Width 5mm. Length 2.7cm.

Gemmologist’s report available. $2,200 – $3,000

695

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A pair of diamond drop earrings, one hundred and fifty-four pavé set round brilliant cut diamonds of estimated total weight 2.74 carats, in a kite style motif. 18ct white gold.

Weight 8.2 grams. Length 4.5cm.

Width 1.8cm. Gemmologist’s report available. $3,500 – $4,500

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696

A 1.02 carat solitaire diamond ring, claw set cushion cut diamond centre of known weight, ‘I’ colour, ‘SI2’ clarity. Platinum. Weight 4.6 grams. Ring size L. GIA certified.

Gemmologist’s report available. $3,200 – $4,500

697

A pair of diamond star studs, eighteen bezel set early round cut diamonds of estimated total weight 0.28 carats, in an asymmetric starburst design. 18ct white gold.

Weight 5.5 grams. Length 2cm.

Width 1.7cm. Plastic butterflies. $500 – $700

698

A diamond cluster brooch, fiftysix claw set marquise and round brilliant cut diamonds of estimated total weight 11.15 carats, in a complex wreath design. Platinum.

Weight 15.2 grams. Length 4.6cm.

Width 3.7cm. Gemmologist’s report available. $10,500 – $14,000

699

A diamond ring, thirty-one grain set round brilliant cut diamonds of estimated total weight 0.47 carats, in a cross-over motif. 18ct white gold. Weight 5.7 grams. Width 9.5mm. Ring size J. Gemmologist’s report available. $1,100 – $1,600

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700 697

699

701 698

702

700

A diamond drop pendant, one hundred and forty-seven claw set round brilliant cut diamonds of estimated total weight 1.0 carats, in a tear drop motif, hung on a fine box chain. 14ct white gold. Weight 6.0 grams. Pendant length 3.4cm.

Chain length 45cm. Gemmologist’s report available. $1,000 – $1,500

701

A full circle diamond bangle, ninetynine claw set round brilliant cut diamonds of estimated total weight 3.0 carats. 18ct white gold. Weight 12.6 grams. Inside diameter 6.5cm.

Gemmologist’s report available. $2,200 – $3,000

702

A pair of diamond cluster earrings, attributed to Asprey. Two bezel set round brilliant cut diamond centres of estimated total weight 0.28 carats, surrounded by eighteen round brilliant cut diamonds of estimated total weight 0.36 carats, in a floral motif. 18ct white gold.

Weight 2.7 grams. Diameter 0.9cm.

Original box. $1,400 – $2,000

703

A curb link bracelet, with ‘T’ bar attachment. 9ct gold. Weight 21.5 grams. Length 20cm. $500 – $800 Illustrated online at webbs.co.nz

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704

A 3.68 carat solitaire diamond ring, claw set round brilliant cut diamond centre of estimated weight, ‘J’ colour, ‘VS1’ clarity, accented with four grain set single cut diamonds of estimated total weight 0.10 carats. 18ct yellow and white gold.

Weight 6.4 grams. Ring size O. Gemmologist’s report available. $50,000 – $60,000

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705

A Zodiac pendant and fancy neck chain, FRED. A medallion style pendant featuring a doubled face man, hung on a ornate fancy neck chain. 18ct gold and stainless steel.

Weight 63.3 grams. Pendant length 5cm. Chain length 55cm. Original pouch. Gemmologist’s report available. $1,500 – $2,500

706

A Cicladi ring, Bulgari. Seven rotating disks in an elongated design. 18ct yellow gold. Weight 11.7 grams. Length 3cm. Width 1.4cm.

Ring size M. Original box. $1,000 – $1,500

705

707

A Bulgari Bulgari ring, Bulgari. A rotating ring with circle onyx disk inlay with coral inlay on reverse. 18ct gold. Weight 6.3 grams. Diameter 1cm. Ring size J. Original box. $900 – $1,300

708

A Juliette heart pendant, Cartier, circa 1999. A tri-gold puff heart pendant with swirl pattern, hung on a serpentine chain. Serial number 745020/90693. 18ct yellow, white and rose gold. Weight 26.9 grams.

