Webb's Important Paintings & Contemporary Art, Antiques & Modern Design, Fine Jewewllery & Watches

IN FOCUS 1

IMPORTANT PAINTINGS & CONTEMPORARY ART FINE JEWELLERY & WATCHES ANTIQUES & MODERN DESIGN 6-8 DECEMBER 2011

COVER: LOT 28 TONY FOMISON “Carcinoma of the Tongue Ulcerative Type” Fig.51 ‘Surgery for Nurses’ by Bailey and Love, London 1942 (# 15) $120,000 - $160,000 BACK COVER: LOT 73 MAX GIMBLETT The Door that Contains the Night (detail) $16,000 - $20,000 LEFT: LOT 229A JEFFREY APPLING “INGENUITY” AN IMPORTANT JEWELLED NECKLACE $95,000 - $125,000 LEFT LOT 229B JEFFREY APPLING “HANDS TO WATER” A JEWELLED RING $28,500 - $32,500 INSIDE BACK: LOT 29 PAT HANLY Golden Age 3 With Butterfly In interior of house designed by Richard Toy, 1946. $120,000 - $160,000

New Zealand’s Premier Auction House 18 Manukau Road PO Box 99 251 Newmarket, Auckland 1149 New Zealand P +649 524 6804 F +649 524 7048 auctions@webbs.co.nz www.webbs.co.nz

IN FOCUS 1

330 IMPORTANT PAINTINGS & CONTEMPORARY ART

20

Tue 6 December 2011 – 6:30pm

FINE JEWELLERY & WATCHES

108

Wed 7 December 2011 – 6:00pm

ANTIQUES & MODERN DESIGN

136

Thu 8 December 2011 – 6:00pm

VIEWING FROM THURSDAY 1 DECEMBER 9:00AM EVENING VIEWING & URBIS FASHION EVENT | FRIDAY 2 DECEMBER 5:30 - 7:30PM Webb's, in collaboration with Urbis, invites you to view the December suite of sales and enjoy a night of fashion as we auction five beautiful white cotton dresses designed by some of New Zealand's top fashion talent with proceeds going to the Christchurch Women’s Refuge. All salerooms will be open for viewing throughout the evening. It’s going to be a fun and stylish night out with Peregrine wines served and a theatrical runway showcase of the designer pieces before the bidding begins.

LEFT: LOT 16 DAVID HOCKNEY Portrait of Jack Kennedy, Model, U.C.L.A $10,000 - $15,000

BUYER’S PREMIUM A buyer’s premium of 12.5% will be charged on all items in the Important Paintings Contemporary Art sale and the Fine Jewellery & Watches sale, and a buyer’s premium of 15% will be charged on all items in the Antiques & Modern Design sale. GST (15%) is payable on the buyer’s premium.

IN FOCUS 3

INTRODUCTION This has been an emotional year, with natural disasters and continued financial market turmoil contrasting with Rugby World Cup excitement and positive signs of economic growth. From Webb’s perspective, the auction market has been characterised by judicious and promising activity. To date, Webb’s has successfully transacted over 32,000 lots in 2011 and overall turnover has substantially increased year on year.

This has been made possible by the wonderfully talented and dedicated team of specialists that makes up Webb’s.

Webb’s Fine Art Department, once again led by Sophie Coupland, has enjoyed an increase in turnover of 15%. Webb’s major art sales continue to attract competitive demand when the right works are presented, while our A2 affordable art events have consistently produced outstanding results, reflecting the enthusiasm of a group of younger collectors entering the art market.

Webb’s Fine Wine Department, led

by Simon Ward, has seen remarkable growth throughout the year. Simon has developed an unrivalled service, offering clients direct access to some of the best private cellars in the country. If you are looking for that extra-special ‘drop’ for the holiday season, make sure you give him a call.

Webb’s Fine Jewellery Department, led by independent consultant Chris Devereaux, has also enjoyed a year of strong activity. Recent highlights include the sale of a rare 4.85ct solitaire diamond for $229,000, setting a New Zealand record for a piece of jewellery at auction.

The year has seen Webb’s Automotive Department generate over $2.6 million in turnover and secure its first international record on the classic car

scene with the sale of a 1963 Ferrari 250 Lusso for $1.1 million. Demand for rare motorcycles has remained remarkably high, reflecting New Zealand’s long association with outstanding engineering.

Webb’s established Antiques and Interiors Department, led by James Hogan, continues to produce the best sale rates in the market. James never fails to impress with the wide variety of materials presented, from exquisite antiques to the downright bizarre, and the current sale is certainly no exception.

Webb’s Oceanic and African Art department has enjoyed tremendous success this year, with premier sales attracting wide interest and setting both national and international records.

Webb’s expertise was underscored when we were commissioned to handle the private sale of the whare whakairo Te Tiki o Tamamutu, carved by legendary master-carver Wero Taroi and his apprentice Tene Waitere in the 1860s and ’70s. With tenders due to close, an announcement is imminent as to the future of the only privately owned whare whakairo in existence.

Bethunes at Webb’s Rare Books, led by specialist Francis McWhannell, has offered remarkable material throughout 2011 and has achieved consistently strong prices. The financial year will end on a high note with the sale of the impressive C L Thomas Collection, which features a number of items relating to celebrated polymath William Colenso, including his handsome botanical microscope, an artefact of tremendous historical significance.

This year, Webb’s has continued to present exhibitions between auctions and to offer its services to help raise

funds for charity. Webb’s assisted Scots College with an art auction to help raise funds for a new creative and performing arts centre. In August, we partnered with Mike Chunn and the Play It Strange Trust to auction a group of bespoke ukuleles, raising nearly $50,000. In September, Webb’s played host to an exhibition of photographs by Alfred Gregory, including iconic images of Sir Edmund Hillary and Tenzing Norgay taken during their legendary ascent of Mt Everest. This month, Webb’s presented the first exhibition in New Zealand of works by Shanghaibased artist Zhang Xianyong. On Friday 2 December, in association with Urbis, Webb’s will present a night of fashion and philanthropy, auctioning five unique dresses by top New Zealand designers. All proceeds will go directly to Christchurch Women’s Refuge.

As a fun finish to the year, and to help solve all your Christmas gift problems, Webb’s will present Improbable Gifts for Impossible People. Diary 15 December for this unique auction of 50 hand-picked items, with complimentary wine from Peregrine Wines and food from Toto.

This year, Webb’s has had the pleasure of working with numerous talented partners. We would like to thank in particular Greg Hay of Peregrine Wines, the mighty team at Moa Beer, Relais & Chateaux Luxury Lodges, Murray Crane of Crane Brothers and Chris Cherry and his team at Workshop. We would also like to acknowledge the importance of you, our clients, who continue to seek satisfaction in the art of collecting. From all of us at Webb’s, best wishes for the holiday season.

NEIL CAMPBELL, DIRECTOR

LEFT: LOT 28 TONY FOMISON “Carcinoma of the Tongue Ulcerative Type” Fig.51 ‘Surgery for Nurses’ by Bailey and Love, London 1942 (# 15) $120,000 - $160,000 RIGHT: LOT 40 COLIN MCCAHON Comet (F11) $160,000 - $220,000

IN FOCUS 5

CHRISTMAS WINE SALE FINE & RARE WINE MONDAY 5 DECEMBER TWO SESSIONS NEW ZEALAND & AUSTRALIAN WINES - 4:30PM OLD WORLD WINES - 6:30PM Featuring a superb selection of vintage Champagne, Bordeaux and other drinkable treats.

Contact Simon Ward E wine@webbs.co.nz P + 64 9 529 5600

photograph: Karen

crane-brothers.com

IN FOCUS 7

Inderbitzen Waller

IMPROBABLE GIFTS FOR IMPOSSIBLE PEOPLE 15 DECEMBER 6-10PM

Having enjoyed a highly successful year, Webb’s invites you to our final sale of 2011 to celebrate the stranger things in life.

Offering 50 eclectic pieces, from the curious to the contemporary, ‘Improbable Gifts for Impossible People’ is a chance to acquire the entirely unique for that impossible person in your life.

Throughout the evening, Webb’s will be serving French Champagne, Toto’s cuisine and fine music.

Come join us.

IN FOCUS 9

VALUATION SERVICES Webb’s has been providing prompt, accurate valuation services to private collectors and public institutions for over 35 years. We provide a competitively priced and entirely confidential nationwide service with full comprehensive written reports for:

To discuss your valuation requirements or for a free no-obligation quote, please contact:

Insurance Valuations Post-Loss Insurance Valuations Family Asset Division Relationship Property Division Market Valuations Financial Reporting Purposes

Brian Wood M 021 48 69 48 P 09 529 5609 E bwood@webbs.co.nz

In the event of loss or damage, it is important that you know the value of your art, antiques and household contents. With a current valuation, you can be certain that your items have the appropriate amount of insurance cover.

Couture for ChristChurCh Urbis has invited some of New Zealand’s top fashion talents to make a bespoke white cotton dress and now you have your chance to make one of these unique pieces yours.

Along with Webb’s Auction House, Urbis invites you to this stylish auction event on 2 December 2011. It will be a night of fashion and philanthropy as we auction these five designer dresses with all proceeds going directly to the Christchurch Womens Refuge.

Live online bidding will also be available through the generous support of Artfact. Dresses will be available for viewing before the auction on webbs.co.nz and urbismagazine.com

juliet te hogan adrian d hailwoo sal asai a r d n a x e l a owen taylor e boutiqu IN FOCUS 11

2011 HIGHLIGHTS

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IMPORTANT WORKS OF ART

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2011 HIGHLIGHTS With excellent sale totals across the year and record prices achieved for works dating from the 19th to the 21st centuries, Webb’s annual results reflect a healthy market for quality works by leading practitioners.

Don Binney’s Kotare Over The Ratana Church, Te Kao 1964 secured a top bid of $270,000 at Webb’s in March with the proceeds donated by Dick Scott to the efforts of the Red Cross in Christchurch, setting a new auction record for a painting by the artist at auction. A portrait by Gottfried Lindauer of Maori Chief Ihakara Tukumaru sold for $177,000. This price reflected the quality of the work and importance of the subject combined.

Entries are now invited for an A2 affordable art sale in February and the next sale of Important Paintings & Contemporary Works of Art to be held in March 2012.

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Contact Sophie Coupland scoupland@webbs.co.nz P +64 9 529 5603 M +64 21 510 876

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A. Gottfried Lindauer Ihakara Tukumaru $177,000 B. Don Binney Kotare Over Ratana Church, Te Kao $270,000 C. Peter Robinson Suite of eight works $41,030 D. Fiona Pardington Taranaki Heitiki with Mussel Shell Eyes, Okains Bay Maori and Colonial Museum $10,000 E. Charles Frederick Goldie The Nest $171,600 F. Francis Upritchard Brown Sloth Creature $22,900

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G. Don Binney Tui Over The Anawhata $145,000 H. Colin McCahon Waterfall $45,000 I. Dick Frizzell Apollinaire At 21 From An Age When Art Seemed Much More Fun $30,900 J. Frances Hodgkins Landscape, Ibiza $55,000 K. Grahame Sydney Pig Root Pond $75,000 L. Andy Warhol Marilyn $67,000 M. Bill Hammond Choreograph Screen $165,800

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M All prices realised on highlights pages include buyer’s premium and gst on the premium

IN FOCUS 13

2011 HIGHLIGHTS

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CLASSIC MOTORCYCLES & CARS OF THE DAY This year, Webb's offered two exceptional collections of vintage motorcycles and classic cars which generated over $2.6 million in sales and established a range of

A. 1963 Ferrari 250 Lusso $1,100,000 Record price for a motor car at auction in New Zealand B. 1947 Norton Manx 350 $50,000 C. 1961 Mercedes 190SL Roadster $83,250 D. 1930 Rudge Ulster $23,450 E. 1971 Honda CB 500/4 $10,600

national and international record prices. The quality of machines within New Zealand

F. 1955 Vincent Black Knight Series D $100,000

continues to astound newcomers and attract the seasoned collector. The high level

G. 1964 Matchless Rickman Matisse G50 $70,000

of competition, local and international, confirms that demand for quality examples

H. 1915 Indian Light Twin 680cc Model B $52,800

remains strong. Webb’s has again established a new market, this time in the sale

Contact Neil Campbell ncampbell@webbs.co.nz E

of collectors' motorcycles within Australasia. Suitable entries are now invited for a Classic & Vintage Motorcycle & Car auction to be held in March 2012.

M +64 21 875 966 P +64 9 529 5607

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2011 HIGHLIGHTS

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OCEANIC & AFRICAN ARTS Webb's Oceanic & African Art Department held two exceptional sales in 2011, which offered the very best examples of Maori, Oceanic, African and North American material the quality and breadth of which is rarely seen in the New Zealand market place. Achieving total sales of $895,995 for the 2011 season, Webb’s secured a range of New Zealand and world records and continues to lead the

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local market. Another highlight for 2011 was the invitation to represent the most prestigious Maori work to be offered in living memory – the remarkable wharenui Te Tiki O Tamamutu.

Envisaged by one of the most revered 19th century master carvers Wero Taroi, Te Tiki O Tamamutu was the last project Wero and his then-apprentice Tene Waitere worked on before Wero passed away. In 2012, Webb’s will be offering two significant international collections. Entries are currently invited to complement these events.

Contact

Neil Campbell

Jeff Hobbs

E ncampbell@webbs.co.nz

E jhobbs@webbs.co.nz

M +64 21 875 966

M +64 21 503 251

P +64 9 529 5607

A. Dogon Mask $24,600 B. Superb Kahu Kiwi - Kiwi Feather Cloak $23,450

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C. Tahitian Shark Hook $16,400 Record price for an Oceanic fish hook at auction in New Zealand D. Superb Kotiate $25,800 E. Prestigious Mere Pounamu in the name of Tinirau $51,600 F. Mere Pounamu ‘Tupoho’ $22,300 G. Ngutuparera – Tupara Important Historic Shotgun $30,500 H. Finely carved hoe $20,000

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I. Shark Tooth Ear Adornment $2,000 J. Matau - Fishing Hook $12,000

IN FOCUS 15

2011 HIGHLIGHTS

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WEBB'S INTERIORS

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The Antiques & Modern Design Department saw another successful year.

Our high-quality offerings and competitive bidding saw an 85% clearance rate on over 2,000 items. The market for pieces of Chinese origin is experiencing strong growth, in particular Chinese porcelain. Georgian and Victorian sterling silver and items of New Zealand historical significance continue to attract interest from collectors. Taxidermy, lighting, vintage furniture and modern design also continue to sell well consistently.

Entries are now invited for the next sale of Antiques and Modern Design to be held in February 2012.

Contact James Hogan E jhogan@webbs.co.nz M +64 21 510 477 A. 19th Century French Automaton $25,800 B. Chinese Kingfisher Feather Picture $12,900 C. Four George IV Sterling Silver Candlesticks $23,450 D. A Pair of Victorian Carved Oak Angels $10,200 E. A Pair of Modernist Black Leather Armchairs $4,100

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F. Rare Early 19th Century Mahogany Doctor's Travelling Medicine Cabinet $3,100

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FINE JEWELLERY & WATCHES Sales of jewellery during 2011 have been exceptionally buoyant with high clearance rates and results some 40% ahead of target to date.

The season has seen Webb’s in association with consultant Christopher Devereaux achieve a new record price of $ 229,000 for a 4.85ct solitaire diamond at auction, closely followed by a second highest record of $ 195,000 for a diamond of 5.04ct. The unusual combination of uncertainty in the traditional investment market, coupled with high returns for primary produce, a strong exchange rate and a relatively soft landing in the recession, appears to have supported confidence in a market seeking alternative, portable investments.

Entries are now invited for the next sale of Fine Jewellery and Watches to be held in February 2012.

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Contact Chris Devereaux to discuss the inclusion of items in this next major auction event.

E cdevereaux@webbs.co.nz P + 64 9 529 5606 A. An important solitaire diamond of 4.85ct. $229,000 Record price for a diamond at auction in New Zealand F

B. Diamond necklace with diamond drop $30,000 C. An important diamond of 5.04ct $195,000 D. Patek Phillippe, a lady’s wristwatch set with diamonds $10,300 E. Rolex, Lady’s Datejust Wristwatch $9,150 F. Fancy yellow and white diamond pendant $9,150

FINE & RARE WINE Wine auctions at Webb’s have continued on an upward trend over the last two years and 2011 produced record results.

The New Zealand secondary market has mirrored trends internationally seeing strong demand for high quality and marque wines and particularly investment-class wines from Europe (Bordeaux, Burgundy, Piedmont and Champagne). The sales highlight came during a charity wine auction for the Christchurch Earthquake Appeal when a single bottle of 1971 Domaine de la Romanee-Conti sold for $12,500.

Entries are now invited for the next sale of Fine and Rare Wine to be held in February 2012. Contact Simon Ward to discuss inclusion in this next major auction event.

E wine@webbs.co.nz P + 64 9 529 5600

1971 Domaine de la Romanee-Conti, Romanee-Conti $12,500 1989 Chateau Petrus, Pomerol - $4,400 2005 Chateau Lafite Rothschild, Pauillac - $3,250 1995 Champagne Krug Clos d’Ambonnay - $2,900 (Illustrated right) 1995 Domaine de la Romanee-Conti, La Tache $2,500 2000 Chateau Lafite Rothschild, Pauillac - $2,500 1982 Chateau Latour, Pauillac - $2,400 1999 Chateau Lafite Rothschild, Pauillac - $1,900 1980 Chateau Petrus, Pomerol - $1,600 1986 Chateau Mouton Rothschild, Pauillac - $ 1,500 1961 Chateau Latour, Pauillac - $1,500 1982 Chateau Margaux, Margaux - $1,500

IN FOCUS 17

When you enjoy a bottle of Peregrine or Saddleback you not only experience a taste of Central Otago, you also directly contribute towards the survival and recovery of our New Zealand’s endemic Falcons and Saddlebacks.

Peregrine is a major sponsor of both the New Zealand Wingspan Trust and the Fiordland Conservation Trust, who are fully committed to the protection and survival of these rare and unique birds. We think this is something worth savouring. To order our wines and to find out more information on these projects – visit our website or call into our cellar door.

www.peregrinewines.co.nz Peregrine Wines, Kawarau Gorge Rd, Gibbston, Queenstown

THE C L THOMAS COLLECTION

Bethunes at Webb’s is proud to be offering the C L Thomas Collection of rare books and related materials. The Collection was begun by Thomas, a Napier pharmacist, at the beginning of the 20th century and was subsequently extended by his son and daughter-in-law.

In addition to a profusion of New Zealand classics, the C L Thomas Collection features an important group of items relating to notable pioneer William Colenso, including books and pamphlets, manuscript diaries and papers, a collecting tin and a handsome botanical microscope.

The C L Thomas Collection will be offered for sale on Wednesday 21 March 2012.

Further quality entries are now invited for this sale.

Contact: Francis McWhannell E bethunes@webbs.co.nz P +64 9 529 5602 M +64 21 232 6032

A BOTANICAL MICROSCOPE, GIFTED TO WILLIAM COLENSO

BY LADY JANE FRANKLIN IN 1841 Colenso collected and described thousands of specimens of plants, many of which were new to science.

RARE BOOKS This year has seen the book auction market abuzz with activity. Attendance at viewings and auctions has been strong, and bidding has been noticeably more confident than in 2010, with impressive prices achieved for rarities and more common publications alike.

A. Walter Lawry Buller A History of the Birds of New Zealand $9,000 B. Joseph Banks et al Banks’ Florilegium, Part XXVI $8,700

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IN FOCUS 19

IMPORTANT PAINTINGS & CONTEMPORARY ART

TUES 6 DECEMBER 6:30PM

EVENING VIEWING & URBIS FASHION EVENT Friday 2 December 5:30 - 7:30pm View the December suite of sales and enjoy a night of fashion as we auction five beautiful white cotton dresses designed by some of New Zealand’s top fashion talent with proceeds going to the Christchurch Woman’s Refuge, thanks to Urbis. All salerooms will be open for viewing throughout the evening.

VIEWING

5 PETER STICHBURY Untitled graphite on paper, 2003 560mm x 420mm $6,000 - $8,000

Thu 1 December

9:00pm - 5:30pm

Fri 2 December

9:00am – 7:30pm

Sat 3 December

11:00am – 3:00pm

Sun 4 December

11:00am – 3:00pm

Mon 5 December

9:00am – 5:30pm

Tue 6 December

9:00am – 12:00pm

BUYER’S PREMIUM A buyer’s premium of 12.5% will be charged on all items in the Important Paintings and Contemporary Art section of this sale. GST (15%) is payable on the buyer’s premium only.

IN FOCUS 21

1

ROHAN WEALLEANS

Aural

household acrylic paint and dressmakers pins on found window frame 845mm x 585mm PROVENANCE Purchased by the current owner from Ivan Anthony Gallery, 2002 EXHIBITED Residual Love, Ivan Anthony Gallery, 2002.

NOTE Completed in the same year that the artist won the Trust Waikato National Contemporary Art Award, Waikato Museum, Hamilton, 2002. $5,000 - $7,000

2

ALLEN MADDOX

Untitled

oil on stretched canvas signed with artist’s initials am and dated ‘95 verso upper centre.

1680mm x 490mm $10,000 - $15,000

3

JULIAN DASHPER

Drumskin, Untitled vinyl on drumskin diameter 400mm $15,000 - $20,000

4

JAE HOON LEE

Rock Pools and Blue Sky duratran print, perspex and light fittings in wooden construct 2002mm x 510mm x 180mm PROVENANCE Purchased from Starkwhite Auckland, March 2007 $7,000 - $11,000

IN FOCUS 23

5

PETER STICHBURY Untitled graphite on paper signed P. Stichbury and dated 2003 in graphite lower right 560mm x 420mm PROVENANCE Private Collection Dunedin. Purchased by the current owners from Temple Gallery, Dunedin, 2004. $6,000 - $8,000

6

PETER STICHBURY Untitled graphite on paper signed P. Stichbury and dated 2003 in graphite lower right 560mm x 420mm PROVENANCE Private Collection Dunedin. Purchased by the current owners from Temple Gallery, Dunedin, 2004. $6,000 - $8,000

IN FOCUS 25

7

JEFFREY HARRIS

Untitled

acrylic, oil and pastel on paper signed Jeffrey Harris and dated 1988 in pencil upper right 1535mm x 1100mm $4,500 - $6,500

8

TONY DE LATOUR

Detail

acrylic on board inscribed Detail in brushpoint upper left and Common People in brushpoint lower edge; inscribed Detail 2004 in another hand verso 690mm x 540mm NOTE This work was donated by the artist to raise funds for ArtBox, an initiative to raise funds for the construction of studios for Christchurch artists affected by the earthquakes. $2,500 - $3,500

9

SERAPHINE PICK

Untitled

oil on canvas inscribed S. Pick 2005 in brushpoint lower right 610mm x 500mm $8,000 - $12,000

10

PAUL DIBBLE

Reclining Female Form cast bronze, 1/5 signed Paul Dibble, dated 99 and inscribed 1/5 incised on base 260mm x 510mm x 73mm $5,000 - $7,000

IN FOCUS 27

11

BRIAN BRAKE

Offerings to the Unknown Dead Kyoto, 1964 printed from 4” x 5” interneg on Ektacolor paper by Labtech, Auckland, 1994. Overseen by the artist’s partner, Raymond Lau. 345mm x 495mm REFERENCE 35mm chromogenic transparency (slide mounted) held in the collection of Te Papa Tongarewa.

PROVENANCE From the collection of Eric Taylor, friend, colleague and student of the artist.

Taylor is author of publications including Auckland, Collins, 1968, forward by Brian Brake text by Michael King; This Land of Light, Oxford University Press, 1982, text by James K. Baxter; Volcanic New Zealand, Oxford University Press, 1983.

ILLUSTRATED Brian Brake 40 Photographs. Introduction

by Millar, David P., Dowse Art Gallery, Lower Hutt, 1976, pl. 21. $7,000 - $12,000

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13

14

Buddha Hand, National Museum, Gampeng Pet, Thailand, 1970

Sanzen, In Temple in Autumn, Kyoto, 1963

Untitled (A Super-Kiss for a Super-Man)

printed from 4” x 5” interneg on

printed from 4” x 5” interneg on

Ektacolor paper by Labtech, Auckland,

Ektacolor paper by Labtech, Auckland,

acrylic on shaped composite board

1994. Overseen by the artist’s partner,

1994. Overseen by the artist’s partner,

Raymond Lau.

Raymond Lau.

500mm x 400mm

485mm x 345mm

REFERENCE

PROVENANCE

Large format chromogenic transparency

From the collection of Eric Taylor, friend,

(slide mounted) held in the collection of

colleague and student of the artist.

Te Papa Tongarewa.

Taylor is author of publications including

PROVENANCE

Auckland, Collins, 1968, forward by Brian

BRIAN BRAKE

From the collection of Eric Taylor, friend, colleague and student of the artist.

Taylor is author of publications including

BRIAN BRAKE

Brake text by Michael King; This Land

DICK FRIZZELL

signed Frizzell, dated 1980 and inscribed Commissioned and RF. in ink verso, upper left 2400mm x 1200mm PROVENANCE Commissioned for a café 1980, Vulcan Lane, Auckland, acquired by the present owner, 1999 $30,000 - $40,000

of Light, Oxford University Press, 1982, text by James K. Baxter; Volcanic New

Auckland, Collins, 1968, forward by Brian

Zealand, Oxford University Press, 1983.

Brake text by Michael King; This Land

$1,500 - $2,500

of Light, Oxford University Press, 1982, text by James K. Baxter; Volcanic New Zealand, Oxford University Press, 1983.

ILLUSTRATED Brian Brake 40 Photographs. Introduction

by Millar, David P. , Dowse Art Gallery, Lower Hutt, 1976, pl. 21. $4,000 - $6,000

IN FOCUS 29

15

DICK FRIZZELL

Archtiki No.1

oil on wooden relief signed Frizzell, dated 13/7/92 and inscribed Archtiki #1 in brushpoint lower left; original Gow Langsford Gallery label affixed verso 480mm x 406mm

EXHIBITED

ILLUSTRATED

Dick Frizzell - Portrait of A Serious Artiste.

Dick Frizzell - Portrait of A Serious

City Gallery Wellington, 15 March - 25

Artiste. GP Publications, City Gallery,

May 1997 and the Dunedin Public Art

Wellington, 1997, n.p.

Gallery, 7 June - 17 August 1997.

$18,000 - $25,000

16

DAVID HOCKNEY

Portrait of Jack Kennedy, Model, U.C.L.A. pen and ink on paper signed D.H., dated ‘66 and inscribed Portrait of Jack Kennedy, Model, U.C.L.A.

PROVENANCE Impressionist, Modern and Contemporary Paintings, Drawings and Sculpture.

Sotheby’s, New York, 8 October 1986, lot 49. $10,000 - $15,000

in ink lower right 415mm x 350mm

IN FOCUS 31

17

ANN ROBINSON

Curved Vase #3

copper blue, 45% crystal glass, 1/1 signed A Robinson, dated 2009 and inscribed 1/1, A.P. engraved foot 490mm x 365mm x 335mm PROVENANCE Accompanied by certificate of authenticity.

NOTE The artist has donated proceeds from the sale of this work to the University of Auckland Society. $20,000 - $25,000

18

COLIN MCCAHON

Waterfall

oil on board signed Colin McCahon, dated June July ‘64 and inscribed Waterfall, N.F.S; inscribed 25 in ink and c56 in ballpoint verso lower right possibly in another hand, (Ikon Fine Arts code) 294mm x 197mm PROVENANCE Purchased from Ikon Gallery, 1964.

EXHIBITED Small Landscapes and Waterfalls, Ikon Fine Arts, 14 - 25 September 1964, cat. no.

C56.25, 11 gns.

ILLUSTRATED Colin McCahon Database Reference (www.mccahon.co.nz) cm000394 $35,000 - $45,000

IN FOCUS 33

19

CHARLES FREDERICK GOLDIE

Portrait of Ena Te Papatani, a Ngapuhi Chieftianess conte on paper

signed C F Goldie and inscribed Kia Ora in conte lower right 188mm x 155mm $12,000 - $18,000

20

COLIN MCCAHON

Flower

crayon and wash on paper signed Colin McCahon and dated Nov. ‘70 in pencil lower left 550mm x 440mm REFERENCE Colin McCahon Database Reference (www.mccahon.co.nz) cm001114 $30,000 - $40,000

IN FOCUS 35

21

ALLEN MADDOX

Untitled

oil on stretched canvas signed with artist’s initials am and dated 90 verso upper left 1200mm x 1200mm $12,000 - $18,000

22

PAT HANLY

Still Life Figure acrylic on stretched canvas signed Hanly and dated 66 in brushpoint lower right 745mm x 690mm $30,000 - $40,000

IN FOCUS 37

23

Necessary Protection, torn straight from

early iteration of the series, the artist

the artist’s sketchbook, belongs to

has purposefully chosen not to define

Necessary Protection

sprawling series of works defined by

whether the sky has been framed by

charcoal on paper

both a central conceptual framework

the landscape or, alternatively, whether

and a common set of formal constraints.

the Tau form has been juxtaposed on

The works from this series are loosely

top. Most readily, the Tau form presents

based on both the sunset and the cliff

itself as a divine entity. It appears almost

formations that the artist observed at

like the mid-section of a crucifix and

Muriwai Beach. The cliffs on either side

it is implied that, beyond the viewer’s

of the beach are described by the two

narrow frame of reference, the form

blocks of dark, negative space and the

extends up into the heavens and down

sunset is contained by the Tau shape

through the core of the earth. Further,

in the centre of the image. Necessary

it also serves as an illustration of an

Protection is not a reflection on one

uphill path to enlightenment. Outside

place in particular. Rather, in this work,

of Christian imagery, the symbol Tau,

the artist has sought to address the

from the Greek alphabet, has other

relationship between human beings and

connotations of which the artist was well

the earth beneath them.

aware. In mathematical equations, Tau

COLIN MCCAHON

signed McCahon, dated ‘71 and inscribed Necessary Protection in pencil lower edge 460mm x 610mm EXHIBITED A significant number of Necessary Protection paintings and drawings were exhibited in McCahon’s 1971 exhibition, Necessary Protection, Barry Lett Galleries, Auckland, 1 - 12 November 1971. No catalogue accompanied the exhibition so it is not possible to determine exactly which works were shown on that occasion.

REFERENCE Colin McCahon Database Reference (www.mccahon.co.nz) cm000339 $35,000 - $45,000

In the catalogue for his 1971 Earth/

serves as a symbol for time and, when set

Earth exhibition at Barry Lett Galleries

into the picture plane with this charge,

in Auckland, McCahon told of a cliff

its infliction is altered considerably. In

section at Muriwai that had been put on

this light, we see a diorama of the future

the market: “just like everything else,”

that McCahon predicts. Stripped of its

he lamented, “it was for sale.” Further,

character, the Tau has cut the landscape

he speculated that if it were bought by

into a uniform mass.

someone who sought to develop the land,

Produced with only rudimentary

it would set in motion a vicious cycle that

materials and completed in the same

would only lead to further gentrification

setting in which it was commenced,

and the gradual pollution of the black-

Necessary Protection is a direct

sand beach that he loved so dearly with

translation of the artist’s thought and

“plasticised ‘sundae’ containers and ice-

feeling. The staple format – the divided

cream sticks and wrappings and plastic

landscape that inverts to a Tau – was

bags from the new season’s bikinis”. It

used by the artist like a ready-made: a set

feels slightly off-key to refer to any of

of concerns and associations that could

McCahon’s work as protest pieces as

easily be inserted into a work simply

he was not an artist who provided the

by drawing the shape. Each time it was

viewer with straightforward readings

used, the treatment altered slightly and

that could be shouted out across the

some new understanding was gained;

room. However, upon first glance, the

thus McCahon repeated the Necessary

full frontal weight of the cliff faces

Protection form exclusively for a period of

makes them appear almost as barricades,

two years. This series is responsible for

thrown up by the artist as if to say “stop!”

the introduction of symbolic, hard-edged

The Tau form and the landscape draw meaning from each other. In this

abstraction into the artist’s work.

CHARLES NINOW

IN FOCUS 39

24

The flattened forms and hard-edged

mitigated by painting the top vista at a

DON BINNEY

style, with its sharp outlines and tight

closer proximity to Tokatoka Peak so

Two Aspects of Tokatoka

control of paint, immediately mark Two

that the solidity of the mountain anchors

oil, acrylic and impasto on two sheets of

Aspects of Tokatoka as the work of Don

the scene.

primed steinbach paper, laid onto MDF board or similar signed Don Binney and dated 1979 in brushpoint upper right; inscribed Two Aspects of TokaToka in another hand on label affixed verso; inscribed NY/NW/29 NÁ 33. Don Binney. Aspects of Tokatoka in another hand on original Barry Lett Galleries label affixed verso 1465mm x 1100mm PROVENANCE Purchased by the present owner from Barry Lett Galleries, 1979. $60,000 - $80,000

Binney. Painted in 1979, the work takes

The clarity of form, sinuous outlines

the idiosyncratic and highly recognisable

and sharp, crisp light of Two Aspects of

form of Tokatoka Peak as both its point

Tokatoka is characteristic of the approach

of focus and its point of departure.

to the New Zealand landscape that

The rare plug of the volcano, with its

Binney developed and consolidated in

distinctive chiselled peak, that is situated

the late 1960s and throughout the 1970s.

near the edge of the Wairoa River in

During this time, Binney came to refocus

Northland is accurately captured in

on the landscape as an object of interest

Binney’s painting. As the hardened lava

in its own right, rather than using it as

core of the plug has lost the majority of

a compositional backdrop for the birds

its mountainous terrain through gradual

that had assumed pride of place in his

erosion, the sculptured peak appears

canvases of the 1960s.

in Two Aspects of Tokatoka as an arid

By the early 1970s, a realist approach

summit that dominates its surrounding

that embraced reduced forms, hard

environment.

light and an omniscient landscape

Dividing the painting in half, Binney

presence had come to be the hallmarks

offers two views that differ in angle

of Binney’s mature style. These features

and in distance from the mount. The

were heralded by art critics as the

potential for the painting to become

defining characteristics of a distinctively

fractured and disorientating is neatly

New Zealand approach to painting that

avoided by Binney, who substantially

were seen to confirm the existence of an

reduces and distils the landforms,

identifiable tradition. In this, Binney’s

body of water, clouded sky and small

painting Two Aspects of Tokatoka can

scattering of trees. In doing so, he has

be seen not only as an iconic and

ensured that individual forms and slices

characteristic piece within the artist’s

of colour in Two Aspects of Tokatoka

own oeuvre, but also as one of a series

cohere into an ostensibly abstract series

of landmark paintings that Binney

of concordant patterns. Further pictorial

produced at a time when New Zealand

harmony is achieved by a balanced

art history was seeking to establish its

contrast of paint application and breadth

own historical lineage. That lineage was

of setting between the two tableaux.

seen to extend from the regionalists

The use of thick impasto paint in the

of the 1930s into a diversity of later

grassy hill at the base of the painting

styles that included abstraction yet

combined with the visibly brushed

were nevertheless linked by the artists’

paint in the bulging grey cloud in the

responses to the unique landscape forms

bottom view gives way to a smoother,

and quality of light in New Zealand; this

more polished handling of paint in the

is a consistent aspect of Binney’s work

top half of the painting. This division

and is central to Two Aspects of Tokatoka

between a seemingly solid, fortified

from 1979.

base and a comparatively lighter, more

JEMMA FIELD

incorporeal, top portion is carefully

IN FOCUS 41

25

PETER SIDDELL

Western Balcony acrylic on board

signed Peter Siddell and dated 1979 in brushpoint lower right 960mm x 1200mm ILLUSTRATED Siddell, Peter and Michael Dunn. The Art of Peter Siddell. Godwit/Random House, Auckland, 2011, p.131. $80,000 - $120,000

Siddell has said that he could never paint

implying a great deal more than they

of a steeple-like pinnacle and attached

a place where he has not himself lived.

depict, Siddell’s paintings continue to

to the awning are two upward pointing

Perhaps this is because, rather than

gain currency long after they were

spires. One imagines that it was not

simply transcribing or reproducing a

painted. The word ‘suburbia’ now brings

Siddell’s intention to paint the house at

single view from a single vantage point,

with it a raft of connotations and, in

the end of the street with an uneasy air

Siddell paints the essence of a place. The

Western Balcony, the proximity of the

or, further, a haunted presence. Rather,

landscapes that he paints are arranged

houses to the shoreline highlights the

any disquieting power that the building

in his head, carefully constructed from

vulnerability of Siddell’s wonderland.

has can be attributed to the themes

pieces of reality that are familiar to him.

The main focal point of the painting

with which the work engages. While

Peter Siddell’s Auckland is a serene

– the house in the foreground – prompts

Siddell has both directly and indirectly

place where urban sprawl is dictated

the viewer to continually re-evaluate its

canvassed the concept of religion in his

by a governing order. Western Balcony

presence. On one hand, it offers itself

work, his aim has never been to promote

was painted at the height of the artist’s

completely; four out of five windows are

or condemn any such practice. His works

career, at a time when a perfect balance

transparent and allow the viewer to see

are not about the evils of man but, rather,

had been struck between his painterly

right into the home, revealing a series

his aspirations. Siddell could not have

tendencies. Here, we experience the full

of typical Siddell tableaux such as an

come from more humble origins. He

force of his uncompromising brushwork

exposed timber hallway with a view to

was the son of a ‘wharfie’ who worked

of the 1980s; autogenetic and yet deeply

the outside world and neatly arranged

on the Auckland docks and he himself

human, it has been allowed to take on a

living areas with modestly sized pictures

left school at the age of 16 to become an

life of its own in this large-format work.

on the walls. However, the title –

apprentice electrician. In the memoir

Further, we are graced with the subtle

Western Balcony – draws the viewer to

from his recently published book, The

hues and finely balanced colouration

the French door on the upper left-hand

Art of Peter Siddell, he stated that even

that would be a keystone of the artist’s

side of the house where the glass holds

though his father could barely read, one

practice thereafter.

an opaque glare; while its presence is

of the few books that the family owned

not wholly sinister, one cannot help

was a Bible.1 If there is anything that

constructions, he has pictured houses

but wonder whether it contains some

Siddell’s works do promote then it must

running almost right to the edge of the

unknown potential. A close examination

certainly be the importance of ritual and

shoreline. It is a gesture that gives the

reveals the reflection to be that of a

its significance in the lives of the unseen

work a distinctly New Zealand feel,

cloudy sky framed by the arch of the

population which inhabits the vistas of

implying the narrowness of the land

underside of the awning in front.

his mind.

Like a blanket of tiny timber

on which Auckland was built at the

As with elsewhere in Siddell’s

same time as giving the work a slightly

practice, we see both overt religious

foreboding quality. Much in the same

symbols and less-obvious allusions to

way that the works of Charles Goldie

religious practice. In this work, the

are a snapshot into our nation’s past,

highest point in the roof is that at the top

CHARLES NINOW

1 Siddell, Peter and Michael Dunn. The Art of Peter Siddell. Godwit, Auckland, 2011, p.7.

IN FOCUS 43

26

Thought to be painted in 1924 while

medium that would wear the texture of

the artist was working as a teacher at

the bristle and had a stubborn opacity.

Still Life Composition

Manchester High School for Girls, this

In contrast, watercolour was a flat, fluid

watercolour on paper

untitled still life is a rare glimpse into

medium that left a sharp line and, while

the oeuvre of an artist whose practice

oil paint allowed Hodgkins to indulge in

was, at the time, going through rapid

a modernist tendency to create works

stylistic development. It presents itself

that documented their own making,

as somewhat of a crossroads, mirroring

this still life shows Hodgkins examining

the strategies that the artist used

the potential of breaking down and

elsewhere in her practice of the time as

reassembling shards of reality in a very

well as consisting of aesthetic qualities

direct manner.

FRANCES HODGKINS

signed with artist’s initials F.H. in brushpoint lower right 355mm x 400mm $20,000 - $25,000

that would feature heavily in the work

The clarity of line seen here is also

that she would make in the latter stage

important because it echoes the assured

of her career. In 1925 Hodgkins briefly

handling that is so central to the works

took up work as a textile designer. Her

on paper that she would paint from

image-making practice from 1922 to

the latter half of the 1930s onwards.

1924 would have a very direct influence

Undiluted watercolour has a very

on her practice as a designer where

particular quality; because it consists

she worked with flat angular planes

of pigment only and of no opaque

of colour, creating abstract patterns

medium, laying it on thick may not

and assemblages that had a figurative

make it louder but certainly amplifies

mandate.

the colour’s severity. While the work

Prior to the outbreak of WWI in

is clearly figurative, the brush strokes

1914, Hodgkins was based in mainland

also hold a concrete value of their own.

Europe and worked between Italy and

Like the more freely flowing later works

France. However, the advent of war

of a fauvist bent, this work is as much

forced her to move to the small town of

about the physical qualities of colour as

St Ives in Cornwall and it was during

it is about a still life arrangement. Still

this period that the artist would begin to

life arrangements have been present

experiment with working in oil paints

throughout Hodgkins’ career with

as opposed to the watercolours with

typical groupings of objects such as

which she was accustomed. From this

vessels, flowers, vegetables and fruit

time until the year of 1924, her work

as well as less-typical compositions

would increasingly engage with analytic

featuring things like dead game and

cubism and, in relation to such works,

sea shells. As a constant feature, they

this still life serves as an important

together formed a controlled variable

statement of her intent. When Hodgkins

that shone a light on the true nature of

was working in oils, it was particularly

her painterly exploration.

dry paint that she favoured; it was a stiff

CHARLES NINOW

IN FOCUS 45

27

Painted by Colin McCahon in 1971 as

would ultimately deface and despoil

COLIN MCCAHON

part of a trilogy of works that makes

New Zealand’s “largely uncorrupted

Kaipara Flat With a Blue Sky

up the series Kaipara Flat, the present

(and) unique”1 landscape. As such,

watercolour on Steinbach paper

work Kaipara Flat with Blue Sky presents

McCahon presents the environs in

a painterly exercise in mark-making

their pristine and unadulterated

and chromatic nuances. Like the other

form completely devoid of the human

works in the series painted that year, the

presence that was responsible for the

horizontal division of the composition

exploitation and destruction of the

immediately places the spectator within

countryside.

signed McCahon, dated ‘71 and inscribed Kaipara flat with a blue sky (1) in pencil upper right 1017mm x 670mm REFERENCE Colin McCahon Database Reference (www.mccahon.co.nz) cm001746 $100,000 - $150,000

the familiar genre of landscape painting.

The environs that McCahon

Despite, or maybe because of, the absence of formal elements, Kaipara

transcribes in these works, however,

Flat with Blue Sky is home to a wealth

have been distilled and reduced so that

of visual interest in the visible traces,

only the barest suggestion of a landscape

dabbles, sweeps and dots of McCahon’s

setting remains. Pared back to a thin

brush. Composed using only a russet

stretch of ground and a wide sweep of

brown and a rich sapphire blue, the work

sky, the scene presented in Kaipara Flat

contains an impressive and alluring

with Blue Sky is one of contemplation,

quantity of textures, tonal variances

observation and overwhelming quietude.

and gestural line. The densely coloured

Kaipara Flat with Blue Sky features a solid

ground is home to a soft mottled finish

brown band at the base of the painting

and is further moderated by patches of

that works to anchor the composition

a slight golden hue as though having

and above which an amorphous field

caught a glimmer of light. A thin fillet

of azure paint is allowed to billow and

of snowy white divides land from sky,

weave.

emphasising the untouched emptiness

In January 1971, McCahon resigned

of the terrain. The top portion of the

from his teaching position at Elam

painting is taken up by a broad expanse

School of Fine Arts in order to paint

of sky that swarms across the page in the

full time. He left the city to work in

manner of scudding clouds. This rippling

the countryside and Kaipara Flat

sphere of royal blue is tempered by an

with Blue Sky along with the other

array of fine bleeding points of paint,

watercolours and acrylics that he

which are evocative of a fine misting

completed at this time comprise a suite

rain or shower of lights. Here too,

of landscapes that pay homage to his

squiggly traces of McCahon’s brush are

inspirational surroundings. Depicting

noticeable and work to further activate

the climes of Helensville, Muriwai,

the composition. Blazing a trail across

Ahipara and Kaipara, these energetic

the firmament, McCahon’s brush neatly

pieces are underpinned by McCahon’s

records the scene before him, securing

environmental concerns and were

the memory of a sanctified landscape

intended to highlight the increased

before it succumbed to the pressures and

number of industrial and residential

desires of human advancement.

developments that McCahon believed

JEMMA FIELD

1 Colin McCahon as quoted in Marja Bloem and Martin Browne, Colin McCahon: A Question of Faith (Nelson: Craig Potton Publishing and Amsterdam: Stedilijk Museum, 2002), p.215.

IN FOCUS 47

28

TONY FOMISON

“Carcinoma of the Tongue Ulcerative Type” Fig.51 ‘Surgery for Nurses’ by Bailey and Love, London 1942 (# 15) oil on stretched jute canvas signed Fomison and dated March 1964 in brushpoint lower right and inscribed “Carcinoma of the Tongue Ulcerative Type” Fig.51 ‘Surgery for Nurses’ by Bailey and Love, London 1942 in brushpoint upper left; inscribed Fomison exh. No. 34 crate no. 2 on typed label affixed to stretcher verso

Fear! Fear of a painful, lingering

explored magazines and medical books

death. Fear of the unknown. That is an

seeking out images of the mentally ill,

essential ingredient of Tony Fomison’s

the disfigured and those afflicted by

graphic image Carcinoma of the Tongue,

diseases. This is but one of a series of

painted in Christchurch in 1969.

unforgettable images made between

Conceived in stark black and white with

1969 and 1971. It was first exhibited

powerful chiaroscuro, the work shows

in Auckland at New Vision Gallery

us a head – and what a head – close up

in March 1971 in a group show called

and contagious. “Put out your tongue,”

Christchurch 71 cat. no.5, price $40.

the nurse has said. And what a tongue!

The show marked the beginning of

All else pales by comparison. The eyes

Fomison’s rise to national prominence as

of the afflicted victim are frightened by

a painter and foreshadowed his move to

it and its ulcerous, cancerous growth.

Auckland soon afterwards.

Fomison’s source, acknowledged in

Tony Fomison had attended life

a lengthy inscription, was a medical

classes at the Canterbury School of Art

diagram in a handbook for nurses. But

while he was a student there between

his is no impersonal diagram. On the

1958 and 1960. It was then that he first

contrary, we feel the full psychological

made facial studies, life sized, in black

impact of the diagnosis ‘carcinoma of the

and white on rough sheets of paper.

tongue’ on the unfortunate patient. How

These were drawings in charcoal but

do we react to this finding? How does

have affinities with paintings like

the victim respond to this traumatic,

Carcinoma of the Tongue in the way

life-threatening analysis? What is the

the forms emerge from a dark ground

prognosis? What are his chances? The

and are cut off from any identifiable

head emerging from total darkness, the

background. In 1963, he was awarded a

blackness of a void, rivets our attention.

travel grant to Europe and it was there

See those eyes staring out from the

he saw at firsthand the dark paintings

top corner, one cut off, the whole face

of Caravaggio and his followers in Italy,

ILLUSTRATED

cropped by the frame and distorted. Each

Spain and France. He studied these

Trussell, Denys. ‘A provincial talks

orifice of sense – mouth, nose and eye – is

closely, bought postcards of them and

of religious compassion’, City News,

wide open and receptive to the darkness

made a number of careful copies. Back in

Auckland, 17 August 1976;

and finality of death. This is an abject

Christchurch in 1967, he taught himself

Reprinted in Pilgrims vol. no.1,

image of human mortality. All we have,

to paint slowly and carefully, simplifying

Christchurch, February 1977;

it says, is our life and health; take it away

and intensifying the imagery by the

Peter Webb Galleries (Webb’s), auction

and we are nothing.

controlled use of chiaroscuro. His

917mm x 710mm PROVENANCE Formerly in the collection of Martin Fisher, Dunedin; Robert May, Dunedin; currently held in a private collection, Dunedin.

REFERENCE Christchurch 71, New Vision Gallery, Auckland, 1971, cat. no.5, price $40; Keith, Hamish, review of New Vision Gallery, Auckland, exhibition 1971, Auckland Star, 20 March 1971; Barr, Jim and Mary, interview, 1978.

catalogue, December 1987.