Pendant length 2.5cm. Chain length 50cm. Gemmologist’s report available. Original box. $1,800 – $2,800

706

707

708

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709

A 2.20 carat diamond solitaire ring, claw set asscher cut diamond centre of known weight, ‘E’ colour, ‘VS2’ clarity. 18ct yellow gold and platinum. Weight 7.1 grams.

Ring size L½. GIA certified.

Gemmologist’s report available. $25,000 – $35,000

710

A Victorian seed pearl star brooch, thirty-seven grain set seed pearls in a twelve pointed star. 15ct gold.

Weight 3.9 grams. Length 3cm.

Width 2.7cm. $200 – $300

711

A fancy coloured diamond dress ring, three bezel set pear cut diamonds, one fancy yellow, of estimated total weight 1.37 carats, accented with fifty-eight grain set fancy yellow round brilliant cut diamonds of estimated total weight 2.24 carats. Platinum and 18ct yellow gold. Weight 27.1 grams. Ring size M. GIA certified. IGI certified.

Gemmologist’s report available. $11,000 – $14,000

712

A diamond cluster ring, seven claw set old mine and early European cut diamonds of estimated total weight 0.35 carats. 18ct gold. Weight 2.4 grams. Ring size K. $800 – $1,000

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713

An important fancy yellow diamond necklace, forty-two claw set radiant cut fancy yellow diamonds of estimated total weight 12.24 carats, accented with one thousand and fifty fancy yellow and colourless, single cut and round brilliant cut diamonds of estimated total weight 5.64 carats. 18ct gold.

Weight 17.9 grams. Length 45cm.

Gemmologist’s report available. $24,000 – $30,000

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715

714

716

714

716

A fancy yellow diamond necklace, three hundred and twelve fancy yellow and colourless diamonds of estimated total weight 1.81 carats, in a flower motif, hung on a fine chain. 18ct white gold. Base metal chain. Weight 6.2 grams. Pendant diameter 2.9cm. Chain length 23cm. Gemmologist’s report available. $2,000 – $2,800

A pair of emerald and diamond drop earrings, two claw set emerald cut emerald centres of estimated total weight 2.91 carats, accented by eighty-two round brilliant cut diamonds of estimated total weight 1.45 carats. 18ct white and yellow gold. Weight 7.4 grams. Length 3.7cm. Gemmologist’s report available. $3,500 – $4,500

715

717

A fancy yellow diamond ring, bezel set marquise cut fancy yellow diamond centre of estimated weight 1.18 carat, accented by seventy pavé set round brilliant cut diamonds of estimated total weight 1.47 carats, in a high dome. 18ct gold and platinum. Weight 10.2 grams. Width 11.8mm. Ring size O. Gemmologist’s report available. $15,000 – $19,000

An Estate emerald and diamond cluster ring, claw set round cut emerald centre of estimated weight 0.08 carat, surrounded by eight bezel set early round brilliant cut diamonds of estimated total weight 0.24 carats. 18ct gold. Weight 2.7 grams. Ring size L. $500 – $600

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718

An important emerald and diamond cluster ring, bezel set oval cut emerald centre of estimated weight 6.04 carat, surrounded by sixteen semi bezel set round brilliant cut diamonds of estimated total weight 1.83 carats. 18ct yellow gold and platinum. Weight 9.4 grams.

Ring size M½. Gemmologist’s report available. $25,000 – $29,000

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719

723

720

721 724

722

725

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727

726

728

719

A diamond tennis bracelet, two hundred and ninety bar set baguette cut diamonds of estimated total weight 6.21 carats. 18ct white gold. Weight 21.7 grams.

Length 19.7cm. Width 0.6cm.

Gemmologist’s report available. $8,000 – $9,500

720

A pair of diamond drop earrings, eight pavé set baguette cut diamonds in centre of estimated total weight 0.40 carats, accented by one hundred and forty pavé set round brilliant cut diamonds of estimated total weight 1.12 carats. 18ct white gold. Weight 5.3 grams. Length 4cm. Width 1cm.

Gemmologist’s report available. $3,000 – $4,000

721

A pair of emerald and diamond cluster earrings, two claw set oval cut emerald centres of estimated total weight 0.85 carats, surrounded by thirty eight claw set round brilliant cut diamonds of estimated total weight 0.21 carats.

18ct white gold. Weight 2.6 grams.

Length 1cm. Gemmologist’s report available. $900 – $1,300

722

A South Sea pearl and diamond ring, a 17.7mm round South Sea pearl centre, surrounded by twenty-eight claw set round brilliant cut diamonds of estimated total weight 1.35 carats. 18ct white gold.

Weight 17.7 grams. Ring size N. Gemmologist’s report available. $3,600 – $4,600

723

A South Sea pearl and diamond pendant, a 23mm round South Sea pearl centre, surrounded by twenty-nine claw set round brilliant cut diamonds of estimated total weight 1.37 carats, hung on a fine chain. 18ct white gold. Base metal chain. Weight 13.8 grams. Pendant diameter 2.8cm. Chain length 46cm. Gemmologist’s report available. $3,400 – $4,400

724

A pair of fancy diamond drop earrings, three hundred and thirty-eight pavé set baguette cut diamonds of estimated weight 2.45 carats, accented with eightyfour pavé set round brilliant cut diamonds of estimated total weight 2.23 carats, in an ornate fancy drop design. 18ct white gold. Weight 13.3 grams. Length 4.1cm. Width 3cm.

Gemmologist’s report available. $5,600 – $7,000

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725

A 1.34 carat solitaire diamond ring, claw set round brilliant cut diamond centre of known weight, ‘J’ colour, ‘VS1’ clarity. Platinum. Weight 6.7 grams. Ring size K. GIA certified.

Gemmologist’s report available. $8,500 – $10,000

726

A pair of emerald and diamond earrings, two claw set cushion shaped rose cut emeralds of estimated total weight 9.50 carats, surrounded by one hundred and sixty-six round brilliant cut diamonds of estimated total weight 2.15 carats. 18ct white gold with blackened rhodium. Weight 14.7 grams. Length 2.5cm. Width 2.0cm.

Gemmologist’s report available. $3,500 – $5,000

727

A diamond heart pendant, David Morris. Seventy-five grain set round brilliant cut diamonds of estimated total weight 1.25 carats set into the central star and bale, hung on a fine double trace chain. 18ct white gold.

Weight 11.8 grams. Pendant length 3cm. Chain length 55cm. Original pouch. Gemmologist’s report available. $1,500 – $2,200

728

A pair of diamond heart earrings, one hundred and sixty-two pavé set round brilliant and baguette cut diamonds of estimated total weight 2.96 carats in a heart motif. 18ct white gold. Weight 10.5 grams. Length 1.6cm. Width 1.4cm.

Gemmologist’s report available. $3,000 – $4,000

729

A diamond ring, three claw set round brilliant cut diamonds of estimated total weight 0.85 carats.

18ct white gold. Weight 5.5 grams.

Ring size O½. $700 – $1,200 Illustrated online at webbs.co.nz

730

A diamond ring, six semi bezel set round brilliant cut diamonds of estimated total weight 0.75 carats.

14ct white gold. Weight 2.9 grams.

Ring size N. $700 – $1,000 Illustrated online at webbs.co.nz

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731

A diamond tennis bracelet, forty-six bezel set round brilliant cut diamonds of estimated total weight 1.55 carats. 18ct white gold.

Weight 17.2 grams. Length 18cm.

Gemmologist’s report available. $1,500 – $2,200

731

732

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732

An important 3.02 carat solitaire diamond ring, claw set princess cut diamond centre of known weight, ‘F’ colour, ‘VS2’ clarity. 18ct white gold. Weight 6.0 grams. Ring size J. GIA certified. Gemmologist’s report available. $65,000 – $80,000

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736

733

734

733

A gold necklace, rectangular articulated links in bi-tone gold.

18ct yellow and white gold. Weight 56.4 grams. Inside diameter 12cm.

Width 1cm. Gemmologist’s report available. $2,500 – $5,500

734

A citrine and garnet ring, claw set hexagonal cut citrine centre 10 x 10mm accented with six round cut citrines of estimated total weight 1.20 carats and six baguette cut garnets of estimated total weight 0.60 carats. 10ct yellow gold.