EXHIBITED Canterbury Society of Arts, Christchurch, 1970; Christchurch 71, New Vision Gallery, Auckland, 1971; Dawson’s Exhibition Gallery, Dunedin, 1972; Still Life: The Art of Anatomy, Dunedin Public Art Gallery, 10 July – 12 September 2010. $120,000 - $160,000

Of New Zealand artists, only Fomison

brushwork is smooth but the painting

could have selected this subject to paint.

is enlivened by the texture of the rough

Colin McCahon, an important mentor,

canvas which shows through the paint.

had his dark moments but few as bleak

In this work, Fomison has highlighted

as this. Fomison inhabited what Ian

a scourge of modern society – cancer

Wedde has described as ‘dark spaces’

– the often incurable epidemic of our

when creating works such as these,

times. We can name, categorise and

probing the innermost recesses of the

record diseases such as carcinoma of

subconscious seeking out the hidden,

the tongue but how do we deal with

the shameful and the forbidden – that

the unpalatable diagnosis when there

which could not be seen inside the

is no cure?

conventions of respectable art. He

MICHAEL DUNN

IN FOCUS 49

29

In this rare, early example from the Golden

the studies that the artist painted whilst

Age series, we see Hanly return to painting

in London during the late 1950s and early

“Golden Age” 3 with White Butterfly

full human figures and, for the first time

1960s. Hanly was painting during the

enamel on board

in his practice, depicting male and female

day and working as a stage manager at a

forms together as equal counterparts in a

nightclub in the evenings and the works

seemingly harmonious relationship. While

depict the woman that he met during his

this work was not included in the Golden

time there. He was actively engaged in

Age exhibition at RKS Art, the following

cubism then and, accordingly, the woman

statement about the series was broadcast

appeared almost totem-like. They were not

on the invitations: “The Golden Age, all

by any means idealised forms; rather, these

races in harmony, love, live despite greed

early studies had a dirty, gritty, impolite

and wars. Birds sing, stars appear, moon

quality that examined every facet of their

and sun shine, colours glow and life goes

person. In Golden Age 3 with Butterfly,

on”. If, in the sensory exploration and

the figures are not idealised, nor are they

vibrating particles of his work from

symmetrical or smooth edged as they are

the late 1960s, we witnessed Hanly

later in the series. They are confronting

become lost in the world, then in the

and serrate but also utterly at ease. This

Golden Age series we surely see him

is not the world seen through rose-tinted

rediscover it again.

glasses; this is the world as it really is

PAT HANLY

signed Hanly, dated 78 and inscribed Golden Age in brushpoint lower left; signed Hanly, dated ‘78 and inscribed “Golden Age” 3 with white butterfly and N.F.S. in ink verso 900mm x 900mm PROVENANCE Purchased directly from the artist by the present owners, 1978. The current owners attended an exhibition of Pat Hanly’s Torso Series at RKS Gallery in 1978 and subsequently made enquiries as to the availability of another work.

They were shown a selection from which they chose this work. The owners met with the artist at his Windmill Rd, Mt Eden studio where he informed them that he’d added the white butterfly to this Golden Age painting because while he was painting it, a butterfly had flown past across the doorway and he wanted to capture that instant.

Accompanied by a signed letter of authenticity from Gil Hanly stating that the work was purchased in 1978 for a price of $500 and has been in the sole possession of the current owners since the date of purchase. The letter also states that the work has never been publicly exhibited or photographed for publication while in the possession of the current owners.

EXHIBITED A group exhibition of contemporary New Zealand painting, gallery unknown, Hamilton, 1978. $120,000 - $160,000

In comparison with the later works of the series, Golden Age 3 with Butterfly is

where everything has its own unique shape and colour.

somewhat unique as it has been painted

Hanly’s Utopia was not a separation

predominantly using the ‘drip’ technique

from his everyday life or a private quarter

pioneered in the artist’s Pure Paintings of

where problems could be escaped.

1975. In addition to the unadulterated drips

Rather, Hanly found his Utopia in the

(clearly applied last), we also see evidence

knowledge that the world was a balanced

of a technique that the artist used to flatten

place that somehow would always find

the profile of dripped paint, where a sheet

its equilibrium. In spite of ‘greed and

of newspaper was immediately thrown

wars’, one could still take pleasure in the

over a new line in order to absorb any

incidental beauty of everyday life. When

excess. The Pure Paintings were simply

explaining to the painting’s original

arrangements of abstract line. They were

owners the presence of the butterfly

intended as a completely transparent

mentioned in the work’s title, Hanly

means of emotional expression that

disclosed that while he was painting the

sidestepped any figurative mandate.

work, a butterfly just happened to pass

However, in Golden Age 3 with Butterfly

by the doorway of the room in which

the effect is rather different. As one part

he was working. The moment had such

of a greater whole, the dripped paintwork

an arresting and poetic beauty that

injects the work with an unpredictability:

he decided he would capture it in the

a life of its own.

painting, thereby making the

The jutted, angular approach to figuration that we see here harks back to

work complete.

CHARLES NINOW

IN FOCUS 51

30

JEFFREY HARRIS

3 Children

oil on board signed Harris and dated ‘70 in brushpoint upper right; signed Jeffery Harris, dated March - Nov 1990 and inscribed 3 Children and 48 x 48 in ink verso lower left.

1210mm x 1210mm $40,000 - $60,000

31

DICK FRIZZELL

All Is Number

oil on 6 stretched canvases signed Frizzell, dated 29/9/98 and inscribed All is Number in brushpoint lower left 1830mm x 1210mm ILLUSTRATED Frizzell, Dick. Dick Frizzell - The Painter.

Godwit/Random House, Auckland, 2009, p.195. $20,000 - $28,000

IN FOCUS 53

32

Keith Alexander was born in Zimbabwe,

his work would be solely dominated by

then named Rhodesia, in 1946. He would

sparse depictions of the Namib Desert.

The Celebration

later move to South Africa where he went

However, not only was it the setting that

acrylic on stretched canvas,

on to study fine arts at the University of

marked these works as a turning point, but

Natal in the mid-1960s. There he would

also they embodied a distinct conceptual

attain a master’s degree, his research

shift. Pictured in the works was the

focusing on surrealist sculptural practice.

small mining town of Kolmanskop, a real

It could be said that, though he would

location situated only a few kilometres

alter his strategy somewhat in 1975 by

from the coastal town of Lüderitz. The

choosing to paint flat imagery rather than

town was abandoned in 1954 after its

work with three-dimensional materials,

diamond field was exhausted and it is now

his astute spatial awareness would

in a semi-submerged, sandblasted state. In

continue to influence the works that he

these works, the artist can be seen using

made. Naturally, his first painted works

space and perspective to inject a sense

were firmly grounded in an exploration

of unease. While the paintings depict

of surrealist imagery; however, he would

actual architectural sites, the composition

soon develop an approach to image-

suggests that there was some internal

making that sidestepped his fascination

narrative at play: that each doorway and

with physical impossibilities. A significant

window frame had a very specific role to

turning point in the artist’s career

play. In the years following, this ability

occurred after he first visited the vast

to construct a narrative using a sparsely

expanses of the Namib Desert of southern

assembled set of objects has been at the

Namibia. In 1982, the year after his visit,

heart of Alexander’s practice.

KEITH ALEXANDER

signed Alexander and dated 94© in brushpoint lower right; signed Keith Alexander, dated © 1994 and inscribed The Celebration and 011-884 5552 in ink verso upper left 760mm x 1060mm PROVENANCE Purchased from Elizabeth White & Associates, Johannesberg, South Africa, and passed by descent to the present owners. Accompanied by a certificate of authenticity signed by the artist’s agent Elizabeth White & Associates, Johannesberg, South Africa, and the artist dated 13 October 1997. $50,000 - $60,000

Untitled of 1984 is emblematic of the techniques learnt in the formative part of the artist’s career. There are two

cemented in a divide between two vast expanses.

The Celebration, painted a decade later,

solitary abodes positioned on top of a

presents a different kind of isolation. Here

hill surrounded by nothing but a lifeless

an interior feels as barren as the deserts

expanse. The more visible of the two

with which Alexander is so well versed.

buildings is clearly in a state of disrepair,

In the foreground, a table holds a covered

indicated by the fact that its roofing beams

silver serving tray and, in the distance,

are exposed on one side. While only a

the artist has painted a man, likely to be

silhouette of the second house is visible,

a self-portrait, standing just outside of

one assumes that it too is uninhabitable.

the doorway with his gaze focused to the

There is a distinct contrast between the

distance, following that of the viewer.

bare rock and loose sand of the hillside

In colonial Africa, it was common for

and the smooth, almost vacuum-formed

each rural housing compound to have

texture of the foreground. The golden-

a separate building in which food was

yellow haze of the ground mass places the

prepared and, therefore, the figure has

abode on the outer edge of the desert and

wandered away from a celebration that

the salt-licked perfection of foreground

is happening nearby. His formal attire

indicates that the houses are situated

suggests that he is not where he belongs

on the edge of the shoreline. While the

and yet, his strict denial of the serving tray

dwellings are not isolated in the middle

implies that he has an intimate knowledge

of the desert, they are still, in a sense,

of its contents.

caught between a rock and a hard place:

CHARLES NINOW

33

KEITH ALEXANDER

Untitled

acrylic on stretched canvas signed Alexander and dated 84 in brushpoint lower left 600mm x 900mm PROVENANCE Purchased from Elizabeth White & Associates, Johannesberg, South Africa, and passed by descent to the present owners. $40,000 - $50,000

IN FOCUS 55

34

COLIN MCCAHON

Seaweed on the Beach

synthetic polymer paint on Steinbach paper mounted on board, 1972 signed Colin McCahon, dated Feb - August ‘72 and inscribed Taitimu Tangi Muriwai, Seaweed on the Beach in brushpoint lower edge 730mm x 1112mm REFERENCE Colin McCahon Database Reference (www.mccahon.co.nz) cm000438 $250,000 - $350,000

In 1969, Colin and Anne McCahon acquired some land at Muriwai Beach, north-west of Auckland, on which they built a dwelling and a large studio for Colin; soon afterwards, he retired from teaching at Elam. Suddenly, for the first time in his life, he was a full-time painter. These changes led to a huge increase in McCahon’s output in the early 1970s, much of it stimulated by the new landscape opened up to him at Muriwai.

At first it was the towering cliffs at Maori Bay and the rock stack of Moturoa with their associated bird colonies that attracted his attention, especially in the large series of abstracted landscapes he called Necessary Protection (1971) and in later series such as Jump (1974). However, increasingly from 1972, it was Muriwai Beach itself which became the focus of many paintings, especially in such grand series as Beach Walk (1973), Blind and The Shining Cuckoo (both 1974). Before these more ambitious works were conceived, McCahon made a number of individual paintings with the beach as his subject of which Seaweed on the Beach is one. A second painting with the same title, but on canvas rather than paper, is also dated 1972, as are two closely related paintings (one on paper, one on canvas) with the title Low Tide, Muriwai. While they are primarily descriptive of the conditions referred to in their titles, there is another layer of meaning introduced by the words inscribed along the bottom of all four paintings: Taitimu. Tangi. Muriwai.

‘Taitimu’ in Maori means low tide, while ‘tangi’, of course, alludes to grieving for the dead. Some years earlier, McCahon had acquired a book called The Tail of the Fish: Maori Memories of the Far North

by Matire Kereama on which he drew

for many paintings, the best known of which is The Lark’s Song (1969). By 1972, the part which most pre-occupied him was Chapter 24, ‘Going Out with the Tide’, which begins: “When I was a child, no person died without first asking about the state of the tide, whether it was full or low. People always liked to die at low tide because the tide had to be completely out to enable them to reach Te Reinga Wairua, ‘The Leaping Place of Spirits’, in the Far North. This is a large hole at the bottom of the sea which is exposed at low tide, permitting the spirits to go inside. When the tide is full, the hole is under water and covered with masses of seaweed” (p. 74). These words are the clue to the wider meaning of the works under discussion. They are paintings about death and the spirit’s journey to Cape Reinga: a pathway that included Muriwai Beach as one of the stations along the way. In later paintings, McCahon would associate this spirit journey with dead friends such as the poets James K. Baxter, R.A.K. Mason and Charles Brasch. The white lines on black suggest waves at night, while the seaweed of the title is signified by the words Taitimu. Tangi. Muriwai. The identification of seaweed on the beach with writing is explicit in a September 1972 letter McCahon wrote to the painter Pat France while working on these paintings. Unique to this particular painting is the remarkable sky, with its curdled grey clouds and its curiously ominous dark rain cloud, like a portent of death, perhaps, much like the similarly threatening “cloud above an ocean” in Allen Curnow’s exactly contemporary poem, Lone Kauri Road.

PETER SIMPSON

IN FOCUS 57

35

36

Motorway/City No. 30 (Auckland Festival)

Pure Painting 10

oil on board

signed Hanly, dated 76 and inscribed

signed Robert Ellis and dated ‘69 in

Pure Painting in brushpoint lower right;

brushpoint upper left; signed Robert

signed Hanly, dated 76 and inscribed

Ellis, dated 1969 and inscribed No. 30

Pure Painting in brushpoint verso upper

Motorway/City and 123 x 107cm. “Auckland

centre

Festival”. PO 2175 Auckland. N.Z. verso

915mm x 915mm

upper centre

$20,000 - $30,000

ROBERT ELLIS

1220mm x 1060mm

PAT HANLY

enamel on board

$20,000 - $25,000

IN FOCUS 59

37

CHARLES FREDERICK GOLDIE

Te Aitu Te Irikau (An Arawa Chieftainess)

oil on stretched canvas in original rough cut Kauri frame signed C.F. Goldie and dated 1919 in brushpoint upper left 270mm x 215mm PROVENANCE John Leech Gallery, Auckland, original label affixed verso.

Austin family, NSW, Australia since 1950, passed by descent to Elizabeth Austin, Sydney, NSW, Australia and recently repatriated to New Zealand. $180,000 - $220,000

The present portrait, Te Aitu Te Irikau

Goldie’s work, the artist was convinced

(An Arawa Chieftainess), is a fine example

by current thought that the Māori people

of the work of one of New Zealand’s

represented a dying race and that their

most revered portrait painters, Charles

existence needed to be captured in paint

Frederick Goldie. Completed in 1919, this

before they disappeared. As a result

painting is one of at least ten portraits

of this belief, a distinctive element of

that Goldie completed of Te Aitu Te

sentimentality is discernable in many

Irikau, which illustrates his common

of his paintings. It is evident in his

tendency to repeatedly paint the same

portrait of Te Aitu Te Irikau through her

sitter in a variety of different costumes

averted gaze, slightly bowed head and

and poses.

slumped posture but it is also moderated

Goldie was a highly accomplished portrait painter with an eye for detail and his paintings are typically

by the prominent trappings of her elite standing.

As an Arawa chieftainess, Te Aitu Te

characterised by a meticulous attention

Irikau is shown wearing accoutrements

to details, small imperceptible

that immediately spell out her high-class

brushwork, even all-over lighting, and

stature to the viewer. Wrapped in a flax

they often feature an indeterminate

and feather cloak, with the details of her

background in order to focus attention

moko clearly visible, the sitter is adorned

on the sitter. These elements are clearly

by a long slender kuru (greenstone

apparent in his portrait of Te Aitu Te

earring) and a prominent greenstone tiki

Irikau and they are recognised as the

pendant that she wears around her neck.

hallmarks of one of New Zealand’s most

A further mark of her noble position

celebrated and iconic portraitists of the

is seen in the three white-tipped huia

colonial period, whose works have come

feathers that are embedded in her hair.

to possess additional significance as

The huia was a sacred bird to Māori and,

factual documents. Although Goldie has

because of this, they used its feathers

received mixed reviews over the past

to adorn warriors and the deceased as

century due to his personal beliefs and

well as to ornament those of high social

artistic practices, it is worth noting that

distinction. Goldie is celebrated for his

his portraits are now celebrated by many

assiduous focus on each specific aspect

as historical records of the identity and

in the execution of his paintings and his

existence of ancestral koroua and kuia,

portrait of Te Aitu Te Irikau resounds

which are considered to be taonga, or

with a detailed elegance. The myriad of

sacred, to Māori.

lines that etch her face combined with

Composed in bust-length format and

the visible strands of smoky-grey hair,

orientated three-quarters to the right, Te

the perceptible texture of her moko

Aitu Te Irikau gazes thoughtfully into the

and fibres of her cloak, render Goldie’s

middle distance. Like the best of Goldie’s

portrait of Te Aitu Te Irikau both an

paintings, the portrait of Te Aitu Te Irikau

invaluable historical artefact and a

exudes something of a pensive nostalgia.

painting of innate artistic value.

As is repeatedly mentioned in relation to

JEMMA FIELD

IN FOCUS 61

38

COLIN MCCAHON

This fine watercolour belongs to a

He was especially concerned

numbered series of landscapes inspired

with making the painting appear as

Manukau II

by Colin McCahon’s response to his

something solid and permanent rather

watercolour and gouache on paper

new environment at French Bay on

than ephemeral and illusory. He noted:

the Manukau Harbour. He had moved

“In nature there are no empty spaces,

north to Auckland in May 1953 and was

the air between houses is as real as

immediately struck by the wet climate

the air inside houses and the houses

and dramatic lighting compared with

themselves…” In this painting we can see

Canterbury. He recalled: “At this time

this principle in action as the clouds and

the bush and the harbour were of prime

their reflections in the water are made as

importance as subjects… the November

substantial as the hills and the foreshore.

light for that first year was a miracle. It

A further aspect to note is the subdued

remains an obsession and still a miracle”.

palette restricted to mainly blue/grey

Painted in watercolour and gouache on

and ochre tints. Rather than imitating

paper, Manukau 2 depicts the harbour

local colours, McCahon creates an image

and background hills to the left and bush

based on the contrast between cold and

to the right. Above a cloudy sky animates

warm hues, the blue of sky and water

the scene and is reflected in the waters

and the ochre of bush and foreshore. In

of the harbour.

doing so he was once more following

signed McCahon, dated Jan 54 and inscribed Manukau 2 in brushpoint lower left 543mm x 740mm EXHIBITED The Group Show 54, Canterbury Society of Arts Gallery, Durham Street, 2 - 17 October 1954, cat. no. 64, 12 gns.

ILLUSTRATED Bloem, Marja and Martin Browne. Colin McCahon: A Question of Faith. Stedelijk Museum, Amsterdam, Craig Potton Publishing, Nelson, 2002, p.180; Shaw, P. Rainbow Over Mount Eden: Images of Auckland. Godwit/ Random House, Auckland, 2002, p.93; Simpson, Peter. Colin McCahon: The Tirangi Years, 1953-1959. Auckland University Press, Auckland, 2007, p. 84

Although it is easy to make out the

the example of Braque and Picasso who

landscape elements in naturalistic

found that a restricted palette enhanced

terms, McCahon’s painting has other

the objecthood of their Cubist works and

concerns. The artist shows a modernist

drew attention to their formalist nature.

interest in the formal structure of the

It is also possible to see in Manukau

REFERENCE

imagery as evidenced in the division of

2 the use of multiple viewpoints, for at

Colin McCahon Database Reference

the surface by a scaffolding of curved

times we seem to be looking at forms

(www.mccahon.co.nz) cm000852

and straight lines. These divisions have

like the hills at eye level while the

$70,000 - $90,000

very little to do with nature and much

harbour and bush appear as if viewed

to do with constructing a painting on

from above. This presentation had the

a two-dimensional surface. The lines

advantage of freeing the artist from the

animate the surface and refer us to it.

constraints of conventional one-point

They also help divide the surface into

perspective and allowing the element

planes that are merged into one another

of time and movement to enter the

by the technique of passage introduced

work. All these ideas and more were

into painting by Cézanne and the

to figure prominently in McCahon’s

Analytic Cubists. In this technique an

later paintings. Related works include

opening, allowing one form to be merged

the Towards Auckland paintings and

with another, facilitates the transition

the Kauri series. This is fine painting

between them and allows foreground

in its own right and one that is of great

and background to be interlocked.

interest because it contains fertile ideas

Cubism, and especially the work of

that McCahon was to follow up in his

Georges Braque, was of interest to

later series.

McCahon at this time.

MICHAEL DUNN

IN FOCUS 63

39

Proffering a clean and empty bowl and

scale of the bowl and spoon, renders an

MICHAEL SMITHER

a clean spoon to the spectator, Michael

immediately recognisable and familiar

Bowl and Spoon

Smither’s Bowl and Spoon is one of many

subject, curiously strange and unknown.

oil on board

paintings which he has completed that

The sense of immediacy that the

feature objects taken from the domestic

cropping produces and the tantalising

realm. Seemingly mundane items such

desire to know what lies beyond the

as teacups, broken eggshells, coffee pots

confines of the painting creates a fine

and rubber gloves are dotted throughout

and nuanced tension within the work. It

Smither’s oeuvre and his decision to

is this balance that Smither consistently

accord such everyday things the entire

strikes between the known and

gamut of an image causes the viewer

unknown, the familiar and the strange,

to rethink and reappraise both their

in his still-life paintings that makes

appearance and their value. Under

them so alluring.

signed with artist’s initials M.D.S. and dated 74 in brushpoint lower left 1670mm x 1210mm ILLUSTRATED Gribben, Trish. Micheal Smither Painter.

Ron Sang Publications, Auckland, 2004, p.147.

$60,000 - $90,000

Smither’s brush, these objects come

Like all of Smither’s still-life paintings,

to possess an otherworldly dimension

the use of domestic objects results in

by way of compositional structure,

an inferred human presence. While

distortions of scale, unusual viewpoints,

the lack of activity and the exceptional

strong lighting and a smooth polished

stillness of the painting would seem to

technique. In Bowl and Spoon, the single

preclude any narrative, the work still

focus and close-up viewpoint transforms

resounds with anecdotal potential.

the banal everyday kitchen items of a

The gleam of the spoon and the crisp

breakfast bowl and teaspoon, elevating

pallor of the bowl suggest that the items

them into the realm of the rare and

remain unused and abandoned on an

celebrated.

unidentified surface. The paired pieces

The slightly upturned angle of the

are perhaps still patiently awaiting their

bowl in Bowl and Spoon and the large

guest or they may be the remnants of a

bulbous shadow that it casts, which

breakfast that has been discarded due to

extends towards the viewer, create an

lack of time or some unforeseen event.

invitation to enter the painting and

In any case, the formal perspicuity of

take up residence at the table. Yet on

Bowl and Spoon that is wrought through

the other hand, there is no specifically

Smither’s union of opposites (light and

designated space and, in fact, Smither’s

shadow, absence and presence, simplicity

tightly controlled composition with its

and convolution) results in a captivating

close-up view of china bowl and metal

painting. Frozen in time, Smither’s Bowl

spoon leaves very little inhabitable room.

and Spoon maintains its immaculate

The scene is further distanced from

and unsullied appearance, offering an

the viewer by Smither’s use of abrupt

enticing diorama, which allows for each

cropping which, combined with the

viewer to weave their own story.

tilted picture plane and the enlarged

JEMMA FIELD

IN FOCUS 65

40

COLIN MCCAHON

Comet (F11) belongs to suite of works

divine presence, a world away from the

that McCahon produced in 1974 while

chaos far below.

Comet (F11)

working from his studio in Muriwai

acrylic on unstretched jute canvas

(where he was based from 1968 to

this work has a moving calm. Without a

1978); it has been suggested that every

single light in sight, it is easy to imagine

work that he painted during this

the artist at his studio, staring out

year (including the Blind and Jump

over the water and into the night sky,

series) was cut from a single role of

pondering the unseen events occurring

jute sacking, identified by a purple

in the darkness of space. This work

thread that marks the selvedge.1 Each

was painted only a few years before

work from the Comet series shares

McCahon was forced to move from his

a similar format: an evenly daubed

studio in Muriwai and work once again

black background overlaid with an

from his family home in Grey Lynn. His

arrangement of sparsely distributed

rapidly deteriorating health, caused by

horizontal strokes. While every work

decades of alcoholism, denied him the

carries an individual code based on the

ability to make the long drive out to the

ILLUSTRATED

classification system used for naming

west coast. Therefore, it is hard to say

Colin McCahon Database Reference

comets prior to 1994, these works are

whether this is the work of a believer or

(www.mccahon.co.nz) cm001562

not observations of orbital periods but,

of a man who had lost faith. The comet,

$160,000 - $220,000

rather, they are reflections upon the

sailing over the surface of the work,

fragility of human life in a universe of

presents as both an omen of apocalypse

untamed forces.

and as evidence of a divine influence on

signed C.McC, dated ‘74 and inscribed Comet (F11) in brushpoint lower edge 920mm x 620mm REFERENCE Green, Tony. ‘Colin McCahon’s ‘Necessary Protection’ In Auckland’.