Weight 5.1 grams. Length 1.8cm.

Ring size L. $400 – $700

735

A sapphire and diamond belcher bracelet, the heart padlock is set with one bezel set round cut sapphire of estimated total weight 0.06 carat and one hammer set round brilliant cut diamond of estimated weight 0.01 carat.

9ct gold. Weight 27.3 grams.

Length 19cm. $650 – $800

736

A diamond bridge ring, claw set round brilliant cut diamond centre of estimated total weight 0.49 carat, set with two round brilliant cut diamonds either side of estimated total weight 1.04 carats, accented with eight round brilliant cut diamonds of estimated total weight 0.14 carats, in an ornate and engraved bridge setting. 18ct gold. Weight 7.4 grams. Ring size O. Gemmologist’s report available. $3,200 – $4,200

737

A sapphire and diamond ring, semi bezel set oval cut sapphire centre of estimated total weight 0.80 carat, accented either side with a bezel set round brilliant cut diamond of estimated total weight 0.20 carats. 18ct gold. Weight 3.2 grams.

Ring size P. $900 – $1,500

738

A sapphire and clear stone sword brooch, one claw set 5.8mm clear stone set in centre of a sword motif, with six early round cut sapphires of estimated total weight 0.12 carats, set in hilt. 18ct gold. Weight 6.6 grams. Length 7.2cm. Width 1.7cm. $300 – $400

739

An Estate sapphire and diamond ring, three claw set oval cut sapphires of estimated total weight 0.50 carats, accented with four early round cut diamonds of estimated total weight 0.08 carats. 18ct gold. Weight 3.7 grams.

Ring size L. $300 – $400

735

737

739

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738

742

742

740

A diamond bow brooch, one hundred and nine round brilliant and 8/8 cut diamonds of estimated total weight 1.62 carats, in a ribbon and bow motif. 18ct yellow gold.

Weight 15.1 grams. Length 3.1cm.

Width 3.9cm. Gemmologist’s report available. $2,000 – $3,000

741

A diamond bracelet, comprised of articulated ‘S’ links, claw set with sixty-six round brilliant cut diamonds of estimated total weight 2.76 carats. 18ct gold. Weight 29.6 grams. Length 19cm. Width 6.3mm.

Gemmologist’s report available. $2,800 – $3,500

A topaz and diamond pendant, one semi rub-over oval cut topaz centre of estimated weight 13.92 carat, accented with five claw set marquise cut diamonds of estimated total weight 0.25 carats, hung on a fine belcher chain. 18ct yellow gold. Weight 12.9 grams.

Pendant length 3.5cm. Chain length 45cm. Gemmologist’s report available. $2,800 – $3,500

743

A pair of diamond earrings, one hundred and sixteen channel set tapered baguette and round brilliant cut diamonds of estimated total weight 1.68 carats, in huggie style hoops. 18ct yellow gold. Weight 10.0 grams. Length 1.9cm. Width 1.1cm.

Gemmologist’s report available. $1,500 – $2,200

743

740

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747

745

748

746

751

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753

753 750

744

A pink tourmaline, pink sapphire and diamond ring, semi bezel set oval cut pink tourmaline centre of estimated weight 2.30 carats, accented with eighty grain set round brilliant cut diamonds of estimated total weight 0.80 carats and twenty-eight round brilliant cut pink sapphires of estimated total weight 0.23 carats. 18ct white gold.

Weight 12.6 grams. Ring size L. $1,600 – $2,000

745

A pair of solitaire diamond earrings, two claw set princess cut diamonds of estimated total weight 2.06 carats, ‘I/J’ colour, ‘VS2’ clarity.

18ct white gold. Weight 2.6 grams.

Gemmologist’s report available. $9,000 – $12,000

746

A pair of diamond earrings, forty grain set round brilliant cut diamonds of estimated total weight 0.60 carats, in cross-over motif.

18ct white gold. Weight 7.0 grams.

Length 1.5cm. Gemmologist’s report available. $1,200 – $1,700

747

A pair of diamond and fancy coloured sapphire drop earrings, twenty grain set round brilliant cut diamonds of estimated total weight 0.05 carats, in a floral motif, with eight fancy coloured sapphires of estimated total weight 1.60 carats.

14ct white gold. Weight 7.1 grams.

Length 5.5cm. $1,000 – $1,600

748

An oval hinged cuff, Montblanc.

Solid bangle with wave style motif. Sterling silver. Weight 67.0 grams. Width 14mm. Internal diameter 5.7cm. $150 – $200

749

A spinning ring, Montblanc. Two silver bands, one fixed, one rotates in a wave motif. Sterling silver.

Weight 10.9 grams. Width 8.0mm.

Ring size L½. $80 – $100

750

753

751

754

A diamond cross pendant, eleven bezel set round brilliant cut diamonds of estimated total weight 0.70 carats. 18ct white gold. Weight 2.9 grams. Length 2.5cm. Width 1.8cm. Gemmologist’s report available. $800 – $1,500

A diamond pendant, claw set heart shaped diamond of estimated total weight 0.66 carat. 18ct white gold.

Weight 0.9 grams. Length 1cm.

Gemmologist’s report available. $1,200 – $1,800

752

A silver cuff, Chanel. Tapered oval dome hinged cuff. Sterling silver. Weight 110.0 grams. Width 3.2cm. Inside diameter 6cm.

Gemmologist’s report available. $800 – $1,200 Illustrated online at webbs.co.nz

Illustrated online at webbs.co.nz

A solitaire diamond pendant, one bezel set round brilliant cut diamond of estimated total weight 0.30 carat, hung on a fine snake chain. 18ct white gold. Weight 4.0 grams. Chain length 40cm.

Gemmologist’s report available. $800 – $1,300

A pair of solitaire diamond stud earrings, two bezel set round brilliant cut diamonds of estimated total weight 0.32 carats. 18ct white gold. Weight 1.0 grams.

Gemmologist’s report available. $600 – $900

755

A pink tourmaline and diamond bracelet, thirty-two claw set emerald and cushion cut pink tourmalines of estimated total weight 30.28 carats, accented with two hundred and seventy-two round brilliant cut diamonds of estimated total weight 2.48 carats, in an ornate and decorative design. 18ct white and yellow gold. Weight 27.2 grams. Length 19cm. Width 2cm.

Gemmologist’s report available. $6,500 – $7,800

755

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756

A diamond ring, ten claw set round brilliant cut diamonds of estimated total weight 0.89 carats, set in two rows. 14ct gold. Weight 3.4 grams.

Ring size K. Gemmologist’s report available. $1,200 – $1,500

757

A 1.62 carat solitaire diamond pendant, claw set round brilliant cut diamond of estimated weight, ‘F’ colour, ‘SI2’ clarity. 18ct gold.

Weight 1.3 grams. Length 1.4cm.

Gemmologist’s report available. $14,000 – $17,000

758

A diamond ring, three claw set round brilliant cut diamonds of estimated total weight 1.59 carats. 18ct yellow and white gold.

Weight 3.3 grams. Ring size L. Gemmologist’s report available. $3,500 – $4,500

759

A Bamboo ring, Gucci. Eight bamboo styled articulated links.

18ct gold. Weight 9.0 grams. Width 8.5mm. Ring size N. $1,000 – $1,400

760

An ancient coin ring, bezel set ancient roman styled coin in a textured gold band. 19ct yellow gold. Weight 6.3 grams. Diameter 1.6cm. Ring size J. $300 – $500

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761

An emerald and diamond ring, bezel set oval cut emerald centre of estimated weight 0.75 carat, accented by sixty-six grain set single cut diamonds of estimated total weight 1.60 carats. 18ct gold.

Weight 9.3 grams. Width 1.6cm.

Ring size M. Gemmologist’s report available. $2,000 – $2,800 Illustrated online at webbs.co.nz

762

A gold and sapphire ‘N’ brooch, sixty grain set round cut sapphires of estimated total weight 3.60 carats, in a large ‘N’ brooch. 18ct yellow gold. Weight 18.0 grams.

Length 6.2cm. Width 4cm.

Reportedly gifted to the owner by the Royal Bolkiah Family of Brunei.