Art New Zealand, No.134, winter 2010.

EXHIBITED Jumps and Comets: Related Events In My World - Colin McCahon, Barry Lett Galleries, 27 May - 7 June 1974.

The black, uninterrupted stillness of

During his time at the Muriwai

the forces of the universe. It calls into

studio, McCahon made many works

question the incidental nature of life,

that reflected upon the division between

which can flourish if given only a little

earth and sky, with the compositional

nourishment and yet can just as easily

structure often relying on only a

be crushed without warning, in the

solitary horizontal line. While these

blink of an eye.

works were deeply grounded, McCahon

The Comets act as a bookend to

has here presented us with a physical

the works made in the latter part of

impossibility: a comet – described by

McCahon’s Muriwai tenure. They

a burst of white and a tail that gently

demonstrate a distinct shift from his

kisses the pronounced jute weave

earlier engagement with earthly physics

– sandwiched between two parallel

to a fascination with objects that weren’t

horizons. A clarification of the artist’s

governed by the forces of gravity. In

rationale can be found in the Blind series

formal terms too, the artist’s refined use

that directly preceded the Comets. These

of a binary colour scheme can be seen to

works, too, consisted of a double horizon;

pave the way for the Noughts and Crosses

however, while the lower band parted

and Rocks in the Sky works that he would

earth and sky, the upper boundary

produce in 1976, where free-floating

separated the sky from the heavens.

objects were suspended in black space.

As such, the amber line offers itself as

CHARLES NINOW

1 Green, Tony. “Necessary Protection in Auckland.”

Art New Zealand No. 11, Spring 1985.

IN FOCUS 67

41

RALPH HOTERE

Untitled (Study For National Bank Mural) brolite laquer on hardboard signed Ralph Hotere and inscribed National Bank Mural. Hanging instructions. This would depend to a large extent on the situation (plaster wall? Stone wall? Wood? Ply? Hardboard?). This mural is designed to be made in sections (3/16 hardboard brolite lacquers). The sections depending on the size of the final work.

The simplest method possibly is to attach a grid of 6’’ x 1’’ seasoned panels directly on the existing walls. Thus the sections are then glued onto this with a proven contact adhesive, RH. in ink on label affixed verso 600mm x 905mm ILLUSTRATED Baker, Kriselle. Hotere. Ron Sang Publications, Auckland, 2008, p. 91. $80,000 - $100,000

Hotere’s Untitled (study for National Bank

The colour black is ubiquitous in

Mural) was painted in the same year

Hotere’s work and the allusions included

as was his monumental commission

here, to cycles, harmonies and perhaps

for Founders Theatre in Hamilton and

even music, help to provide some

belongs to the Requiem series which was

understanding of its function, within both

produced from 1973 to 1975. Starting out

this work and the artist’s wider practice.

as an exercise in visual harmonics that

So too does the velvety, mottled texture,

had its roots in his Black Paintings of the

contained within the central circle that

1960s, the series would develop to include

emulates the silent lick of a flame. While

stencilled text and distressed line and

the death of the artist’s mother is a deeply

texture. While the death of the artist’s

personal event, there is recognition

mother, Anna Maria, is considered to be

within the work that, at the same time,

the impetus for the series,1 the grief that

grief is something that everybody will

was so central to the works would evolve

experience. Like global anthems, grief,

to have a universal relevance.

melancholy and desolation are things

The work is the result of a long,

that we all understand. Untitled (study for

rigorous process that involved a sprayed

National Bank Mural) is utilitarian in its

layer of undercoat, two layers of black

aims and speaks of a common thread that

overlaid, hand-painted coloured detail

both binds us together and connects us to

and a transparent topcoat. Hotere’s

our past.

aim was to create a work that was

On the verso side of this work, a

totally impersonal, where the artist was

handwritten note by the artist dictates

removed from the picture plane and the

that this work was intended as a study

viewer’s reflection was projected back

for a much larger work that should be

at them in a cold, ascetic manner. And

completed on a series of panels and then

while Untitled (study for National Bank

attached to the wall so that they sit flush

Mural) can be considered to be redolent

against its surface. The artist’s intention

of American minimalism of the 1950s,

to develop Untitled (study for National

where practitioners such as Barnett

Bank Mural) into a mural suggests that

Newman and Ad Reinhardt made

the work’s repeated line was intended to

works that had no meaning beyond

weave it’s way into the fabric of the world.

their immediate physical properties, the

What is truly remarkable about the

vacuousness of this work carries with it a

brolite works of the early part of Hotere’s

distinct set of conceptual concerns with

career is that they are able to penetrate

which the artist has engaged throughout

to the very heart of human nature while

his career. Hotere’s friend and college,

never emitting anything more than a

Hone Tuwhare, refers to this void as a

quiet, tonal hum.

‘visual kind of starvation’. 2

CHARLES NINOW

1 Baker, Kriselle. Ralph Hotere. Ron Sang Publications, Auckland, 2008, p.69.

2 Tuwhare, Hone. Ralph Hotere. Dir. Sam Pilsbury.

National Film Unit, Wellington, 1974.

IN FOCUS 69

42

Characterised by a painterly lyricism

to read the familiar figurative aspects

that hovers on the edges of abstraction,

of the painting while a sense of the

The Cow (Calf)

Frances Hodgkins’ The Cow (Calf) is a

transitory and ephemeral is given over

gouache on paper

work that is rich both in metaphorical

by the abstracted shapes and swathes

potential and in the formal possibilities

of colour. Solid lines and thick areas of

of colour and line that are completely

paint are used to spell out the rump and

divorced from ostensible content.

feet of the cow and the main background

Standing in a pastoral environ that

house and work to circumscribe the

is fringed by houses, the central and

watery trail in the foreground. By

dominant figure of the cow stands

comparison, small tufts of grass and

orientated towards a body of water

a shrubby tree can be seen loosely

that cascades down from the back of

brushed into the foreground, a barren

the painting and curves under a small

tree is just discernable in the distance

bridge on the left-hand side of the

while perfunctory strokes of apricot and

painting. The animal in Hodgkins’ The

dark grey float on the top of the water,

Cow (Calf) is a veritable Pandora’s Box of

indicating a rapidity of movement and a

implication where it could be seen as a

rippling surface. A second farmhouse is

symbol of sacrifice or, conversely, as an

hinted at in the background but, unlike

image of productivity and fecundity. In

its neighbouring residence, the curved

addition, the cow could also be seen as

sides and dabbed front door and windows

an agricultural motif, which connects

anthropomorphise the property so that it

the painting to the suite of works that

takes on an almost ghoulish appearance.

FRANCES HODGKINS

signed Frances Hodgkins in brushpoint lower right circa 1938 520mm x 710mm $65,000 - $90,000

Hodgkins completed between 1937 and

Connections between objects and

1939 which contained quotations from

ground continually shift and elide in

the farming industry such as tractors,

Hodgkins’ later work as the nuanced

farm carts and water tanks as well as

effects of changes in scale, perspective

to the number of farmyard and earlier

and depth of field are constantly explored.

threshing scenes that she completed. At

In The Cow (Calf), the relationship of the

this time, Hodgkins was staying in the

animal to the surrounding landscape is

village of Worth Matravers near Corfe

of key importance to the success of the

Castle, from which she would journey

painting. Although Hodgkins has done

into nearby farms and to those slightly

away with the simple structural devices,

further afield in Kimmeridge Bay and

namely perspective and scale, the solidity

Wiltshire.

of the cow, tongue of water and main

The shimmering element of

farmhouse provides legibility and helps to

ambiguity that cloaks The Cow (Calf) is

unify the composition. The rich variations

representative of Hodgkins’ later work

of colour and expressive handling of paint

when her interests lay in the exploration

in The Cow (Calf) are couched within a

of iconography, colour, form and line.

clear overall design and cast the painting

There is a pleasing disparity in Hodgkins’

among those of the late 1930s that were

painterly treatment of forms in The Cow

referred to at the time as “marvellous

(Calf) that shifts from the cursory to

agglomerations of colour and shape”1

the definitive and allows for the viewer

JEMMA FIELD

1 Elizabeth Eastmond, ‘1931–1947’, pp.53–87, in Michael Dunn, Iain Buchanan and Elizabeth Eastmond, Frances Hodgkins: Paintings and Drawings (Auckland: University Press, 2001), p.69.

IN FOCUS 71

43

Internationally renowned as a painter of

with her hair woven in a plait at the back

ornithological specimens, Raymond Ching

of her head, the gliding female character

Ark

is also a significant portrait painter and

in Ching’s narrative exudes serene repose

oil on board

works such as Ark from 2005 showcase

as though soaring through the night sky

a seamless amalgamation of these two

were a commonplace occurrence. Set

areas of the artist’s speciality. Painted

against a raven ground, the ivory white of

in a reduced monochromatic palette

the birds’ feathers and the figure’s dress

of white on a black background that is

strikes a compelling and dynamic contrast.

completed by little accents of yellow and

The female figure in Ark appears almost

green, Ark presents a calming reverie that

weightless as she skilfully sails across

showcases the possibility of humanity

the black expanse of the painted panel.

flying effortlessly amongst birdlife. The

Modelled from life, Ching consistently

technicalities of flight, the structure and

chooses models that he finds personally

appearance of birds and the possibility that

interesting and, in painting them, seeks

humans might fly have each retained a

to reveal something of their interiority.

strong thematic presence in Ching’s work

The sitter for Ark is thus characterised by

over the decades. In Ark, this possibility is

serenity and peacefulness that is echoed

realised as a female figure is joined in her

symbolically in the olive branch, yet she

flight path by two swans and a dove. The

also displays determination and an ability

outstretched arms of the woman echo the

to conquer adversity: such as the travails

angle of the wings of the dove and the front

posed by gravity.

RAYMOND CHING

signed Ray Ching and dated 2005 in brushpoint lower right 1050mm x 1680mm EXHIBITED Ark, Artis Gallery, 4 - 29 April 2007.

ILLUSTRATED Ching, Raymond et al. Ark (exhibition catalogue). Artis Gallery, Auckland, 2007. $45,000 - $65,000

swan, creating a graceful and rhythmical

Ark is executed with a high level of

pattern that crosses over the boundaries

finish and Ching’s aptitude for details

between humans and bird life.

is readily apparent where the mimetic

The alabaster dove complete with

transcription of bird feathers, bills and

emblematic olive branch turns and glances

webbed feet as well as human form is

out of the picture plane at the viewer while

carried out in his barely perceptible

the female figure and two large swans

brushwork. Ching’s tightly controlled

stare resolutely ahead. The olive branch

brushwork borders on the bounds of

neatly echoes the curve of the woman’s

photographic realism, although the artist

head and functions as something of a

commonly chooses to leave the backdrop

halo or crown. Small leaves scatter from

as an unmodulated field of colour. In doing

the branch and spill out over the swans.

so, he plucks his subjects from the tangible

In conjunction with the passages of

world and casts them into the domain

vibrant yellow seen on the swans’ beaks,

of the imaginary and fantastical where

this little trail of verdant greenery both

humans can indeed fly and birds readily

creates chromatic interest and provides an

accompany them as they arc and float

invocation of forward motion.

across the sky.

Attired in what is possibly a simple white sundress or perhaps a nightdress,

JEMMA FIELD

IN FOCUS 73

44

Painted in 1882, Alfred Sharpe’s Kauri

left, which together bear witness to the

Logging on the Coromandel is a valuable

inevitability of fallen trees and barren

Logging Kauri on the Coromandel

historical document that bears witness

hills. These pale, white, ghostly forms

watercolour on paper

to the logging of native timber in New

render the remainder of the forest fragile

Zealand during the colonial period. Like

and vulnerable.

ALFRED SHARPE

signed Alfred Sharpe and dated 1882 in brushpoint lower right 600mm x 900mm ILLUSTRATED Blackley, Roger. The Art of Alfred Sharpe.

Auckland City Art Gallery/David Bateman Ltd, Auckland, 1992, p.69. $80,000 - $120,000

most of Sharpe’s watercolours, Kauri

Sharpe’s distinctive ability to build

Logging on the Coromandel is executed

and present to the viewer a balanced

with an almost photographic veracity

equilibrium between man and nature

that is achieved through the use of

is clearly illustrated in Kauri Logging on

tightly controlled brush strokes, sharp

the Coromandel. Here, the artist records

focus and saturated colours. The barely

the tracts of remote native forest that

perceptible strokes of Sharpe’s brush

spilt out across the Coromandel and pays

coupled with the clear, all-over lighting,

tribute to the untouched paradise of New

the use of atmospheric perspective

Zealand. This extensive and seemingly

and the firmly structured composition

timeless idyll is, however, subtly

pay tribute to Sharpe’s mastery of the

undercut by Sharpe’s documentation

watercolour medium. Although, like the

of the signs of human progress. By

majority of Sharpe’s paintings, Kauri

reducing the physicality of human

Logging on the Coromandel offers a high

endeavour though, Sharpe accords the

level of detail, Sharpe’s sophisticated

dignified splendour of the New Zealand

watercolour technique nevertheless

woodland centre stage. As a result,

allows for the viewer to take in the

Sharpe is able to produce a painting that

overall essence of the scene without

is compositionally and chromatically

being distracted or inundated by the

appealing without sacrificing his factual

mimesis of his chosen tableau.

objectivity. The number of topographical

The majority of Kauri Logging on the

watercolours that Sharpe produced

Coromandel is taken up with the accurate

during his time in Auckland during the

portrayal of the topography of the kauri

1870s and 1880s collectively attests to

forests of the Coromandel. Majestic

a landscape that has been irrevocably

kauri trees flank the foreground of the

lost and to an artist who had a supreme

work and extend back into the picture

command of watercolour and an eye

plane where they are seen blanketing

for his and his mastery of colour. As

the rolling hills in the middle distance.

such, Kauri Logging on the Coromandel

Evidence of human industry is seen

from 1882 is an historically valuable

in the small wooden hut and curling

watercolour that evidences the now-lost

tendril of smoke, which are dwarfed by

kauri forests of the Coromandel prior to

the surrounding forest. Future human

the extensive logging that was carried

dominance is, however, indicated by

out by the colonial settlers throughout

the large ominous kauri stump in the

the closing decades of the 19th century.

right-hand foreground. This, in turn, is

JEMMA FIELD

echoed by the scattering of stumps to the

IN FOCUS 75

45

Completed in 1992, Hiroshima Mon

with aurous patches that render the

Amour is one of a number of works by

painting enchantingly majestic. As such,

Hiroshima Mon Amour

Ralph Hotere that illustrate the artist’s

Hiroshima Mon Amour recalls the Black

acrylic and gold leaf on glass

response to environmental and social

Paintings series of the late 1960s that

issues. The title of the work, which can

have become almost synonymous with

be translated to ‘Hiroshima, My Love’,

Hotere’s name. Resplendent in their jet-

combined with the unmistakeable

black flawlessness and their impossibly

mushroom-shaped cloud in the centre

perfect lines of thin colour, these

of the piece indelibly links the work to

works established Hotere’s achromatic

the nuclear disaster that resulted from

mastery. Like these earlier paintings, the

the American bombing of Hiroshima

technical execution of Hiroshima Mon

on 6 August 1945. Conversely, however,

Amour is key to the sumptuous finish of

the title of the piece Hiroshima Mon

the painting that Hotere has achieved

Amour was similarly used as the title

by adhering patches of gold leaf to the

for an acclaimed French film from 1959.

reverse of the glass panel and blanketing

The non-linear film explored concepts

the remainder of the painting with

of forgetfulness and memory and

a layer of black acrylic that has been

connected failed personal relationships

scratched into in order to convey the

to the bombing of Hiroshima. Like

dynamism of nuclear power. As a result,

the film, Hotere’s painting plays with

a finely navigated tension is viewed

memory and the passage of time insofar

between the inky darkness of the glass

as it demands that the viewer cast their

panel, the almost ethereal trails of white

mind back to a catastrophic event that

and the glimmering, glistening patches

remains only in memory or, arguably,

of radiant gold.

RALPH HOTERE

signed Hotere, dated 92 and inscribed HIROSHIMA MON AMOUR in brush point lower edge; inscribed HIROSHIMA MON AMOUR in pencil on top edge of frame; signed Hotere, dated 92 - 93 and inscribed HIROSHIMA MON AMOUR, Title from the French/Japanese film directed

by RESNAIS. 1959 and Port Chalmers, Medium - gold leaf & acrylics on 4mm. glass in ink verso 1040mm x 500mm $70,000 - $100,000

is now etched into the collective

Despite the seemingly obvious

unconscious. As well as being an historic

contrast between light and dark in

event, the nuclear disaster of Hiroshima

Hiroshima Mon Amour, the sweep

still remains topical as debates over

of black, as is so often the case with

nuclear power continue to be waged and

Hotere’s work, not only absorbs light but

the possibility of devastation caused by

appears to contain and emit its very own.

nuclear fallout continues to be a concern.

The glassy surface enables the pooled

Such potent content renders Hotere’s

blackness to reflect and refract so that

painting timeless and universally

nuances of various forms and colours

relevant while also connecting it to his

as well as light are seen shimmering

earlier series Polaris from 1983 to 1984

across its surface. Questioning the

that traced the artist’s reaction to the

seen and unseen, Hotere’s elegantly

potential destruction wrought at the

sombre Hiroshima Mon Amour, pays an

hands of the Polaris nuclear missiles.

elegiac tribute to lives lost and times

The surface quality of Hiroshima

past while offering an invocation for

Mon Amour, like the vast majority of

environmental and social issues to

Hotere’s work, is of central importance

remain at the forefront of both memory

to the overall visuality of the piece. The

and contemporary concern; all of this is

glass façade of the painting appears

finely etched out in a glory of black

sleek, glossy and flat and Hotere has

and gold.

delicately offset the tenebrous ground

JEMMA FIELD

IN FOCUS 77

47

WALTER WRIGHT

48

oil on stretched canvas

White Terraces, Rotomahana

watercolour on paper

signed W. Wright and dated 10 in

oil on stretched canvas

signed John Gully and dated 1882 in

brushpoint lower right; Ferner Gallery

signed C Blomfield and dated 1903 in

brush point lower right

label affixed verso

brushpoint lower left

740mm x 1300mm

275mm x 485mm

445mm x 595mm

$60,000 - $80,000

$10,000 - $15,000

$20,000 - $26,000

46

JOHN GULLY

Diamond Lake

Maori Village

CHARLES BLOMFIELD

IN FOCUS 79

49

GRETCHEN ALBRECHT

Jewel

oil and acrylic on oval stretched canvas dated 2000 and inscribed Jewel in pastel on stretcher verso 980mm x 1500mm $15,000 - $20,000

50

RALPH HOTERE

Drawing for Requiem acrylic on paper

signed Hotere, dated ‘74 and inscribed Drawing for Requiem and Port Chalmers in ink lower left 500mm x 690mm $20,000 - $30,000

51

COLIN MCCAHON

North Otago Landscape oil on paper

signed McCahon and dated ‘67 in pencil lower left 660mm x 420mm REFERENCE Colin McCahon Database Reference (www.mccahon. co.nz) cm000347 $25,000 - $35,000

IN FOCUS 81

52

The immaculate surface of this canvas

in the dark and consideration of them

and the refinement of the painted

is only able to be in terms of that

Untitled Dark

structure identify Untitled Dark as

darkness, of their being more of a

acrylic on stretched canvas

a mature work by Milan Mrkusich.

blueish darkness, a brownish or even

Painted in the fourth decade of his

a charcoal darkness. Colour relations

career as an artist and seventeen years

have always been a focus and source

following the first of his colourfield

of vigour in Mrkusich’s painting and

Monochrome series, this large painting

so it is in Untitled Dark, even with its

is part of the logical and constant

restricted and darkened palette and

development seen in Mrkusich’s oeuvre.

mathematically restrained structure.

MILAN MRKUSICH

signed Mrkusich, dated 1985 and inscribed Untitled Dark in pencil verso upper edge 1600mm x 1600mm $40,000 - $60,000

Dark paintings are notoriously

There is always a perceptual to-ing

difficult both for the artist and the

and fro-ing of colours placed next to

viewer, with Mrkusich himself

each other, and in this painting the

claiming, ‘it is very difficult to make

heavily saturated lower right square lies

black or darkness work’. Yet in spite of

perceptually in front of those around it,

the difficulties what becomes apparent

the large upper rectangle more distant.

in viewing Untitled Dark is that the

Each carefully built up colour is

simplicity of the unambiguous squared

consistently worked without modulation

format is in perfect balance with the

– technically no mean task given the

restricted colour: Mrkusich makes

area of paint – yet the eyes perceive

darkness work.

a draining of darkness alongside the

The schema for this iconic dark

saturated weight of the lower right

painting is an uncomplicated geometric

square and to a lesser extent alongside

structure of colour and form, the

the lower left square, as if there were a

enveloping darkness shadowing the

luminosity that escapes from the border

formal relations of squareness. The soft

between the tones. In spite of that the

qualities of colour are restricted to three

demarcation of the separate areas is not

shades of subtly varying but sumptuous

harsh, rather, it is a separation softened

darkness in three separate blocks: one

by the artist’s hand, by his choice of

large upper rectangle in a darkened

colour. This is not hard-edged geometric

mauve with two squares below, the left

abstraction, this is abstraction of the

a dark earthy tone alongside a much

human kind, with the sensations and

more saturated and weightier tone of

qualities of the varying shallow depths

near black.

of the darkened structure both softening

Peter Leech, when discussing

the mathematical structure and gently

Mrkusich’s dark paintings in Art New

enlivening the painted surface. Given

Zealand, said of them, “In the dark, of

the refinement of Untitled Dark what

course, formal definition and outline

we see in the opulence of that dark

blur. The eyes see only the vaguest

colour structure is the embodiment

relations of intensity and saturation of

of technical accomplishment and the

darkness.” This is the case in Untitled

certitude of Mrkusich’s painting process.

Dark, where the tones are all variations

CHRISSIE CRAIG

IN FOCUS 83

53

In his seminal text on the life and work

and yet, in McCahon’s Northland works,

of McCahon – Colin McCahon: Artist –

the ink feels light. The slight, gentle

Northland

Gordon Brown asserts that McCahon

variances between brush strokes

ink on paper

can be seen as a proponent of practical

suggest that the wash has hovered

religion: a faith that ‘unfolds in the

for a split second before seeping into

everyday events of human existence

the surface below. In reality, the tonal

and in circumstance applicable to

variances are the result of fast and rapid

everyone’.1 ‘My painting’, says McCahon,

movement, the motion of the artist’s

‘is almost entirely autobiographical – it

hand outpacing the weight of the ink.

COLIN MCCAHON

signed McCahon, dated April ‘59 and inscribed Northland in brushpoint lower centre 620mm x 495mm PROVENANCE Purchased by the current owners from the Barry Lett Gallery, circa 1964. $45,000 - $55,000

tells you where I am at any given time,

The Northland works are the

where I am living and the direction

product of an artist with a newfound

I am pointing in.’2 This Northland

understanding of the gravity and

painting is a visual record of one man’s

implication of the human gesture. They

relationship with a particular piece of

were produced shortly after the artist’s

earth. While elsewhere religion can be

tour of the United States in 1958. The

seen to be a tormenting, unbalancing

tour was funded by the Auckland City

influence on the artist’s life, in this

Council and the Carnegie Trust and it

work we see an artist who at ease

was envisaged that the artist’s exposure

with both the pragmatics of modern

to large American art institutions

life and the ideals of Christianity: it

would benefit his own practice as an

is a recognition of the landscape’s

arts administrator. McCahon visited

immediate beauty as well as an

institutions in every major American

acknowledgement of the profound force

centre and it was here that, for the first

that he believed to be responsible for its

time, he was exposed to the new school

existence.

of expressionist painting championed

Ink is not a material that drapes

by practitioners such as de Kooning,

itself over a surface; it is not a covering

Rothko, Motherwell and Pollock. This

that can be used to conceal or change a

contact can be seen to have had a direct

surface from one colour to another. Ink

bearing on the works that McCahon

stains. Upon contact, ink plunges itself

made on his return to New Zealand.

into a surface and saturates its support

CHARLES NINOW 1 Brown, Gordon, Colin McCahon: Artist. Reed, Auckland, 1984, p.206 2 Brown, Gordon, ‘Colin McCahon: A Basis for Understanding.’ Art New Zealand No. 8, Summer 1977 -78.