Gemmologist’s report available. $1,200 – $2,000 Illustrated online at webbs.co.nz

763

A three cluster diamond ring, nineteen claw set round brilliant cut diamonds of estimated total weight 0.25 carats. 14ct yellow gold.

Weight 3.8 grams. Ring size N. $600 – $800

764

A Chut Je T’aime ring, Roure. Two wide gold bands connected by a pavé set diamond connector of estimated total weight 0.15 carats.

Serial number GM589. 18ct yellow and white gold. Weight 24.3 grams.

Width 14mm. Ring size M. $1,000 – $1,400 Illustrated online at webbs.co.nz

765

A gold and diamond ring, two gold bands connected by a pavé set diamond connector of estimated total weight 0.07 carats. 9ct rose gold. Weight 9.5 grams. Width 9.3mm. Ring size L. $400 – $600 Illustrated online at webbs.co.nz

766

A gold bracelet, rectangular articulated links in bi-tone gold.

18ct yellow and white gold. Weight 25.0 grams. Length 18cm. Width 1cm. Gemmologist’s report available. $1,200 – $2,000

767

A gold curb link necklace, with ‘T’ bar attachment. 9ct gold. Weight 46.3 grams. Length 45cm. $1,100 – $1,500 Illustrated online at webbs.co.nz

768

A diamond cluster ring, fifteen claw set round brilliant cut diamonds in centre of estimated total weight 0.68 carats, accented either side by ten channel set round brilliant cut diamonds of estimated total weight 0.30 carats. 18ct gold. Weight 5.5 grams. Ring size I. Gemmologist’s report available. $1,000 – $1,500

769

A Santos ring, Cartier, circa 2008.

A wide band with gold overlay and screw motifs through centre section. Serial number DW6287.

18ct white and yellow gold. Weight 18.9 grams. Width 11.8mm. Ring size O. Authenticity certificate and original box. $1,000 - $1,400

Illustrated online at webbs.co.nz

770

A Trilogy ring, Cartier, circa 1995. A gold band with tri-gold interlinked bands at centre. Serial number D86201. 18ct yellow, white and rose gold. Weight 11.4 grams. Ring size L. Original box. $700 – $1,200

Illustrated online at webbs.co.nz

768

770

769

1 89

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S E P TE MB E R 20 18

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Terms & Conditions The terms and conditions of sale listed here contain the policies of Webb’s. They are the terms on which Webb’s 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 Ltd 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 Ltd 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 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” 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 it’s 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

WEBB’S

described, all reasonable costs will be borne by the vendor.

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 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.

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.

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.

International Registrations All International clients not known to Webb’s will be required to scan 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.

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.

Telephone Bids Priority will be given to overseas and bidders from other regions. 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. 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.

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.

Reserves Unless otherwise indicated, all lots are offered subject to a reserve, which is the confidential minimum price

S E PT E M BE R 2 01 8

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.

Minimum Price Guarantee The seller of lots designated with the symbol * has been guaranteed a minimum price financed solely by Webb’s. Where the guarantee is provided by a third party or jointly by Webb’s and a third party, the Lot will be denoted with the symbols **. When Webb’s has solely guaranteed the minimum price, Webb’s will bear the risk that the lot will not be sold or will sell below the guaranteed minimum price in which case Webb’s will bear a financial loss. Webb’s may bid at the auction, and this will be disclosed, but only until the guaranteed minimum price. When a third party has financed all or part of our financial interest in a lot, it assumes all or part of the risk that the lot will not be sold and will be remunerated accordingly. The compensation will be a fixed fee, a percentage of the hammer price or the buyer’s premium or some combination of the foregoing.

The third party may bid on the guaranteed lot during the auction, and this will be disclosed in a saleroom announcement. If the third party is the successful bidder, the remuneration may be netted against the hammer price. If the lot is not sold, the third party may incur a loss. The Minimum Price Guarantee amount will not be disclosed to the public. Where Webb’s has guaranteed a minimum price on every lot in the catalogue, Webb’s will not designate each lot with the symbol(s) for the guaranteed lots but will state our financial interest at the front of the catalogue.

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.

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.

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 Amount

Dollar Range

$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.

19 0

5. After the Sale 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 17.5% of the hammer price plus GST. (Goods and Services Tax) where applicable.

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 5 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$10,000, if wishing to pay more than NZD$10,000 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 also be made by credit card in person with a 2.2% merchant fee for Visa and Mastercard 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.

Personal cheques are accepted, but funds must be cleared before goods will be released. Bank cheques are subject to five days clearance. The buyer is responsible for any bank fees and charges applicable for the transfer of funds into Webb’s account.

Collection of Purchases & Insurance Webb’s is entitled to retain items sold until all amounts due to us have been received in full in good cleared funds. Subject to this, the Buyer shall collect purchased lots within 5 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.

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.

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.

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).

• to charge interest at such a rate as we shall reasonably decide.

• 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.

• to cancel the sale.

• to resell the property publicly or privately on such terms as we see fit.

• 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.

• 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.

• 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.

• 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.

• 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.

• to take such other action as Webb’s deem necessary or appropriate.

1 91

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.

Failure to Collect Purchases Where purchases are not collected within 5 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.

Overseas buyers and buyers non-resident in New Zealand will not be charged GST on both hammer price and premiums under the following conditions: The items are exported through a Webb’s approved freight company including New Zealand Post. The items are exported within 60 days of the date of the sale The invoice supplied by Webb’s for purchases will be regarded as a Tax invoice for GST purposes.

14. Jewels & Watches Gemstones Gemstones have historically been subjected to a variety of treatments to enhance their appearances. Sapphires and rubies are routinely heat treated to improve their colour and clarity, similarly emeralds are frequently treated with oils or resin for the same purpose. Other treatments such as staining and dyeing, irradiation, filling or coating may have been used on other precious and semi-precious gemstones and organic material.

These treatments may be permanent, whilst others may need special care to preserve their appearance.

Buyers should assume that each lot has been subject to some form of treatment and that the estimates reflect this. A number of laboratories issue certificates that give detailed descriptions of gemstones, and in the event that Webb’s has been supplied with or obtained certificates for any lot, this shall be noted in the catalogue. However, as there may not be consensus between different laboratories on the degree, or types of treatment of the gemstones Webb’s supplies these without warranty.

Pearls Pearls, like gemstones, can also be subjected to various treatments. Buyers should assume that any pearls sold

by Webb’s may have been subjected to such treatments, and that the catalogue estimates reflect this.

Watches Please note: All watches sold by Webb’s are sold on an “as is” basis. Webb’s makes no representation or warranty that any watch is in working order. Many watches have been repaired over their lifetime and may contain non-original parts. The absence of any reference to the condition of a watch does not imply that the lot is in good condition and without defects, repairs or restorations. Buyers should be aware that a general service charge for battery or further repair work, for which the Buyer is solely responsible, may be necessary.

Estimated Weights If a stone has a known weight, it has been weighed out of the mount. If a stone has an estimated weight, it is an approximate weight only and has been measured by us in the mount and is a statement of opinion only. The information is given as a guide only and Buyers should satisfy themselves with regard to this information as to its accuracy.

S E P TE MB E R 20 18

Index of Artists Abdullah, Abdul Albrecht, Gretchen Apple, Billy

9, 10, 11 37 5, 6

Beck, Andrew

21

Dashper, Julian

23

de Latour, Tony

2

Dibble, Paul

13

Feu’u, Fatu

46

Frizzell, Dick

41

Good, Roy

16

Hammond, Bill

20

Hipkins, Gavin

1, 22

Hotere, Ralph

18, 28

Kaan, Simon

39

Lusk, Doris

33

Maddox, Allen

4, 30

McCahon, Colin

12

Millar, Judy

8

Minjun, Yue

42, 43

Mrkusich, Milan Murakami, Takashi

19 44, 45

Pardington, Fiona

29

Perkins, Oliver

47

Pick, Séraphine

35

Reynolds, John

3, 15, 31

Robinson, Peter

7, 14

Stenberg, Ron

36

Summerton, Justin

38

Thompson, Sydney Lough

34

van Hout, Ronnie Walters, Gordon Westra, Ans

24, 25 17 26, 27

White, Robin

32

Wilson, Tim

40

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19 2