IN FOCUS 85

Painted in 1986, Sir Tosswill Woollaston’s

distant hill, winding ribbon of water

painting Devil’s Thumb, Nelson is a work

and two bays at the foreground that are

Devil’s Thumb, Nelson

that resounds with romantic flourishes

trimmed with golden sand can be clearly

oil on board

of dense oil paint, which eloquently

made out.

54

TOSS WOOLLASTON

signed Woollaston and dated 86 in brushpoint lower left; signed M.T. Woollaston, dated 1986 and inscribed The Devil’s Thumb in black ink on stretcher verso 1215mm x 1825mm $100,000 - $150,000

point to the artist’s refined sensitivity to

The dynamic sweeps and thick

the rhythmic gradations of landscape.

dollops of paint in Devil’s Thumb, Nelson

The viewer is placed on a high and

are testament to Woollaston’s belief in

omniscient vantage point and the

the importance of the artist’s bodily

terrain swoops out below in a graceful

relationship to his paintings. In this,

arch, hugging the basin of water and

the energetic arm movements, the

continuing out beyond the confines of

hand flourishes and the rhythmical

the painting’s physical parameters.

fluid motion of the artist’s body before

Gestural passages of burnt umber,

the painting are seen to be marked

rich ochre, dove grey and sapphire

out in the two-dimensional scene that

blue flit across the surface of Devil’s

results. The significance that Woollaston

Thumb, Nelson, offering the viewer a

placed on the relationship between the

chromatic patchwork that speaks of

physical entities of artist and canvas

summery days and coastal glissades.

combined with his inherent interest

The artist’s treatment of the landscape

in always maintaining and expressing

in Devil’s Thumb, Nelson is consistent

an authenticity of feeling points to

with Woollaston’s approach to landscape

the omnipresent tension in his work

painting throughout his long career,

between object and subject. In a letter

which was generally marked by a

written in 1980, Woollaston asserted

reductionist aesthetic that was filtered

that “art is hard on the subject and the

through expressionistic concerns. In

subject on art”, which can be seen to

this, Woollaston was influenced by the

underline his pre-eminent belief in

post-impressionist works of the so-called

the primacy of individual perception,

‘father of modern art’, Paul Cézanne, and

whereby painting consistently demands

the work of the romantic poets, William

a lot from its subject.1 Devil’s Thumb,

Wordsworth, Percy Shelley and John

Nelson clearly illustrates the two central

Keats. This idiosyncratic combination of

threads of Woollaston’s landscape art:

inspiration that is drawn from sensually

his ability to reduce the countryside

emotive poetry and pared-back visual

into a series of almost abstract patterns

forms endows Woollaston’s landscapes

and forms that are presented through

with a delicate subjectivity. This in turn

a bustle of painterly strokes; and his

invites the individual to draw from his

searing dedication to preserving an

paintings their own emotive responses

emotional validity through which the

to the evocative nature of the roughly

landscape comes to be painted. It is this

hewn shapes and pigment variegations.

intrinsic duality in Woollaston’s work

Despite Woollaston’s commitment to

that has accorded him a unique place

clarify and condense the scene before

in the history of New Zealand art as one

him, the finer details of the landscape

of the country’s most-crucial modernist

of Devil’s Thumb, Nelson are still

landscape painters.

discernable. A low, curving coastline,

JEMMA FIELD 1 Tosswill Woollaston as quoted in Tony Green, Toss Woollaston: Origins and Influence (Wellington: Victoria University Press, 2004), p.37.

IN FOCUS 87

55

Taking Tasman Bay in the South Island of

the painting and endow the work with

New Zealand as its point of departure, Sir

an elegiac golden resonance. The high

Lights Around Tasman Bay

Tosswill Woollaston’s Nocturne presents a

viewpoint of the painting, places the

oil on board

tranquil crepuscular landscape. Blanketed

spectator in a privileged position as the

by the night sky, the scene is enlivened by

surveyor or owner of the landscape spread

a luminous thread of gold light. Painted

out beneath. This vantage point, situated

in 1993, the lyrical landscape recorded in

high in the hills, accords the turbulent

Nocturne is composed from a flurry of

sky a large portion of the painting and

cross-hatched strokes of paint. Featuring

the night-time sea below is seen to be

a predominately gloomy palette of dusky

encircled in a honeyed nimbus of gold.

TOSS WOOLLASTON

signed Woollaston and dated 93 in brushpoint lower right; inscribed Lights around Tasman Bay in ink verso upper edge 1130mm x 1350mm $60,000 - $80,000

grey, rich brown, purple and sober blue,

Woollaston’s modernist approach to

the piece is brightened by a thin filigree

the New Zealand landscape is evident in

of burnished gold. Coiling in a hook-like

Nocturne where forms are condensed

fashion around the base of a mountainous

and refined beneath his signature thick,

scape, this trail of light traces the mouth of

almost palpable, application of paint. In

the bay and neatly divides land from sea.

this, Woollaston reduces the recognisable

The poetic title of the painting

in order to accentuate the expressionist

speaks of musical compositions that are

and personally emotive potential of the

traditionally inspired by, or suggestive of

landscape. Woollaston’s early attitudes to

the night. It also immediately conjures

landscape painting were heavily informed

the series of Nocturnes by the mid-

by the work of the pioneer modernist and

19th-century painter James McNeill

post-impressionist, Paul Cézanne, and

Whistler, who sought to capture and

remnants of that figure are still present in

distil the atmospheric qualities and visual

his later paintings such as Nocturne. Here,

experiences of the River Thames when it

the reductionist aesthetic, the absence

was partially obscured by rain, mist, fog,

of linear or atmospheric perspective

smog or nightfall. These elegiac paintings

and the characteristic lattice pattern of

were an illustration of Whistler’s formalist

paint recalls the series of paintings that

theory that art should be concerned

Cézanne completed of Mont Sainte-

with the harmonious arrangement of

Victoire near his home in Aix-en-

colour, light and form and, as such, like

Provence. However, while Cézanne was

the current work by Woollaston, they

primarily concerned with resolving a

bordered on abstraction as form was

new language of pictorial formalism,

sacrificed to the overall emotive potential

Woollaston’s work is richly contemplative.

of the shadowy scene.

Woollaston’s paintings such as Nocturne

As with many of Whistler’s Nocturnes,

possess a gilt-edged intimacy as they

Woollaston’s Nocturne is tinged with an

are consistently shadowed by the artist’s

element of gloom as the painting is given

concern to present a genuine expression

over to the murky depths of twilight.

of his emotional response to the landscape

Woollaston carefully balances this

laid out before him.

gloominess by the small traces of light

JEMMA FIELD

that prick through the silent darkness of

IN FOCUS 89

56

Although dated August 1914, Table Top,

impractical for infantry, but…the scarped

Gallipoli by Horace Moore Jones is likely

heights were scales and the plateau

Table Top, Gallipoli

to have been painted in August 1915

was carried by midnight.” Thus, Moore

watercolour, ink wash and graphite on

and to have been incorrectly dated by

Jones’ Table Top, Gallipoli honours the

paper

the artist at the time of completion. The

victorious night battle staged by New

signed Sapper Moore Jones and dated

ANZACs landed on Gallipoli peninsula

Zealand troops during the Gallipoli

August 1914 (sic)

on 25 April 1915 to join the Allied

Campaign of World War I.

PROVENANCE

troops in the nine-month battle against

HORACE MOORE JONES

From the collection of Fred Deans who served at Gallipoli with the artist. Passed by descent to Alfred Amory John Deans (John Deans) and gifted to the current owner, circa 2005.

A partial gift from the artist to Fred Deans on the occasion of his wedding held on 25 September 1917, the anniversary of the artist’s own wedding.

The original price was £10-10-0 and £5-5-0 was paid by Fred Deans.

Accompanied by the original receipt for the work dated 29 April 1918, addressed to Mr F Deans, price inscribed £5-5-0,

The towering escarpment with

the Ottoman Empire for possession

its sharply barren face takes up the

of the strategic peninsula. The title

majority of Moore Jones’ painting

of Moore Jones’ painting refers to an

while the single file of infantry is just

actual location of a successful battle by

discernable amongst the shadowed

New Zealand troops in Gallipoli. Table

foliage. Tracing the central line of the

Top is a flat-topped hill at the base of

valley, the helmeted heads of the trail of

Rhododendron Spur and just south

soldiers are seen inching slowly towards

of the narrow valley of Chailak Dere,

the steep rise of the cliffs. Dwarfed by

which is likely to be the basin that is

the rocky heights of this inhospitable

shown in Moore Jones’ painting. It was

environ, small infantrymen are seen

successfully captured by the Wellington

quietly advancing through the painting;

Mounted Rifles on the night of 6 August

for example, there is a lone soldier just

1915 in preparation for the attack on

visible in the shrubbery above Moore

Chunuk Bair.

Jones’ signature. Table Top, Gallipoli

paid with thanks Moore Jones.

Table Top, Gallipoli is undoubtedly the

is testament to Moore Jones’ skill as a

work of Moore Jones and the likelihood

draughtsman, as the work is executed

Accompanied by a hand written

of the artist having incorrectly dated

with a paucity of line and with thin

inscription, likely to be in the hand of

the painting is reinforced by a note

washes of pigment that poignantly

Fred Deans which reads …The position

that accompanies the work, which

evoke the trepidation, excitement and

was taken by No 2 Troup (sic) of the 9th

states that the painting is the hand of

quietude that would have accompanied

W.M.R. on August 7th 1915, lead thro’

Moore Jones who gifted it as a wedding

that specific night. Although Gallipoli

the gulley by Serg. Max Christie followed

gift to a friend, Fred Deans, who was

was ultimately an unsuccessful and

by Fred Deans. Silently, near midnight,

getting married on 25 September

costly campaign, it remains seared

single file. The position was recognised as

1917 – the anniversary of Moore Jones’

into the national identity as a defining

impracticable for infantry, but, said Sir Ian

own wedding. It is probable that the

historical moment for the young nation.

Hamilton, in his dispatches, “No words can

original owner, Fred Deans, who fought

Gallipoli was the first time that New

do justice to the achievement of Brig. Gen

alongside Moore Jones at Gallipoli is one

Zealand fought on an international scale

Russell and his men.” The scarped heights

of the infantrymen who are depicted in

and it was also the first time that New

were scaled and the plateau was carried by

the painting. The note also reiterates

Zealand entered the military history

midnight.

historical fact and links the events of the

books as having tough and resilient

NOTE

campaign to the specifics of the scene

soldiers fighting for global good in a

depicted, which shows the “position

foreign and hostile environment. It is

taken by the No. 2 Troup (sic) of the 9th

this fighting spirit, sense of camaraderie

W.M.R. (Wellington Mounted Rifles)

and international unity that Moore

on Aug 7th 1915, lead thro’ the gulley

Jones’ Table Top, Gallipoli ultimately

by Serg. Max Christie followed by Fred

commemorates.

Deans. Silently, near midnight, single

JEMMA FIELD

Accompanied by the original framing receipt from The Australian Art Photography Co. 35 Shortland Street.

Accompanied by a news clipping relating the fire in which the artist died.

315mm x 227mm $10,000 - $15,000

file. The position was recognised as

IN FOCUS 91

58 57

MILAN MRKUSICH

MILAN MRKUSICH

Untitled

Painting 62-1

gouache on paper

oil, graphite and metallic foils on

signed Mrkusich and dated ‘73 in

59

DON BINNEY

brushpoint lower left

Te Henga

inscribed Mrkusich 1/62 in ink lower

340mm x 420mm

crayon on paper

right; inscribed Painting 62-1 in pencil

PROVENANCE

signed Don Binney, dated ‘75 and

verso, upper edge

Purchased by current owner from

inscribed Te Henga in crayon upper right

830mm x 885mm

Peter McLeavey Gallery 1973.

550mm x 745mm

$45,000 - $65,000

$6,000 - $10,000

$7,000 - $9,000

stretched canvas

IN FOCUS 93

60

RICHARD KILLEEN

Past, Present and Future

acrylic lacquer on aluminium signed Killeen, dated July 1978 and inscribed ‘Past Present and Future’.

Acrylic lacquer on aluminium. 1210mm x 1210mm. Hang close to the wall from 2 tacks or flat headed nails in brushpoint verso upper centre 1210mm x 1210mm $15,000 - $25,000

61

RALPH HOTERE

Towards Aramoana oil pastel on paper

signed Hotere, dated ‘81 and inscribed Drawing for a black window. Towards Aramoana from the stables @ AURORA Tce Port Chalmers in ink lower section 500mm x 400mm $15,000 - $20,000

62

VIRGINIA KING Untitled (from the Stem series) carved and assembled kauri 970mm x 970mm PROVENANCE Purchased directly from the artist, 2004. $6,000 - $9,000

IN FOCUS 95

63

64

Meantime - Organ Donor Swappa Crate

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

acrylic on paper

cotton

signed Hammond and dated 1989 in

signed RN and dated 2001 verso

brushpoint lower right; inscribed

1020mm x 1300mm

BILL HAMMOND

Meantime upper left and Organ Donor Swappa Crate 3 in brushpoint lower left 505mm x 1600mm $35,000 - $45,000

ROSE NOLAN

REFERENCE Another work from this series, Help Me To Say More (red on white version), is in the Chartwell Collection, Auckland Art Gallery, Toi o Tﾄ［aki. $8,000 - $12,000

64

63

65

66

67

65

66

67

Lace Curtain

I Don’t Know Myself

Landscape Trees

oil on stretched canvas

felt on wooden stretcher

synthetic fur, synthetic filling, cotton

660mm x 810mm

inscribed I Don’t Know Myself in

thread, wool and steel, wooden base

$5,000 - $7,000

collaged felt centre right

EMILY WOLFE

KATHY TEMIN

480mm x 450mm $1,200 - $1,800

KATHY TEMIN

signed Kathy Temin, dated 2006 and inscribed Landscape Trees underside 540mm x 200mm x 150mm $2,000 - $4,000

IN FOCUS 97

68

69

70

Shifting Sands

Evening Tide

Man Rowing Boat

oil on stretched canvas

acrylic on stretched canvas

oil on canvas

signed Alvin Pankhurst and dated 2006

signed Alvin E. Pankhurst and dated 1985

signed Frizzell, dated 16/7/85 and

in brushpoint lower right

in brushpoint lower left

inscribed Man Rowing Boat in brushpoint

1000mm x 1510mm

875mm x 1175mm

upper right

PROVENANCE

PROVENANCE

2360mm x 1795mm

Purchased from Pankhurst Studio

Purchased directly from the artist, 1985.

$25,000 - $35,000

Gallery, Parnell, 2007.

$8,000 - $12,000

ALVIN PANKHURST

ALVIN PANKHURST

DICK FRIZZELL

$10,000 - $15,000

IN FOCUS 99

71

72

Iwi Representation

Pacific Fire B

oil and pastel on stretched canvas

enamel on board

signed E Karaka and dated 07 in

signed Hanly, dated ‘85 and inscribed “Pacific

brushpoint and pastel lower right; signed

Fire” in brushpoint lower right; signed

E Karaka and dated ‘07 in brushpoint

Hanly, dated ‘85 and inscribed “Pacific Fire”

verso upper right

in brushpoint verso upper centre

2030mm x 2130mm

585mm x 1180mm

REFERENCE

$35,000 - $45,000

EMILY KARAKA

This painting is from a suite of six works that share the title Iwi Representation.

One work from this suite is held in

PAT HANLY

73

MAX GIMBLETT

the permanent collection of Te Papa

The Door that Contains the Night

Tongarewa. Iwi Representation presents

gold leaf on board; acrylic polymer paint

themes around the Ngati Whatua o

on canvas

Orakei’s claims in the Waitangi Tribunal

380mm x 760mm

Tamaki Makaurau Settlement of 2007,

$16,000 - $20,000

an issues central to the artist’s practice. $10,000 - $15,000

IN FOCUS 101

74

COLIN WHEELER

Rural Farm House oil on board

signed C. Wheeler and dated 1976 in brushpoint lower left 600mm x 755mm $6,000 - $10,000

of the Hills – 1930s’ Canterbury, Mackenzie Roundup – More of Our Favourites and Blue Cliffs by A E Woodhouse .

Wheeler was a contemporary of Peter McIntyre and both artists recorded New Zealand’s rural and urban landscapes, producing visual testimony of the New Zealand that they thought would

Colin Wheeler is one of New Zealand’s

disappear and be lost to New Zealanders

most published artists with eight books

of the future.

illustrating his work. They include:

Colin Wheeler was born in

Historic Sheep Stations of New Zealand

Dunedin in 1919 and was trained at

(1968), Historic Sheep Stations of the South

the Canterbury School of Arts. In 1996,

Island and Historic Sheep Stations of the

Wheeler was honoured with a major

North Island, all published by A H and A

retrospective, An Otago Odyssey – Six

W Reid. Other books include Kingdom

Decades.

75

TOSS WOOLLASTON

Landscape

oil on board signed Woollaston in brushpoint lower right; dated 70/2 and inscribed 6/338 (struck through by the artist) in ink verso upper left 590mm x 1200mm $25,000 - $35,000

76

PAT HANLY

Garden - Cool and Hot Scent indian ink, goauche and oil pastel on paper signed Hanly, dated 81 and inscribed Cool and Hot scent in pencil upper right 535mm x 630mm $9,000 - $12,000

IN FOCUS 103

77

79

78

80

77

PETER SIDDELL

Island

acrylic on board signed Peter Siddell and dated 1981 in brushpoint lower left; inscribed ‘Island Bay’ by Peter Siddell $1500 in ink on label affixed verso; catalogue details inscribed in type script on original Fletcher Challenge Limited collection label affixed verso 800mm x 598mm PROVENANCE Formerly in The Fletcher Trust Collection. $10,000 - $15,000

78

MONIQUE JANSEN

Pochoir

pencil, tusche and charcoal on stretched canvas signed Monique Jansen, dated 1998 and inscribed Pochoir in pencil verso, upper centre 1220mm x 1220mm $3,000 - $5,000

79

SALVADOR DALI

Gretchen

etching with watercolour and gold leaf, 28/80 signed S. Dali, dated 70 and inscribed 28/80 in pencil lower right 380mm x 275mm PROVENANCE Purchased by current owner from Forum North Antique and Fine Art Auction, 19 October 1991. Purchased records included. $4,500 - $5,500

81 81

TRACEY MOFFATT

Hillary R. Clinton From Under the Sign of Scorpio Series archival pigment ink on acid-free rag paper 2005 inscribed Hillary R. Clinton in printed type lower left and Scorpio in printed type lower right 432mm x 584mm $2,000 - $4,000

82

JEFF THOMSON

Map of New Zealand corrugated iron

signed J.G. Thomson and dated 2004 incised lower left 1250mm x 700mm $4,500 - $6,500

80

TERRY STRINGER

Untitled

cast bronze, 4/20 signed Terry Stringer, dated ‘09 and editioned 4/20, incised 162mm x 57mm x 55mm

82

$1,600 - $2,500

IN FOCUS 105

83

FRANCES HODGKINS

Mother and Child

watercolour on paper c.1944 signed Frances Hodgkins in graphite lower left; Original Redfern Gallery, label affixed verso 525mm x 350mm PROVENANCE Purchased from the Redfurn Gallery Ltd. 20 Cork Street, Burlington Gardens, Bond Street, London, purchased by Mrs M. Hill, September 1945 $15,000 - $20,000

84

ANDRE FRAYE

French Harbour Scene oil on stretched canvas signed Andre Fraye in brushpoint lower right 580mm x 710mm $5,000 - $7,000

85

TOSS WOOLLASTON

The Fisherman oil on board

605mm x 455mm $9,000 - $12,000

IN FOCUS 107

142 207 208

108

251

225

242

224

231

237

232

233

252

MAGNIFICENT AND FINE JEWELLERY & WATCHES WED 7 DECEMBER – 1:00PM & 6:00PM AT 1PM LOTS 1000 - 1250

AFFORDABLE & ESTATE JEWELLERY DESIGNER COSTUME JEWELLERY

AT 6PM

WRIST AND POCKET WATCHES ACCOUTREMENTS & MINING INTEREST LOOSE DIAMONDS FINE JEWELLERY

LOTS 100 - 130 LOTS 131 - 135 LOTS 136 - 139 LOTS 140 - 284

VIEWING

PLEASE NOTE

9:00pm - 5:15pm

Early commencement of Affordable

Fri 2 December

9:00am – 7:30pm

& Estate Jewellery sale.

Sat 3 December

11:00am – 3:00pm

Sun 4 December

11:00am – 3:00pm

Thu 1 December

Mon 5 December

9:00am – 5:15pm

Tue 6 December

9:00am – 5:15pm

Wed 7 December

9:00am – 11:30am (sharp)

BUYER’S PREMIUM A buyer’s premium of 12.5% will be charged on all items in this Fine Jewellery & Watches sale.

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

NO DELIVERY OF ITEMS PURCHASED CAN BE GIVEN DURING THE SALE SESSIONS.

FINE JEWELLERY &INWATCHES FOCUS 109 109

1.00PM (NOTE EARLY STARTING TIME)

AFFORDABLE, ESTATE AND DESIGNER COSTUME JEWELLERY LOTS 1000-1250

An exceptionally good selection of antique and modern jewellery, diamond rings, heavy gold chains and affordable trinkets; including many items received to late for inclusion in the catalogue. Mostly without reserve. Please ask for an inventory at viewings, or see on-line from 1st day of viewing.

102

Ref: 18238 S/N A572518 (1999). White face with raised Roman numerals, sweep second, day and date window. President bracelet. With original tag and guarantee. Excellent appearance.

$14,000 - $18,000

see colour illustration p 111

103

WRIST & POCKET WATCHES

100

Ref: 3210 Classique No. 705. Manual. Silver guilloché face with subsidiary seconds and unusual radial Roman numerals. Blue cabochon end-stone to crown.

Replacement black crocodile leather strap with 18ct buckle. (C.mid 1990’s). Very good appearance.

$4,500 - $6,500

see colour illustration p 113

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

104

ROLEX, A MID-SIZED OYSTER SPEEDKING PRECISION STAINLESS CASED WRISTWATCH.

106

Ref: 6430 S/N 1758788 (C.1964/65). Silver face with polished batons and sweep second. Manual with screw-down crown. Brown leather strap.

$1,000 - $1,500

101

Ref: 145.8.79, Ltd.Edn. No 3194, 1000 Hours. Water resistant 5Atm. Manual mechanical movement, silver face with Arabic quarters and polished batons.

34mm. Black crocodile leather strap with J-L buckle. As new appearance, with original box.

$3,000 - $4,000

see colour illustration p 113

OMEGA, A GENTLEMAN’S VINTAGE `STAYBRITE’ STAINLESS CURVED CASE WRISTWATCH.

Case No.9637355. Monolithic case back and lugs with lift-out case and enclosed movement.

C.1940. Art Deco silver face with Arabic numerals and subsidiary seconds. Black lizard replacement strap. Excellent appearance.

$1,000 - $1,400

105

A LADY’S ART DECO PERIOD WRISTWATCH SET WITH DIAMONDS.

The elongated octagonal case of platinum having a continuous line of round cut diamonds set in the bezel.

Manual mechanical movement, silver face with Arabic numerals. Black suede replacement strap. Monogram and date March 7, 1930 engraved on case back.

$750 -$1,000 TIFFANY & CO, A GENTLEMAN’S AUTOMATIC DIVING WATCH.

Circular outline case and matching bracelet in stainless steel and charcoal grey ceramic rubber.

Grey and silver face with silver Roman numerals, sweep second and date window. Rotating outer bezel with adjustment by off-set crown. Movement exposed under crystal back. Water resistant 10 ATM. Signed Tiffany & Co and numbered 020240682.

With original box. As new appearance.

$1,500 - $1,800

JAEGER-LE COULTRE, A GENTLEMAN’S MASTER CONTROL ULTRA THIN STAINLESS STEEL CASED WRISTWATCH.

BREGUET, AN 18CT YELLOW GOLD CASED MID-SIZED WRISTWATCH.

6.00PM FINE JEWELLERY & WATCHES

Including accoutrements, mining interest and loose diamonds.

ROLEX, A GENTLEMAN’S ALL 18CT YELLOW GOLD OYSTER PERPETUAL DAY/DATE WRISTWATCH.

108 123

110 125 119

117

102

111

122

120

116 109 107 FINE JEWELLERY AND WATCHES IN FOCUS 111

107

Ref: 66.25.648. No 0391074. Tank style case bordered by rows of small brilliant cut diamonds. Motherof-pearl face with Roman quarters and diamond indexes. Quartz movement. Gatelink bracelet with deployant clasp. Brand new old stock.

$3,500 - $4,000

see colour illustration p 111

108

ROLEX, A GENTLEMAN’S ALL 18CT YELLOW GOLD DAY/DATE OYSTER PERPETUAL WRISTWATCH WITH DIAMOND INDEXES.

Ref: 18038 S/N 8578291 (C.1984). Champagne face with day and date windows, sweep seconds and diamond indexes. President bracelet.

With original box. Excellent appearance.

$11,000 - $13,000

see colour illustration p 111

109

A LADY’S 18CT YELLOW GOLD HALF-HUNTING CASED FOB WATCH ENHANCED WITH ENAMEL.

Keyless lever, handset button in the band. Ornate gold `telephone dial’ face with Roman numerals.

Outer numerals blue enamel Roman under pink enamel guilloché. Cuvette also 18ct, bow (replacement) rolled gold. Unblemished appearance.

$1,000 - $1,400

see colour illustration p 111

110

CONCORD, A LADY’S `LA TOUR’ ALL 14CT WHITE GOLD WRISTWATCH SET WITH DIAMONDS.

PATEK PHILIPPE, A GENTLEMAN’S RARE VINTAGE `GONDOLO’ STYLE ART DECO WRISTWATCH.

Movement 832302 case 617695 (C.1938). Curved case with extended curved lugs. Silver face with raised Roman numerals and radial batons, subsidiary seconds. Two body case, tonneau shaped 18 jewel movement. Replacement black leather strap with 18ct PP buckle. Very good appearance for age, a highly collectable example.

$10,000 - $12,000

see colour illustration p 111

111

112

Movement 1647377, Case 1650025, 21 Jewels. Cal853.

Cream face with polished batons and sweep second.

Replacement black leather strap. Cal 853 was introduced in 1958 and continued in production until 1963. Cal853 was an improvement on the original Pellaton winding system introduced in 1950. Excellent appearance, little surface wear. With original box.

$3,250 - $3,750

see colour illustration p 113

113

Stainless steel and gold. Ref: 1340 No.PL122298.

Circular outline with Roman numerals to bezel.

Quartz movement. With original box.

$1,200 - $1,500

see colour illustration p 111

ROLEX, A GENTLEMAN’S ALL 18CT YELLOW GOLD OYSTER PERPETUAL DAY/DATE WRISTWATCH.

Ref: 1803 S/N 4205783 (C.1975). Champagne face with polished batons, sweep second, day and date windows.

President bracelet. Very good appearance for age.

$9,000 - $12,000

see colour illustration p 113

114

BVLGARI. A GENTLEMAN’S AUTOMATIC WRIST WATCH.

Assioma ref: AA48. SL2299. Rectangular stainless case and integrated tapered bracelet. Charcoal grey tonneau shaped face with polished batons. Arabic meridians, sweep second and date window. As new appearance with original box.

$1,400 - $1,800

see colour illustration p 113

115

OMEGA, A GENTLEMAN’S VINTAGE STAINLESS STEEL CASED AUTOMATIC WRISTWATCH.

Circular outline, silver face with pink gold batons, hands and sweep second. Some spotting to dial. Tan snakeskin strap. Cal505. C.1958/60. “Waterproof”.

$400 - $600

116

OMEGA, A VINTAGE STERLING SILVER CASED WRISTWATCH WITH INTERESTING PROVENANCE

Circular outline case, white enamel face with Roman numerals and subsidiary seconds. Manual mechanical movement signed Omega and numbered 4814354. Water resistant screw down bezel with milled edge. Swing-out movement. Case hallmarks for London import 1915. The dial is an Omega replacement, the original (damaged) dial is supplied with the watch for reference. Verso engraving: “To Capt. J.R. Kirk from C.C.W. Guild 3.1.17. Brown leather strap. The watch was presented to Captain Kirk, ex-Mayor of Gisborne, by the Cook County Womens’ Guild on the eve of his departure to take command of New Zealand troups going to war on board the S.S. Turakina. The chronical of the voyage on 26 April 1917 was recorded in a souvenir magazine “The Klink”. With copies of contemporary newspaper articles and Museum archive.

$2,500 - $3,000

see colour illustration p 111

CARTIER, A LADY’S `MUST DE CARTIER` 21 WRISTWATCH.

I.W.C. (INTERNATIONAL WATCH CO.), SCHAFFHAUSEN, A GENTLEMAN’S 14CT YELLOW GOLD CASED AUTOMATIC WRISTWATCH.

101

112 103

130 114

113

124

128 121

129

FINE JEWELLERY AND WATCHES IN FOCUS 113

117

VACHERON & CONSTANTIN, AN 18CT YELLOW GOLD CASED MID-SIZE WRISTWATCH.

Ref: 355058-6184, Movement 524344, manual 18 jewel mechanical. Slim case, silver face with polished batons and sweep second. Red crocodile leather strap. Excellent appearance.

$2,500 - $3,000

see colour illustration p 111

118

119

A 14CT YELLOW GOLD CASED OPEN FACE POCKET WATCH.

Keyless lever, white face with Arabic numerals and subsidiary seconds. The face and movement signed James R. Armiger, Baltimore and numbered 97613. The bezel and band enhanced with rich decoration. Cuvette also 14ct. 84g. $1,000 - $1,500 OMEGA, A GENTLEMAN’S VINTAGE 14CT ROSE GOLD CASED WRISTWATCH.

17 jewel manual movement No 10643864 (C.1945) case No 10646121. Cal360. Circular outline silver face with Arabic quarters and polished batons, subsidiary seconds. Remarkable almost new appearance. Replacement red leather strap with Omega buckle. With Omega box of later date.

$2,750 - $3,250

see colour illustration p 111

120

HAMILTON, A GENTLEMAN’S PLATINUM CASED OPEN FACE POCKET WATCH.

Keyless 17j lever, movement ref: 916 S/N 3114952, platinum case No 100651. Art Deco design, silver face with Arabic numerals and subsidiary seconds. Bow of geometric design, case back with monogram in relief. Diameter 44mm.

$1,850 - $2,250

see colour illustration p 111

121

BULOVA, A GENTLEMAN’S `AMBASSADOR’ AUTOMATIC STAINLESS WRISTWATCH WITH ORNATE GOLD DECORATION.

Textured gold face with raised batons, sweep second and date window. The bezel ring of gold nuggets, the lugs of 10ct gold set with Yukon nuggets to Dal sheep ram’s heads in gold, the eyes set with rubies.

$1,250 - $1,750

see colour illustration p 113

122

ROLEX, A LADY’S STAINLESS AND GOLD DATEJUST OYSTER PERPETUAL WRISTWATCH WITH DIAMOND INDEXES.

Ref: 79173, S/N Y685858 (2004). Champagne face, fluted bezel, jubilee bracelet. With original box and guarantee showing purchase new in New Zealand 22/7/2004. As new appearance.

$3,750 - $4,750

see colour illustration p 111

123

UNIVERSAL GENÉVE, A GENTLEMAN’S 18CT YELLOW GOLD CASED `POLEROUTER’ AUTOMATIC WRISTWATCH.

Ref: 10379/2, SN 2063337 (C.1960). Polerouter Jet. Champagne face with polished batons and sweep second. Replacement black lizard strap. Good appearance, spotting to face.

$1,500 - $1,800

see colour illustration p 111

124

GIRARD-PERREGAUX, A LADY’S ALL 18CT YELLOW GOLD WRISTWATCH SET WITH DIAMONDS.

Ref: 4127 SA. Cushion outline case with integrated mesh bracelet. Gold face with polished batons signed Girard-Perregaux. The bezel set with a continuous line of round modern brilliant cut diamonds. Manual mechanical movement.

$3,000 - $4,000

see colour illustration p 113

125

BUCHERER, A LADY’S ALL 18CT WHITE GOLD WRISTWATCH SET WITH DIAMONDS.

Ref: 4008/16017. Oval case with integrated textured mesh bracelet. Textured white gold face signed Bucherer. The bezel (appears non-factory) set with a line of 16 round modern brilliant cut diamonds of TDW around 2.0ct. Manual mechanical movement, the crown set with a black onyx cabochon.

$3,500 - $4,500

see colour illustration p 111

126

ATLANTIC. GENTLEMAN’S 18CT YELLOW GOLD CASED WRISTWATCH.

`Jubilee’ model. Reeded silver face with bar hour indicators and sweep second. Manual mechanical movement. Brown lizard strap.

$400 - $500

127

128

JAEGER-LE COULTRE, A GENTLEMAN’S VINTAGE 18CT YELLOW GOLD CASED WRISTWATCH.

Circular outline, the case and lugs with textured finish.

Case 168898, movement 218671, Manual Cal450. Black face with Arabic quarters about a rectangular frame motif. Sweep second. Rotating lock-down back with (replacement) mesh strap also of 18ct yellow gold.

Fair/good appearance with J-L presentation box. $1,400 - $1,800 ROLEX-TUDOR, A GENTLEMAN’S STAINLESS AND GOLD OYSTER PRINCE DAY/DATE WRISTWATCH.

Ref: 94613 S/N B346379. Champagne face with luminous hands, polished batons, sweep second, day and date windows. Jubilee strap. With box and guarantee showing purchase new in New Zealand. 7-6-91.

$1,500 - $1,800

see colour illustration p 113

129

Keyless 3/4 plate lever, white face with Roman numerals and subsidiary seconds. Handset button in the band. Movement numbered 144843, diamond pivot to balance cock, the face bearing the word “Adjusted”.

18ct Cuvette. Unblemished appearance. 120g. $1,850 - $2,250

see colour illustration p 113 AUDEMARS PIGUET, A GENTLEMAN’S STAINLESS AND GOLD ROYAL OAK AUTOMATIC WRISTWATCH.

Ltd Edition No20/D51842. Octagonal gold bezel with exposed screws, stainless case. Hobnail face with polished batons, sweep second and date window.

Red crocodile leather strap with AP deployant clasp. With original box and instruction book.

$5,000 - $6,000

see colour illustration p 113

ACCOUTREMENTS & MINING INTEREST 131

A FOB PENDANT SET WITH GOLD BEARING QUARTZ.

The broad mere shaped piece of gold-bearing quartz set in a frame of 15ct yellow gold with a decorative cap centred by a vacant shield. The property of the descendant of a New Zealand gold mining family.

$400 - $600

A PAIR OF CUFFLINKS SET WITH GOLD DUCATS.

14ct (tested) yellow gold sprung toggle design, each free-mount set with an Austro-Hungarian gold Ducat dated 1915 (Franz-Joseph). 14g.

$500 - $700

133

A NATURAL GOLD NUGGET.

With host quartz rock. 11.3g.

$400 - $500

134

A PAIR OF 9CT YELLOW GOLD CUFFLINKS.

Oval plate, chain and bar design in polished and satin finish. As new. 8.3g.

$300 - $400

135

A FOB PENDANT SET WITH GOLD BEARING QUARTZ.

The mere shaped piece of gold-bearing quartz set in a frame of yellow gold with an ornately decorated cap. The property of the descendant of a New Zealand gold mining family.

$400 - $600

A GENTLEMAN’S 18CT YELLOW GOLD CASED OPEN FACE POCKET WATCH.

130

132

FINE JEWELLERY & LOOSE STONES Independent Gemmological Reports and Valuations: Valuations are made available to customers for two primary purposes: Firstly to provide an independent opinion as to the quality of the stones and metals comprising the piece, and Secondly so that buyers can, if they wish, obtain suitable Insurance cover immediately upon purchase and prior to delivery.

A valuation for insurance purposes represents a calculated replacement cost allowing for maximum retail margins, such that an Insurer can assess the outer limit of their exposure to risk. It does not represent actual new retail replacement as it makes no provision for competitive trade practice, or for discounts obtained by individual bargaining. As fashion, desirability and current market forces all have variable impact on second hand or Auction value, there is no direct formula for estimation of such value by interpolation from Insurable value.

As the currency exchange rate and spot metal prices have a marked effect on jewellery valuations, buyers should note the date and prevailing economic factors at the time that the valuation was produced. Once all of the prevailing parameters have been established, it is possible for an experienced person to interpolate a rough estimate of the current cost of manufacture from past insurable value, but again that exercise will give no indication of actual market forces.

Buyers should also note the stated purpose of the valuation (insurance, retail market, cash value, estate division etc). All

IN FOCUS 115

valuations remain opinions and not matters of fact.

Whilst Webb’s staff will assist buyers to understand the methodology and technical details of Gemmological reports and valuations, buyers must make their own assessment of an item’s value before bidding. Webb’s its consultants and employees make no representation or warranty regarding any outside opinion, valuation or certificate of any item on offer.

Please note: where gemological reports are available these should be read together with the catalogue description.

Should there be, through error, omission or introduction of better evidence, any significant difference between the catalogued description and that provided in the gemologist’s report, it shall be assumed that the buyer has inspected the report and is buying in acceptance of it. Unless otherwise stated, all stones have been assessed for weight, colour or clarity mounted and the descriptions given in the catalogue or report are therefore based on estimates which are limited in accuracy. Where an actual weight is given the stone will have been weighed loose, however while the grading of a stone loose will minimise error margins it shall be accepted by the buyer that all reports and descriptions remain opinions and not matters of fact.

LOOSE STONES

FINE JEWELLERY 140

Oval outline satin finish yellow gold Belle Époque design. A delicate wirework border enclosing a domed panel decorated with a laurel garland set with senaille cut diamonds about a central line of three old minecut diamonds. Verso a vacant glazed compartment.

The removal bale is set with further diamonds and a brooch pin is provided for alternate use. Suspended by a reeded hollow cable link chain. Tests as approximately 14/15ct which as been over-gilded. Possibly French/ European. Gemologist’s report available.

$2,000 - $3,000

see colour illustration p 125

141

Girandole design in yellow gold comprising a circular panel set with a 22mm round banded agate cabochon bordered by wire and bead decoration and suspending three articulated drops also set with banded agate cabochons. Verso a vacant glazed compartment.

$550 - $750 see colour illustration p 125

A LOOSE AQUAMARINE OF 66.54CT.

Oval cut. Gemologist’s report available.

$2,000 - $3,000

142

Slightly irregular cushion outline, assessed as M/N, VS2. An interesting and attractive stone that faces-up well. Gemologist’s report available.

The elegant ribbon bow of platinum enhanced with ajouré set with old cut diamonds and lines of French cut blue sapphires to suit the design.

$5,000 - $6,000

see colour illustration p 108

$16,000 - $18,000

see colour illustration p 127 A LOOSE COGNAC COLOURED DIAMOND OF 2.34CT.

The diamonds round, old mine cut.

Gemologist’s report available.

$3,500 - $4,000

see colour illustration p 117

139

AN ART DECO PERIOD BOW BROOCH SET WITH DIAMONDS AND SAPPHIRES.

A LOOSE OLD MINE CUT DIAMOND OF 3.08CT.

138

A 19THC. “ETRUSCAN REVIVAL” BROOCH.

136

137

A PARTICULARLY GOOD LATE 19THC. LOCKET/ BROOCH SET WITH DIAMONDS, ON CHAIN.

A LOOSE BLUE STAR SAPPHIRE CABOCHON OF 42.86CT.

The oval sapphire cabochon of mid-Ceylonese blue, clear translucent appearance and showing 6 rayed asterism. Gemologist’s report available.

$6,500 - $8,500

see colour illustration p 117

143

A VICTORIAN KNOT MOTIF KEEPSAKE BROOCH.

Quatrefoil knot inset with plaited hair about a central raised section set with round turquoise cabochons; suspending by chain festoon a heart shaped and a circular drop each set with a turquoise bead recto and a glazed compartment containing plaited hair verso. Tests as approximately 22ct.

$600 - $800

see colour illustration p 117

144

A VICTORIAN BROOCH AND EARRINGS SUITE.

Knot and ribbon scroll design in yellow gold (tests as overgilded 18ct), the ribbon enhanced with engraving about 4 oval garnet cabochons.

The earrings studs of circular outline each set with a circular garnet cabochon. 25.8g.

$1,000 - $1,400

see colour illustration p 129

152

210

267

229

186 143 139 138

244

146 SUITE

184

FINE JEWELLERY AND WATCHES IN FOCUS 117

145

146

A VICTORIAN LOCKET/BROOCH AND EARRINGS SUITE SET WITH BLACK ONYX.

Oval outline in over-gilded yellow gold (approximately 15ct) decorated with rope-work and beading, set with a 35 x 27mm polished cabochon black onyx panel, verso a glazed compartment. The drop earrings of matching design comprising a small onyx panel at the wire suspending a larger drop. $550 - $750 (set)

Freeform kelp motif in 18ct yellow gold, raised to an oval cut 15 x 19mm amethyst. Signed with monogram. With original Peter Minturn box. 23.9g. Gemologist’s report available.

$950 - $1,250

152

Rope-twist design of heavy 18ct yellow gold rope-link chain entwined with lines of red Mediterranean coral beads and seed pearls in a triple spiral twist. 114.4g.

15ct yellow gold rope links to an articulated mid-section of scrolls and fringe drops all set with half-pearls. Fitted with a folding hanger bale. With original fitted box.

$1,850 - $2,450

see colour illustration p 117

see colour illustration p 117 A HINGED BANGLE SET WITH AMETHYSTS AND HALF-PEARLS.

9ct rose and over-gilded satin yellow gold, enhanced with applied scrollwork and beading. The upper section set with a central oval cut and two shoulder pendeloque cut amethysts together with two lines of 4 pearls. Hallmarks for Chester 1913.

153

The six strands of solid rectangular links, each terminating in a chain tassel forming a fringe, secured by white gold double hinged clasp set with a row of diamonds. 112.7g.

$4,000 - $5,000

154

$700 - $800

see colour illustration p 129

A MUFF CHAIN OF 9CT YELLOW GOLD.

Faceted oval links with wire over-locks, 1400mm, 19.7g.

$450 - $650

149

A LONG, HEAVY NECKLACE OF 18CT YELLOW GOLD.

Double rope-twist links of `French Knit’ design. 930mm. 103.3g.

$4,000 - $5,000

150

155

$5,750 - $6,750

see colour illustration p 119

A MUFF CHAIN OF 15CT YELLOW GOLD.

Figaro curb links with a single clip. 1440mm, 33g. $1,200 - $1,600 A NECKLACE AND BRACELET SUITE OF 18CT YELLOW GOLD.

Plaited three strand mesh with applied beads at even intervals. The matching design would allow the bracelet and necklace to be linked to form a long necklace. 73.8g.

$2,800 - $3,400

156

A BANGLE SET WITH AN OPAL AND PEARLS.

Hinged tubular cross-over design in yellow gold (tests approximately 15ct), the upper section centred by a circular panel set with a round milk opal cabochon surrounded by half-pearls.

$450 - $650

PASQUALE BRUNI, A LARGE OPEN HEART PENDANT SET WITH DIAMONDS.

18ct white finished gold set with some 1.51ct of round modern brilliant cut diamonds. The border pierced as a chain guide, currently set to an asymmetric drop. Hartfield Letter of Authenticity. Signed on chain plate. With box.

A HEAVY SIX STRAND BRACELET OF 18CT YELLOW GOLD.

148

A LATE VICTORIAN/EDWARDIAN NECKLACE SET WITH HALF-PEARLS.

$3,800 - $4,800 (2)

PETER MINTURN, A BROOCH SET WITH AN AMETHYST.

A STYLISH NECKLACE AND BRACELET SUITE OF GOLD, RED CORAL AND PEARLS.

147

151

157

A RIVIÉRE NECKLACE OF DIAMOND CLUSTERS.

The line of articulated flowerhead clusters graduated from the centre, and also having each 7th link a little larger than the links on either side, are each set with 7 round modern brilliant cut diamonds centred by the largest stone. TDW 13.32ct.

$16,000 - $18,000

see colour illustration p 119

228 259

258

183 256

181 247

157

150

189

212 185

227

FINE JEWELLERY AND WATCHES IN FOCUS 119

158

A NECKLACE OF PINK AND WHITE DIAMONDS WITH A FANCY YELLOW DIAMOND DROP.

Designed as a line of flowerhead clusters in 18ct pink finished gold each set with 7 pink diamonds joined by articulated knife-edge bars, each set with a white diamond in 18ct white finished gold to a central circular pink and white diamond cluster from which is suspended, by a similar square panel and two articulated bars, a pear shaped drop set with a central 1.01ct pendeloque cut fancy yellow diamond set within two concentric rows of pink diamonds and an outer border of white diamonds. The pink and white diamonds all round modern brilliant cut. TDW 9.66ct.

$14,000 - $18,000

see colour illustration p 123

159

A HIGHLY FASHIONABLE THREE ROW BRACELET SET WITH PINK AND WHITE DIAMONDS.

The rows designed as articulated lines of circular 7-diamond flowerhead clusters of matched size, the outer lines of 18ct pink finished gold set with pink diamonds, the inner line of white finished gold with white diamonds. The diamonds, all round modern brilliant cut comprise 7.89ct of pink and 4.35ct of white.

$14,000 - $18,000

see colour illustration p 123

160

A MUFF CHAIN OF FANCY YELLOW GOLD LINKS.

9ct (tested) decorative plate, faceted oval and snake links in a repeating pattern. 1660mm, 44.5g.

$1,000 - $1,400

161

162

164

Hinged rope-twist design, 14.7g.

$600 - $800

165

$450 - $650 A GOLD BANGLE DECORATED WITH BLACK ENAMEL AND PEARLS.

16mm wide flat hinged design inlaid with black enamel enhanced with half-pearls in a floral and foliate design. Small chips to enamel. Tests approximately 14ct, 35.2g. Sentiment engraved on inner surface.

$800 - $1,000

163

PASPALEY, AN EXCEPTIONALLY LONG NECKLACE OF CULTURED BAROQUE SOUTH SEAS PEARLS.

Semi-round, bee-hive silver/white 16.8-10mm graduated from the centre with good orient and blend to a beaten yellow gold ball of 16mm. 1000mm.

With original Box. Gemologist’s report available.

$10,000 - $12,000

A FRENCH ALBERTINA FOB CHAIN WITH AN AMETHYST SWIVEL SEAL.

Triple strand in pink and yellow gold, the barrel slide enhanced with vari-colour gold decoration, the swivel seal set with a cushion outline faceted vacant amethyst seal. 120mm (150mm overall).

$450 - $650

166

A BANGLE SET WITH RUBIES AND DIAMONDS.

Hinged design in 18ct yellow gold, the upper section channel set with a row of 20 round cut rubies and diamonds in an alternating sequence. 15g.

$1,000 - $1,200

see colour illustration p 129

167

A VICTORIAN GOLD DOUBLE PHOTOGRAPH LOCKET WITH CHAIN.

Oval outline in 15ct yellow gold enhanced with wirework, hinged and containing two compartments (one deficient glass). Suspended by an 800mm fancy link chain of 9ct yellow gold. 47.1g.

$1,750 - $2,000

168

A VICTORIAN/EDWARDIAN NECKLACE SET WITH AMETHYSTS, CITRINES AND HALF-PEARLS.

Over-gilded 9ct gold, set with two rectangular cut amethysts, a rectangular cut citrine and suspending a pendeloque citrine drop. Very minor repair to one chain support.

$1,500 - $1,800

see colour illustration p 125

A NECKLACE OF MIKIMOTO CULTURED PEARLS.

The 7mm round white pearls of matched size secured with a clasp of silver set with a small pearl.

Signed with Mikimoto monogram. 600mm.

A PAIR OF CREOLE CIRCLET EARRINGS OF 18CT WHITE AND YELLOW GOLD.

169

A LINE BRACELET SET WITH CABOCHON BLUE SAPPHIRES, RUBIES AND DIAMONDS.

Designed as a line of 8 oval links, each set with an oval blue sapphire cabochon; joined by articulated bow links, each set with 6 small round ruby cabochons and two small diamonds. 18ct yellow gold.

$1,200 - $1,500

170

A COLLAR STYLE NECKLACE OF 18CT YELLOW GOLD.

Flat polished bar links. 97.7g.

$3,500 - $4,500

171

AN UNUSUAL NECKLACE OF INCA DESIGN.

Yellow gold (tests approximately 18ct) zig-zag bar and chain link design to a tassel fringe drop, set with natural gemstone, hardstone and faience beads together with a mother-of-pearl panel. Signed G. Laffi.

$750 - $1,000

172

AN ART NOUVEAU PERIOD NECKLACE SET WITH AMETHYSTS AND PEARLS.

10ct yellow gold Art Nouveau openwork design set with a round cut deep purple amethyst and three small pearls, suspending a pendeloque amethyst drop and suspended by twin chains to a central amethyst set bale and 9ct trace neck chain. With original fitted box supplied by W. Littlejohn & Son of Wellington. An exquisite example in fine condition.

$1,250 - $1,750

see colour illustration p 125

173

A SET OF TWO 18CT YELLOW GOLD MEDALLIONS STRUCK TO COMMEMORATE THE 200TH ANNIVERSARY OF CAPTAIN COOK.

Australian mint, 1970, numbered 1590. The larger medallion bearing the Australian Coat of Arms, the smaller an image of the Endeavour recto; verso a bust of Captain Cook. 78.9g. In original fitted box.

$3,000 - $3,500

174

175

A PENDANT SET WITH A CORONET HALF EAGLE GOLD COIN AND DIAMONDS WITH AN 18CT GOLD CHAIN.

The coin dated 1880 claw set in an open loopwork pendant frame of 18ct yellow gold set with 16 round modern brilliant cut diamonds, the bale set with a further diamond: suspended by a long neckchain of 18ct yellow gold, lover’s rope knot and plain polished links. 700mm. 55.2g. $2,400 - $2,800 A STYLISH HEAVY GOLD BRACELET SET WITH PRECIOUS STONES.

Designed as three rows of articulated cupped flowerheads in 18ct yellow matt and polished gold, each set with a round cut diamond, ruby, emerald or sapphire. 67.9g.

$2,850 - $3,850

176

A NECKLACE OF 18CT YELLOW GOLD SET WITH DIAMONDS AND BLACK PEARLS.

Collar style in flexible sprung links decorated at mid-section by three X motifs set with round modern brilliant cut diamonds, each suspending an 11mm South Seas pear shaped black pearl drop. 45.8g.

$1,850 - $2,450

177

A PAIR OF VICTORIAN REPOUSSÉ GOLD DROP EARRINGS.

Each fitted with a wire hook, set with a square cut emerald and suspending an articulated single tapered drop.

$375 - $475

178

THE SIGNET SEAL RING OF AN EARL.

15ct yellow gold set with an oval cornelian-onyx carved with an intaglio monogram `K’ below an Earl’s coronet. Hallmarks Birmingham 1859.

$300 - $500

179

A DRESS OR ETERNITY RING SET WITH SAPPHIRES AND DIAMONDS.

The band of 18ct yellow gold set with a line of three Princess cut diamonds and two oval cut Ceylonese blue sapphires. The diamonds estimated as D/F, VS (one with very minor chip) with a TDW 0.75ct; the sapphires of approximate total 0.92ct . Gemologist’s report available.

$1,850 - $2,450

see colour illustration p 125

180

A STRIKING FIVE-ROW DIAMOND RING.

The wide band of 18ct white finished gold set with 5 raised rows of round modern brilliant cut diamonds set within pierced frames outlined with smaller brilliant cut diamonds. Gemologist’s report available.

$2,000 - $2,500

see colour illustration p 127

181

A DIAMOND CLUSTER RING.

Centred by a round modern brilliant cut diamond of approximately 0.94ct assessed as F/G, SI1 surrounded by 12 further brilliants of similar quality. TDW approximately 1.84ct. Gemologist’s report available.

$7,000 - $8,000

see colour illustration p 119

IN FOCUS 121

182

A RING SET WITH A RED TOURMALINE.

The square cut pink/red tourmaline of approximately 4.32ct is set in a heavy contemporary design ring of 18ct white gold. Maker’s mark JW for Jeweller’s Workshop. 20.2g. Gemologist’s report available.

$1,800 - $2,200

see colour illustration p 127

183

A PENDANT NECKLACE SET WITH AN EMERALD AND DIAMONDS.

The fine quality pendeloque cut emerald of 4.65ct is suspended from an open circlet by an articulated 7 link drop. The circlet and drop set with 19 round modern brilliant cut diamonds, and suspended by a neckchain of snake links. 18ct white finished and yellow gold. Gemologist’s report available.

$18,500 - $22,500

see colour illustration p 119

184

Quatrefoil heart motif design in 15ct yellow gold/ silver doublet set with old mine cut diamonds and circular polished turquoise cabochons. TDW approximately 2.10ct. With box from Campbell Ltd, London. Gemologist’s report available. $3,500 - $4,500

see colour illustration p 117

$6,500 - $8,500

see colour illustration p 119

186

The 18ct yellow gold and platinum bridge set with the round modern brilliant cut diamonds graded loose as: 0.913ct/1.333ct/0.903ct, all G, SI2, V.G. Gemologist’s report available.

$16,000 - $22,000

see colour illustration p 129

188

A CHARMING TURTLE MOTIF BROOCH.

Gold/silver doublet set with senaille and rose-cut diamonds about a central oval deep red cabochon `carbuncle’ garnet.

$600 - $800

see colour illustration p 117

A NECKLACE OF 18CT YELLOW AND WHITE GOLD SET WITH DIAMONDS.

Designed as an articulated line of alternating polished white convex and satin yellow concave gold links, the 29 mid-section white gold links each set with two round brilliant cut diamonds. 49.7g.

$2,000 - $2,500

189

A PENDANT SET WITH JADE AND DIAMONDS.

Centred by an oval mid-green jadeite cabochon of 3.45ct, set in platinum within a border of round modern brilliant and marquise cut diamonds of TDW 0.63ct. Suspended by a fine platinum snake chain. Gemologist’s report available.

$3,000 - $4,000

see colour illustration p 119

190

A PAIR OF VICTORIAN ETRUSCAN REVIVAL DROP EARRINGS SET WITH MALACHITE.

Each designed as two circular hinged panels, the larger as a finial, in 15ct yellow gold enhanced with wirework and beading, set with circular malachite cabochons, suspended by wire hooks.

$400 - $600

A TENNIS STYLE LINE BRACELET SET WITH DIAMONDS.

Designed as a line of 59 articulated links of 18ct white finished gold, each channel set with a Princess cut diamond, with a further diamond at the thumb-piece of the clasp. TDW in excess of 5ct. Gemologist’s report available.

A GOOD THREE-STONE DIAMOND RING OF 3.14CT TOTAL.

A LATE VICTORIAN BROOCH SET WITH TURQUOISE AND DIAMONDS.

185

187

191

KUTCHINSKY, A LADY’S SIGNET STYLE RING SET WITH DIAMONDS.

Textured 18ct yellow gold to an oval bezel pavé set with 10 round modern brilliant cut diamonds.

Signed Kutchinsky. Gemologist’s report available.

$1,750 - $2,250

192

A CROSS-OVER RING SET WITH SAPPHIRES AND DIAMONDS.

Chunky design in 14ct yellow gold with two lines of close channel set rectangular cut blue sapphires bordered by lines of round modern brilliant cut diamonds in a cross-over. 13.8g.

$750 - $850

245

214

215 246

216

159 158

226

234

FINE JEWELLERY AND WATCHES IN FOCUS 123

193

A STYLISH WIDE BAND OF PLATINUM SET WITH SAPPHIRES AND DIAMONDS.

A row of 5 baguette cut rich blue sapphires is separated by pairs of diamonds and bordered by raised lines of diamonds in a heavy band of platinum. 18.1g.

$1,400 - $1,800

see colour illustration p 127

194

Split shank entwined loops in 18ct white and pink finished gold pavé set with some 246 round modern brilliant cut diamonds having a TDW 2.16ct. Gemologist’s report available. $2,850 - $3,450

see colour illustration p 129

196

All Platinum flowerhead cluster set with 13 round modern brilliant cut diamonds centred by the largest stone of approximately 0.60ct. The shoulders enhanced with rows of diamonds. TDW estimated 1.44ct. Gemologist’s report available. $5,000 - $6,000

$400 - $500

198

199

$350 - $450

201

TIFFANY & CO, A TWO ROW DIAMOND RING.

The band of 18ct yellow gold set with 14 round modern brilliant cut diamonds in two rows. The diamonds assessed as H, VS+ with a TDW approximately 1.00ct. Signed Tiffany & Co. With original presentation box. Gemologist’s report available. $2,250 - $3,250

A GOOD VICTORIAN BAR BROOCH.

Triple bar design enhanced with applied wirework, centred by a circular panel set with six seed pearls to a cabochon amethyst capped by a star set with an old-cut diamond.

$275 - $375

202

A NECKLACE AND EARRING SUITE SET WITH MOONSTONES.

9ct yellow gold wire scroll design set with four oval moonstone cabochons and suspending three articulated drops of unequal length having similar moonstone finials. All suspended by a 9ct cable link neck chain. The drop earrings of matching design, each also set with a moonstone.

$1,000 - $1,500 (set)

203 A BROOCH OF CELTIC DESIGN SET WITH A CAIRNGORM.

Oval outline in over-gilded yellow gold set with a 25 x 19mm oval cut deeply coloured quartz `Cairngorm’.

The border engraved with a Celtic design.

$450 - $650

A BROOCH SET WITH A LARGE CITRINE.

Cushion outline in 9ct yellow gold, twin rail border design set with a 25 x 19mm cushion cut citrine.

15ct yellow gold.

A DIAMOND CLUSTER RING.

197

AN ENTWINED LOOP KNOT RING SET WITH DIAMONDS.

195

200 A DAINTY HEART MOTIF PENDANT SET WITH TSAVORITE GARNETS AND HALF-PEARLS.

204 AN ETERNITY OR WEDDING RING OF PLATINUM SET WITH DIAMONDS.

Close channel set with a central row of 10 Princess cut diamonds, the sides each set with a row of 11 round modern brilliant cut diamonds. TDW approximately 0.83ct. 10g. Gemologist’s report available.

$1,000 - $1,500

205

A RING SET WITH A SOLITAIRE DIAMOND OF APPROXIMATELY 1.29CT.

A RING SET WITH A SOLITAIRE DIAMOND OF 1.00CT.

The round modern brilliant cut diamond described in Gemlab Diamond Report DC1019 as 1.00ct, G, VS1, Medium make is set in a traditional style ring of platinum. Gemologist’s report available.

The round modern brilliant cut diamond assessed as H/I, SI2/I1 is set in a six claw mount of palladium. Gemologist’s report available.

$3,500 - $4,500

$6,250 - $7,250 A RING SET WITH A SOLITAIRE DIAMOND OF APPROXIMATELY 1.30CT.

The round modern brilliant cut diamond assessed as H/I, I1 is set in a four claw mount in a ring of 18ct white gold. Gemologist’s report available.

$4,250 - $5,250

see colour illustration p 129

206 A RING SET WITH A PRINCESS CUT DIAMOND OF 1.07CT.

The elegant handmade band of 18ct white gold set with the Princess cut diamond, assessed as 1.072ct, G, SI1/SI2, V.G make, together with four flush set baguette cut shoulder diamonds.

Gemologist’s report available upon request.

$5,500 - $6,500

179 241

248

240

282

260

172

168

218

141 249

140 FINE JEWELLERY AND WATCHES IN FOCUS 125

207

A PAIR OF SOLITAIRE DIAMOND EARSTUDS OF GOOD QUALITY AND TDW 2.17CT.

The round modern brilliant cut diamonds assessed as 1.08 and 1.09ct, F, SI2, VG+ are set in platinum. Gemologist’s report available.

$14,500 - $18,500

see colour illustration p 108

208 A GOOD PAIR OF LATE 19TH/EARLY 20TH CENTURY DIAMOND DROP EARRINGS.

Each set with a good quality H/J, VS early European cut diamond of around 1.25ct as an articulated drop suspended by a wire hook with hinged clasp set with a smaller diamond. Continental 14ct yellow gold, TDW approximately 3.15ct. Gemologist’s report available.

$8,750 - $9,750

see colour illustration p 108

209 A PAIR OF YELLOW SAPPHIRE AND DIAMOND DROP EARRINGS.

210

Each designed as an articulated line of 5 circular graduated links rub-over set with progressively larger round modern brilliant cut diamonds to a terminal link set with an oval cut yellow sapphire. Hand-made in platinum. TDW 0.66ct of very good quality, the sapphires total 1.22ct. Gemologist’s report available.

DAMIANI, A PRINCESS BANGLE SET WITH DIAMONDS.

Hinged Design in 18ct white gold, the upper section pavé set with round modern brilliant cut diamonds to top and side surfaces. TDW around 2.70ct. With original box. Hartfield’s Gemologist’s report available. $5,000 - $8,000

see colour illustration p 117

212

Oval outline in 18ct satin and bright-cut yellow gold, designed as an open-work floral garland enclosing a portrait bust of a young lady, set with a single round modern brilliant cut diamond of around 0.20ct. The pierced work providing two evenly placed anchor points for chain suspension. 27.9g.

$1,500 - $2,000

see colour illustration p 129

214

$3,000 - $4,000 AN EMERALD AND DIAMOND CLUSTER DRESS RING.

The emerald cut emerald of very good colour and weight 1.69ct (stamped) is set in an oval ballerina style ring of platinum set with baguette and brilliant cut diamonds of total 0.75ct (stamped). Gemologist’s report available.

$2,500 - $3,500

see colour illustration p 119

A PENDANT SET WITH FANCY YELLOW AND WHITE DIAMONDS.

Diamond outline openwork yellow and white 18ct gold, designed as a cascade of circlets and semi-circlets set with round modern brilliant cut white diamonds, each enclosing a pear shaped brilliant fancy yellow diamond. The bale set with further white diamond brilliants. TDW 4.57ct. Gemologist’s report available.

$5,750 - $6,750

see colour illustration p 123. See also following lot

215

A BRACELET SET WITH FANCY YELLOW AND WHITE DIAMONDS.

Designed as a companion to the previous lot, comprising 52 articulated pear shaped panels of 18ct yellow and white tipped gold, each set with a pendeloque cut fancy yellow diamond bordered by white diamond brilliants. TDW 11.30ct. Gemologist’s report available.

$12,500 - $15,000

see colour illustration p 123

216

A RING SET WITH A FANCY YELLOW DIAMOND OF 4.07CT.

The oval brilliant cut diamond set in an ornate ring of 18ct yellow and white finished gold within a border of white round modern brilliant cut diamonds, the shoulder tops also set with diamonds. Gemologist’s report available.

$40,000 - $45,000

see colour illustration p 123

A SAPPHIRE AND DIAMOND CLUSTER RING.

The oval cut blue sapphire of 1.92ct and of very good colour is set in a ring of platinum bordered by round modern brilliant cut and baguette cut diamonds.

TDW 1.48ct. Gemologist’s report available.

AN UNUSUAL PLAQUE PENDANT SET WITH A DIAMOND.

$2,750 - $3,250

211

213

217

A PAVÉ DIAMOND PUFF HEART MOTIF PENDANT, ON A CHAIN SET WITH FURTHER DIAMONDS.

18ct white finished gold, the pendant and bale pavé set with some 233 round modern brilliant cut diamonds of TDW 2.95ct. The plain cable link neck chain rubover set with 10 larger diamonds at even intervals with a total of 0.80ct. Gemologist’s report available.

$4,200 - $4,800

see colour illustration p 127

238 221

236

257

217 180

273 270

137

193

276

230 235 222

182 274

FINE JEWELLERY AND IN WATCHES FOCUS 127

218

A PAIR OF EARRINGS SET WITH OLD CUT DIAMONDS.

224

Gold/silver doublet with wires secured by clips, each set with an old cushion-cut diamond above which is set a smaller old round cut diamond. TDW around 1.2ct.

Continental marks. Gemologist’s report available.

The emerald-cut emerald of rare colour and exceptional clarity, estimated to weigh 4.02ct, is set in platinum with two impressive triangular cut diamonds of approximately 1.7ct each (TDW estimated 3.40ct) assessed as J, SI2. Gemologist’s report available.

$3,800 - $4,800

$35,000 - $40,000

see colour illustration p 125

see colour illustration p 108

219

A PAIR OF EARSTUDS SET WITH DIAMONDS.

Circular outline in 18ct white finished gold, each centred by a tinted white (K/M) round modern brilliant cut diamond of approximately 0.60ct surrounded by a border of fine white (D/G) small brilliant cut diamonds. TDW approximately 1.55ct. Gemologist’s report available.

$2,000 - $3,000

220

A PAIR OF FIVE-DIAMOND DROP EARRINGS SET WITH CHAMPAGNE AND WHITE DIAMONDS.

Designed as a fall of five articulated rub-over mounts in 18ct white finished gold, the first and last set with larger champagne diamonds, the middle three of matched size set with white diamonds. The diamonds all round modern brilliant cut having a TDW 1.49ct for the pair. Gemologist’s report available.

$1,400 - $1,800

see colour illustration p 129

221

A BANGLE SET WITH A LINE OF PRINCESS CUT DIAMONDS.

$16,000 - $18,000

see colour illustration p 108

226

A RUBY AND DIAMOND OVAL CLUSTER RING.

The oval cut ruby of 3.88ct, with certificate indicating that it has not been heat-treated, is set in a ring of 18ct yellow gold within a border of 12 good quality round modern brilliant cut diamonds of approximate TDW 1.00ct. Gemologist’s report available.

$15,500 - $17,500

see colour illustration p 123

227

AN ART DECO PERIOD CIRCLET BROOCH SET WITH DIAMONDS.

$5,800 - $7,800

A RUBY AND DIAMOND CLUSTER DRESS RING.

see colour illustration p 119

The oval cut deep red ruby of stated weight 1.40ct is set in a ballerina style ring of platinum within a border of tapered baguette cut diamonds of total stated weight 1.48ct. Gemologist’s report available.

$3,000 - $4,000

see colour illustration p 127

$4,500 - $5,000

The diamond assessed as L/M, VS1 (+) is set in a ring of 18ct white and yellow gold with a Princess cut diamond of around 0.18ct at each shoulder. A very attractive ring which faces up well and highlights the excellent clarity of the diamond. Gemologist’s report available.

see colour illustration p 127

223

Open circlet with a geometric scroll enhanced with leaf patterns all in platinum, set with round early modern brilliant cut diamonds of very good quality for the period (G, SI1), and varying in size up to the largest stone of 0.78ct.

TDW approximately 4.10ct. Gemologist’s report available.

Hinged design in 18ct white finished gold, the upper section close channel set with a line of 25 Princess cut diamonds having a TDW 2.64ct. Gemologist’s report available.

AN ESTATE RING SET WITH AN EMERALDCUT DIAMOND OF 3.27CT.

222

225

A SPLENDID EMERALD AND TWO DIAMOND RING.

A CROSS-OVER RING SET WITH A SAPPHIRE AND DIAMONDS.

The oval cut Ceylonese blue sapphire of 3.06ct is partially rub-over set in 18ct white finished gold, the split shank set with two lines of round modern brilliant cut diamonds of TDW 0.49ct. Gemologist’s report available.

228

A SPLENDID BANGLE FULLY PAVÉ SET WITH OVER 22CT OF DIAMONDS.

Wide curved profile hinged design, pavé set with some 872 round modern brilliant cut diamonds having a stated TDW 22.4ct. Gemologist’s report available.

$18,000 - $22,000

see colour illustration p 119

229

AN EXCEPTIONAL BLUE SAPPHIRE AND DIAMOND RING.

The elongated octagonal cut intense blue sapphire of 6.39ct is set in a platinum ring of Art Deco influenced design together with brilliant and tapered baguette cut diamonds. Gemologist’s report available.

$22,500 - $27,500

see colour illustration p 117

$2,750 - $3,250

147

239

166 220

243

194 199

187 277

144 SUITE

213

284 FINE JEWELLERY AND WATCHES IN FOCUS 129

229A “INGENUITY” AN IMPORTANT JEWELLED NECKLACE BY JEFFREY APPLING.

This remarkable piece was created over a period of some 11 months, and is a triumph of the skills of multi-award winning American artist/jeweller Jeffrey Appling who developed new techniques to overcome a mountain of technical difficulties. In addition the piece showcases gemstones carved by award winning gem-cutters Michael Dyber and Glenn Lehrer. Apart from these commissioned gemstones every other stone used was selected from a “cast of thousands” to ensure that it met the exacting criteria of the design. Truly a creation that begs the question is it Art as Jewellery or Jewellery as Art? Framed in 14ct white gold and platinum, set with diamonds, carved ametrine, pink and blue sapphires, carved chrome tourmaline, spessarite and tsavorite garnets, amethysts, rubellite tourmaline, citrine and unique free-form black onyx plaques, each inset with a rhodium plated crystalline drusy, that form the backbone of the piece.

The necklace is offered with a folder containing full details the materials used and the stories behind them, as well as a the artist’s personal record of his journey through the process; together with copies of feature articles on Jeffrey Appling that have appeared in various magazines . Gemmologist’s report available.

$95,000 - $125,000

see colour illustration. See also following lot

229B “HANDS TO WATER” A JEWELLED RING BY JEFFREY APPLING.

Inspired by water, the piece represents an overflowing bowl of “aqua pura” being held as an offering in the hands of a carrier. Crafted in 18ct yellow and white gold, set with a large oval aquamarine carved to give the appearance of bubbles in water, together with blue and white diamonds to create the effect of water spilling over the edge of the bowl.36.2g. Gemmologist’s report available.

$28,500 - $32,000

See colour illustration. See also previous lot

230

AN IMPORTANT NECKLACE SET WITH 30CT OF FINE QUALITY TYCOON CUT DIAMONDS.

The 115 diamonds graduated from the centre of very good make and estimated quality F/G VVSVS one SI. Gemologist’s report available.

$75,000 - $95,000

see colour illustration p 127

231

AN IMPORTANT RING SET WITH A SOLITAIRE DIAMOND OF 4.16CT.

The round modern brilliant cut diamond described in HRD report 06030098002 as H, SI1, very good make, with check report by A.G.L., is rub-over set in a heavy ring of 18ct rose and white gold with two round modern brilliant cut shoulder diamonds of estimated total 0.88ct. Gemologist’s report available.

$75,000 - $85,000

see colour illustration p 108

232

A STRIKING AND VIBRANT EMERALD AND DIAMOND CLUSTER RING.

The oval cut emerald of 4.75ct of good colour and clarity, and having a particularly vibrant appearance, is set in a hand-made ring of platinum within a border of round modern brilliant cut diamonds with a trilliant cut diamond above each shoulder, the split shank and under bezel also enhanced with rows of diamonds. TDW 1.85ct of good quality. Gemologist’s report available.

$22,000 - $28,000

see colour illustration p 108

233

A RING SET WITH AN EMERALD-CUT DIAMOND OF APPROXIMATELY 1.88CT.

The diamond assessed as G, VS2 is set in a ring of platinum with stepped shoulders, each rubover set with two baguette cut diamonds. TDW approximately 2.16ct. Gemologist’s report available.

$17,500 - $18,500

see colour illustration

234

A RING SET WITH A DEEP RED RUBY OF 4.06CT.

The oval cut ruby of rich colour, with certificate stating that it appears not to have been heat treated, is set in a ring of 14ct white finished gold, bordered by a line of round brilliant cut diamonds, with further diamonds in three lines at each shoulder.

TDW stated 1.23ct. Gemologist’s report available.

$18,500 - $22,500

see colour illustration p 123

235

A RECTANGULAR PENDANT SET WITH OVER 7CT OF DIAMONDS.

18ct white finished gold rectangular grid design set with lines of round modern brilliant cut diamonds, each cell centred by a Princess cut diamond, the bale set with baguette cut diamonds bordered by further brilliants. The 282 diamonds having a TDW 7.02ct. Gemologist’s report available.

$8,000 - $9,000

see colour illustration p 127

229B

229A

FINE JEWELLERY AND WATCHES IN FOCUS 131

236

A CROSSOVER BANGLE SET WITH DIAMONDS.

18ct white finished gold hinged design, the upper section of stylised entwined snake heads set with lines of round modern brilliant cut diamonds enclosing close channel set lines of diamond baguettes.

TDW 4.46ct. Gemologist’s report available.

$5,250 - $6,250

see colour illustration p 127

237

AN EXCEPTIONAL BLUE SAPPHIRE AND DIAMOND RING

The cushion cut 10.47ct sapphire of rare colour and vibrant appearance is set in an elegant ring of platinum with six tapered baguette shoulder diamonds. Gemologist’s report available.

$32,500 - $37,500

see colour illustration p 108

238

A STYLISH PAIR OF CROSSOVER EARRINGS SET WITH BLACK AND WHITE DIAMONDS.

Split row domed design in 18ct white and black finished gold: three rows pavé set with round cut black diamonds, two pavé set with brilliant cut white diamonds. TDW 5.04ct. Gemologist’s report available.

$4,750 - $5,750

see colour illustration p 127

239

A PAIR OF SOLITAIRE DIAMOND EARSTUDS OF 1.34CT TOTAL.

The round modern brilliant cut diamonds assessed as H, SI2/I1 are set in 6 claw studs of 18ct white gold.

$4,250 - $5,250

see colour illustration p 129

242

The cushion cut vibrant blue sapphire of very good colour and actual weight 4.09ct is set in a substantial ring of platinum within a border of round modern brilliant cut diamonds, the split shank and under-rail set with further diamonds. TDW approximately 0.92ct of very good quality. Gemologist’s report available.

$16,000 - $18,000

see colour illustration p 108

243

Flowerhead design in 18ct white finished gold comprising six circlets arranged around a central circlet, all set with round modern brilliant cut diamonds and further enhanced with pierced work. TDW 3.21ct. Gemologist’s report available.

$3,850 - $4,850

see colour illustration p 125

241

The emerald-cut emerald is set in 18ct white and yellow gold within an octagonal border of round modern brilliant cut diamonds, with a further diamond set at each shoulder. Gemologist’s report available.

$4,500 - $5,500

see colour illustration p 129

244 A MINIATURE PORTRAIT BROOCH.

The 50 x 40mm oval portrait in oils of a gentleman in mid-Victorian dress is set in a brooch of yellow gold (tests approximately 18ct), verso a glazed compartment containing three locks of hair.

$500 - $700

see colour illustration

245

$2,500 - $3,000

see colour illustration p 125

AN IMPRESSIVE PAIR OF CHANDELIER DROP EARRINGS SET WITH FANCY YELLOW AND WHITE DIAMONDS.

Each designed as an articulated fall of pear shaped drops and geometric bridges set with lines of round modern brilliant cut white diamonds enclosing free swinging pendeloque cut fancy yellow diamonds. 18ct white finished gold.

TDW 8.64ct. Gemologist’s report available.

$9,500 - $10,500

see colour illustration p 123

246

A CLUSTER RING SET WITH AN OVAL CUT FANCY YELLOW DIAMOND OF 2.02CT.

The light fancy yellow diamond assessed as SI1 is set in a ring of 18ct white finished gold within two separated concentric borders of round modern brilliant cut white diamonds, the triple-split shank set with further lines of diamonds. TDW estimated 2.75ct. Gemologist’s report available..

$10,000 - $12,000

see colour illustration p 123

A LEOPARD MOTIF BANGLE SET WITH RUBIES AND DIAMONDS.

Hinged design in 90% (21.6ct) yellow gold, the upper section of opposed leopard heads clutching a ring, pavé set with round modern brilliant cut diamonds with round cut rubies as “spots”. Gemologist’s report available.

AN EMERALD AND DIAMOND CLUSTER RING OF OCTAGONAL OUTLINE.

240 A PAIR OF DIAMOND CLUSTER EARSTUDS.

AN ATTRACTIVE SAPPHIRE AND DIAMOND CLUSTER RING.

247

A LATTICE PENDANT SET WITH DIAMONDS.

Circular outline in 18ct white finished gold, the open lattice set with a round modern brilliant cut diamond at each intersection and all bordered by a line of diamonds. The diamonds, all round modern brilliant cut of stated quality F, SI and TDW 1.99ct; suspended by an 18ct white gold trace neckchain.

Partridge Jeweller’s Certificate of value.

$1,000 - $2,000

see colour illustration p 119

248 A PAIR OF DROP EARRINGS SET WITH DIAMONDS.

Each designed as a semi-circular hoop with a small flowerhead cluster from which is suspended an articulated leaf pattern ajouré drop. 18ct white gold, all set with round modern brilliant cut diamonds.

TDW 1.13ct. Gemologist’s report available.

$1,750 - $2,250

see colour illustration p 125

249

Hinged circlet design in 18ct white finished gold, the inner and outer leading edges set with rows of round modern brilliant cut diamonds.

TDW 1.26ct. Gemologist’s report available. $2,400 - $2,800

see colour illustration p 125

251

The cushion cut sapphire of exceptionally desirable colour and brilliance, with an estimated weight of 4.95ct is set in a ring of platinum at the centre of an oval cluster of 12 early European cut diamonds of estimated TDW 2.20ct. Gemologist’s report available.

$14,000 - $16,000

see colour illustration p 108

253

$2,000 - $3,000 A RING SET WITH AN EMERALD OF APPROXIMATELY 6.50CT.

The emerald-cut emerald of exceptional brilliance, very desirable colour and unusually clear appearance is set in a ring of 18ct yellow gold, the under bezel and shoulders set with 18 round modern brilliant cut diamonds of fine quality (F/G, VS+) and estimated TDW 1.36ct. Gemologist’s report available.

$35,000 - $44,500

see colour illustration p 108

A REVERSIBLE CROSS PENDANT OF GOLD SET WITH TURQUOISE.

The ornate Latin cross set with turquoise half-beads recto and vari-coloured gold floral and foliate motifs verso. Tests as 15ct.

$650 - $850

254

A RING OF PLATINUM SET WITH THREE ROWS OF DIAMONDS.

The 18 round modern brilliant cut diamonds close channel set in three rows in the upper section of the ring. The diamonds assessed as G/H, SI with an approximate TDW 0.50ct.

11g. Gemologist’s report available.

$1,000 - $1,400

255

A RING SET WITH A GOOD QUALITY MARQUISE CUT DIAMOND OF APPROXIMATELY 1CT.

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

$6,000 - $7,000

A BRACELET AND EARRINGS SUITE PAVÉ SET WITH DIAMONDS.

The bracelet of 18ct yellow gold hinged design, the upper section pavé set with round modern brilliant cut diamonds in white finished gold. The Creole style earrings of matching design. Gemologist’s report available.

A PARTICULARLY GOOD SAPPHIRE AND DIAMOND CLUSTER ESTATE RING.

A PAIR OF CREOLE HOOP EARRINGS SET WITH DIAMONDS.

250

252

256

A RING SET WITH A SOLITAIRE 1.72CT PRINCESS CUT DIAMOND.

The diamond assessed as I-J, SI1 is set in a simple four-claw hand-made ring of 18ct white gold. Gemologist’s report available.

$8,000 - $10,000

see colour illustration p 119

257

A PENDANT SET WITH A SOLITAIRE DIAMOND OF APPROXIMATELY 1.27CT.

The round modern brilliant cut diamond assessed as I, VS2, Good make is set in a simple six-claw mount of platinum. Gemologist’s report available.

$7,000 - $8,000

see colour illustration p 127

IN FOCUS 133

258

A PAIR OF LEOPARD MASK EARRINGS SET WITH DIAMONDS.

18ct white finished gold pavé set with diamonds, the markings created by ajouré against polished black onyx panel backing. Each leopard having a collar enhanced with four black diamonds.

TDW 3.40ct. Gemologist’s report available.

$7,500 - $8,500

see colour illustration p 119. See also following lot

259

Designed as a companion to the previous lot, TDW 1.45ct; the eyes each set with a round cut green tsavorite garnet. Gemologist’s report available.

$3,750 - $4,250

see colour illustration p 119

$1,500 - $2,000

see colour illustration p 125

261

262

263

$850 - $1,250

267

Circular outline in over gilded gold decorated with black, white and blue enamels as a border of turbaned heads in a chain about a central bust wearing a turban and jewel. Some minor bruising and deficiencies. $650 - $850

The heavy domed band of 18ct white gold set with a slightly oval star sapphire cabochon of good colour, showing good asterism. The shoulders each set with a round modern brilliant cut diamond. 30.4g.

$2,250 - $3,250

see colour illustration p 117

268

$2,500 - $3,000 A RING SET WITH AN EMERALD - CUT DIAMOND OF APPROXIMATELY 1.25CT.

The diamond assessed as H, VVS2, Good make is set in 18ct white and yellow gold with two tapered baguette cut shoulder diamonds. Gemologist’s report available.

$6,250 - $7,250 A DIAMOND CLUSTER RING CENTRED BY A CUSHION CUT DIAMOND OF APPROXIMATELY 1.15CT

The central diamond assessed as I-K, VS is Set in 18ct white finished gold, the border and shoulders set with round modern brilliant cut diamonds. TDW approximately 1.51ct. Gemologist’s report available.

$5,000 - $6,000

A MULTISTONE RING OF RETRO DESIGN.

The heavy ring of 18ct rose gold set with a variety of gemstones of various shapes in a semi-geometric arrangement. Milk opal, amethyst, blue sapphire and diamond. 18.4g. Gemologist’s report available.

$1,500 - $1,800

269

A RING AND KEEPER SET CENTRED BY A SOLITAIRE DIAMOND OF APPROXIMATELY 1.10CT.

The round modern brilliant cut diamond assessed as M, VS2 is set in 14ct white and yellow gold in a ring which fits into a keeper set with lines of round modern brilliant cut diamonds on either side. Gemologist’s report available.

$3,750 - $4,250

270

A DOUBLE FLOWERHEAD CROSSOVER RING SET WITH DIAMONDS.

The broad tapered band of 18ct white finished gold set with clusters and lines of round modern brilliant cut diamonds together with close channel set baguette cut diamonds to suit the design. TDW stated 3.17ct. Gemologist’s report available.

$4,500 - $5,500

see colour illustration p 127

AN ETERNITY OR DRESS RING SET WITH PRINCESS AND BAGUETTE CUT DIAMONDS.

18ct white and yellow gold, the slightly tapered band set with 12 Princess and 8 baguette cut diamonds of good quality (G/H, VS) and reported TDW 1.57ct. Gemologist’s report available.

A CHUNKY CONTEMPORARY STYLE RING SET WITH A BLUE STAR SAPPHIRE AND TWO DIAMONDS.

A BLACKAMOOR BROOCH.

264

Freeform lobed circlet design. Signed by the designer and stamped Tiffany & Co, Spain. 17.3g.

A STYLISH NECKLACE SET WITH DIAMONDS.

The black rubber cord with 18ct yellow gold fittings suspending an inverted omega shaped sliding pendant of 18ct satin finished yellow gold centred by a domed oval panel pavé set with round modern brilliant cut diamonds within a Greek key black enamel border.

ELSA PERETTI FOR TIFFANY & CO. AN 18CT YELLOW GOLD “ETERNAL CIRCLE” PENDANT.

A LEOPARD MASK PENDANT.

260

265

271

A RUBY AND DIAMOND CLUSTER RING.

Centred by a pendeloque cut ruby of approximately 1.40ct set in platinum within a shaped border of baguette and brilliant cut diamonds of fine quality ,approximately 1.08ct D-F, mostly VS, on a band of yellow gold. Gemologist’s report available.

$3,750 - $4,750

272

A PENDANT SET WITH A SOLITAIRE DIAMOND OF APPROXIMATELY 0.64CT.

The round modern brilliant cut diamond assessed as I, VS2 is set as a finial to a free swinging bar within an `Omega’ shaped frame of 14ct yellow gold; suspended by a rope link chain also of 14ct yellow gold. Gemologist’s report available.

$2,750 - $3,250

273

A GOOD PAIR OF AQUAMARINE AND DIAMOND DROP EARRINGS.

279

A BUTTERFLY MOTIF BROOCH SET WITH DIAMONDS AND RUBIES.

Each designed as a small diamond set hoop suspending a large pear shaped articulated drop set with a pendeloque cut aquamarine of 10ct within a pavé set border of diamonds. TDW 2.44ct, TAW 20.0ct. Gemologist’s report available.

18ct yellow and white gold, the wings pierced to provide the markings, tipped with rows of round modern brilliant cut diamonds and each set with a single pear shaped ruby on the trailing edge, and a small round cut ruby on each of the antennae. 12.2g.

$7,800 - $8,800

$1,200 - $1,500

see colour illustration p 127

274

A LINE BRACELET SET WITH BAGUETTE AND BRILLIANT CUT DIAMONDS.

Designed as a line of alternating square and rectangular hinged links of 18ct white finished gold. The square links each set with 4 round modern brilliant cut diamonds, the rectangular links set with a line of diamond baguettes bordered by small diamond brilliants. TDW 3.29ct. Gemologist’s report available.

$4,500 - $5,500

see colour illustration p 127

275

A LIZARD MOTIF BROOCH.

Silver/gold doublet set with rose cut diamonds and round cut emeralds and having ruby eyes.

$550 - $750

276

AN AQUAMARINE AND DIAMOND RING.

The 11.7 x 10mm rectangular cut aquamarine is set in a substantial ring of platinum with four close channel set baguette cut shoulder diamonds. Gemologist’s report available.

$6,000 - $7,000

see colour illustration p 127

277

A MULTI-GEMSTONE NECKLACE.

The articulated line of bow shaped 18ct rose gold links with bead and reeded decoration suspends 5 removable drops, each set with a different rectangular cut semi-precious gemstone (amethyst, aqua, citrine etc.) with spare (garnet) drop. 56.4g.

$2,200 - $2,800

see colour illustration p 129

278

A NECKLACE OF PLATINUM AND 18CT YELLOW GOLD SET WITH TWO DIAMONDS.

Long platinum bar links with 18ct yellow gold joiners, the rub-over box set Princess cut diamond at mid-section suspending a two link drop to a larger similarly set Princess cut diamond finial. The diamonds, assessed as F, SI1 having a TDW 0.99ct.

With original box and two spare platinum links.

Total weight 21.8g. Gemologist’s report available. $2,500 - $3,500

280 A CHUNKY RING SET WITH LAPIS LAZULI AND DIAMONDS.

Art Deco influenced stepped geometric design in 18ct yellow gold set with a domed carved panel of lapis lazuli and a row of 4 round modern brilliant cut diamonds at each shoulder. Signed Tambetti. (Tambetti Jewellers, Madison Avenue, New York) 24.4g.

$1,000 - $1,400

281

A DAINTY RING SET WITH DIAMONDS.

Circular domed design in platinum enhanced with ajouré, centred by 4 Princess cut diamonds in a square array, the rest of the dome set with 20 small brilliant cut diamonds. 7g.

$1,000 - $1,400

282

A RING OF CONTEMPORARY DESIGN SET WITH OPALS, DIAMONDS AND TOURMALINE.

The wide cross-over style band of 18ct yellow gold set with four flat black opal panels to a central rub-over set green chrome tourmaline, the sides each oppositely half-set with a row of diamonds. Gemologist’s report available.

$1,200 - $1,800

see colour illustration p 125

283

A RING OF ART DECO DESIGN SET WITH DIAMONDS AND SAPPHIRES.

Marquise outline in 18ct white finished gold with geometric motifs in ajouré, set with square and baguette cut blue sapphires together with small brilliant cut round diamonds.

$800 - $900

284

A COCKTAIL RING SET WITH FANCY YELLOW AND WHITE DIAMONDS.

The ring of 18ct white finished gold open scroll-work to an upper section of two raised and arched bands each set with a row of white diamonds, enclosing a panel of randomly set fancy yellow diamonds of mixed cuts, within a scalloped border of further white diamonds. TDW 4.10ct.Gemologist’s report available.

$4,750 - $5,750

see colour illustration p 129

IN FOCUS 135

ANTIQUES & MODERN DESIGN THURS 8 DECEMBER 6:00PM

This sale will be preceded by an uncatalogued Collectables sale at 4:00pm, also fully illustrated online at webbs.co.nz.

EVENING PREVIEW Thu 1 December

5:30pm - 7:30pm VIEWING

PLEASE NOTE

ALL LOTS ILLUSTRATED ONLINE AT WEBBS.CO.NZ Absentee and phone bids must be registered before 12:00pm on Thursday 8 December.

LOT 559 Antique Japanese Boy and Girl Figures

Fri 2 December

9:00am – 5:30pm

Sat 3 December

11:00am – 3:00pm

Sun 4 December

11:00am – 3:00pm

Mon 5 December

9:00am – 5:30pm

Tue 6 December

9:00am – 5:30pm

Wed 7 December Thu 8 December

9:00am – 5:30pm 9:00am – 12:00noon

BUYER’S PREMIUM A buyer’s premium of 15% will be charged on all

LOT 567 A Pair of Vintage Milo Baughman Armchairs

items in this Antiques and Modern Design sale.

LOT 591 An 18th Century French Aubusson Tapestry

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

IN FOCUS 137

MISCELLANY 300 A TAXIDERMY WALLABY ON A BASE H830 $300 - $500 301 A 19TH CENTURY CASE OF NEW ZEALAND BIRDS including fantail, tui and weka, distressed.

H780 W870 D320 $300 - $500 302 A TAXIDERMY BLACK BEAR standing upright on an simulated grass base. H1450 $4,500 - $6,000 303 A TAXIDERMY BEAVER on a natural habitat mount. H334 L930 $1,500 - $1,800 304 A LEOPARD SKIN HANDBAG H255 W310 $100 - $200 305 A LEOPARD SKIN RUG $300 - $500 306 A TAXIDERMY ELEPHANT’S FOOT faults to nails. H325 $500 - $700 307 AN ANTIQUE GEORGIAN HOUSE DIORAMA the cased and glassed box with a three storey house façade. H620 $300 - $500

308 A 19TH CENTURY SAILOR’S SHELL VALENTINE containing two shell picures in an octagonal oak display case. W340 $1,000 - $1,800 309 A FRAMED MARQUIS WELLINGTON MEDALLION the brass relief medallion in a birds eye maple frame. H235 W210 $150 - $200 310 A WEBB & CORBETT WINSTON CHURCHILL CRYSTAL BUST

by Eric Griffith. Edition 2/250 in original presentation box. H280 $600 - $900 311 A GOOD 19TH CENTURY FRENCH EIGHT DAY CARRIAGE CLOCK strike and repeat with original English twelve jewel platform escapement. Brequet hands and original key. White enamel dial, signed A&J Kleiser, Paris. H195 $1,000 - $1,500 312 A MINIATURE BRASS ANCHOR stamped ‘Lloyd Triestino’. L155 $150 - $180 313 A LALIQUE SMALL GLASS PLATE decorated with repeating dimpled circles.

Signed. D182 $100 - $180 314 A LALIQUE GLASS PIN DISH with central Ibex figure. H85 $100 - $180 315 A LALIQUE GLASS VASE the thick walled vase with a frosted, tapering and twisted fluted body. Signed.

H147 D10 $400 - $600 316 AN ANTIQUE GLASS PAPERWEIGHT with internal white crowned star badge on speckled enamel ground. $120 - $180

322

317 AN IMPRESSIVE JAMES NOWAK MILLEFIORE GLASS CLAM SHELL the large shaped glass shell with an array of colourful inclusions incorporating a variety of glass techniques. H355 W670 D340 $1,200 - $1,800 318 A DECORATIVE PAINTED EUROPEAN TEA CADDY the pine sarcophagus box with hand painted decoration featuring a village scene, flowers and griffins. On brass claw feet.

Slight wear. H150 W210 D150 $450 - $600 319 A PAIR OF EUROPEAN PEASANT BOY BRONZES eating and drinking. Signed La Louette, circa 1900. H270 $400 - $600 320 A EUROPEAN BRONZE FIGURE of a Romantic scholar, 19th Century. H220 $350 - $500 321 AN ART DECO STYLE BRONZE FIGURINE of a young lady on a rocky outcrop with full moon mirror disc on a variegated marble base. Signed Erte, Paris. H540 $600 - $900 322 AN EARLY 19TH CENTURY MAHOGANY GOTHIC BRACKET CLOCK with inlaid detailing, brass lion mask handles and ball feet. Double fusee eight day movement. H500 $5,000 - $7,000 323 A LARGE VICTORIAN COPPER AND IRON POT $150 - $250 324 A POLYCHROME CARVED WOOD JESUS FIGURE ex Vietnamese Catholic church. H660 $200 - $400 325 A POLYCHROME CARVED WOOD MONK FIGURE ex Vietnamese Catholic church. H510 $200 - $400

326 A LARGE POLYCHROME CARVED WOOD SAINT FIGURE gessoed and painted kneeling figure of a robed priest in adoring pose. Some faults.

Ex Vietnamese Catholic church. H860 $600 - $900 327 A LARGE POLYCHROME CARVED WOOD MARY FIGURE gessoed and painted kneeling figure of Mary with gilt floral sprays decorating her cloak. Some faults. Ex Vietnamese Catholic church. H900 $600 - $900 328 A VINTAGE BLACKAMOOR DOLL in tradtional costume on a circular metal stand. Circa 1900. H340 $100 - $200 329 A 19TH CENTURY VENETIAN MADIERA DECANTER the horn shaped glass decanter contained in a gilt bronze frame with spigot and stopper and eight attached glasses. H290 $300 - $400 330 A MILLS NOVELTY CO. ONE AM BANDIT an oak cased fruit machine with bar fruit gum symbol. Restored with some metal corrosion and old borer holes. Serial no.

235824. Circa 1920’s. H640 W405 D415 $1,200 - $1,800

331 A MILLS NOVELTY CO. ONE AM BANDIT an oak cased fruit machine with bar fruit gum symbol. Restored with some metal corrosion and old borer holes. Serial no.

229463. Circa 1920’s. H640 W405 D415 $1,200 - $1,800 332 A PAIR OF VINTAGE NORWEGIAN ICESKATES $70 - $90

338 THREE MILITARY BADGES crossed cannons and rifles with an anchor badge. $30 - $50 339 A SET OF MASONIC REGALIA Windsor Lodge No377, 1953. Members photograph, apron, jewels, bible, history and rule book etc. In original case. $500 - $700

333 A PAIR OF VINTAGE LEATHER SPRINTER’S SHOES $80 - $120

340 A SET OF MASONIC REGALIA Auckland Grand Master sash, apron, certificate and books. $150 - $250

334 AN ASSORTMENT OF VINTAGE GOLFING ITEMS four hickory shaft clubs, goose neck putter and seven other clubs with two trophy mugs and four golf books. $300 - $450

341 ASSORTED AUSTRALIAN NAVY ITEMS two far east blazer badges, HMAS Sydney powder compact, sweetheart badges, photos etc. 1950 - 1960. Seven items. $250 - $350

335 A LARGE VINTAGE RAILWAY LOCOMOTIVE HEADLAMP with photo of train and extra bulbs. W600 D470 $700 - $1,000

342 AN ASSORTMENT OF WWI MILITARY BUTTONS NZ and British brass uniform buttons and a Montgomery badge. $150 - $220

336 A 19TH CENTURY BRITISH EAST INDIA CO.GUN a flintlock blunderbuss with short stock and barrel. Not striking. L520 $200 - $400

343 AN ASSORTMENT OF WWII NEW ZEALAND MILITARY EPHEMERA letters, banknotes, Battalion bulletins etc. $300 - $400

337 A 19TH CENTURY BRITISH BAYONET of Yataghan shape with leather grip. Maori War period. L710 $150 - $250 331

303 327

326

IN FOCUS 139

344 A WWI ‘LIFEGUARD’ COLLAPSABLE PERISCOPE

by F. Duerr & Sons, Manchester. $150 - $220 345 FIVE NEW ZEALAND ENAMELLED BADGES Home and Country’ and WDNZFU with a silver tiki pendant. $150 - $200 346 AN ASSORTMENT OF WWI & II MILITARY ITEMS sleeping bag, hammock, poncho, kit bags, trench spade, leather belts and linen union jack etc in a grey tin truck. $500 - $700 347 A LOT OF NEW ZEALAND WWI & II ITEMS shoulder titles, buttons, cap badges, holster, Egyptian souvenir etc. Approx 20 items. $500 - $700 348 FOUR HISTORICAL AUCKLAND ITEMS a harbour bridge tote bag, harbour board centenary mug, 1942 directory and a 1912 university calendar. $150 - $200 349 AN EARLY NEW ZEALAND BUTTER STAMP L330 $150 - $250

352 A FINE MERE POUNAMU A fine and petite example with a beautifully balanced blade, incised grooves to butt with pierced drilled hole. Small chip to blade. Y15924 H280 W80 $4,500 - $6,000 353 A CARVED PORTAIT OF TE HIRA TE KAWAU

By BS Mc Currach, 1965. A wonderfully carved modern piece in deep relief on wood panel. Detailed carving of the sitter’s moko, costume, weaponary and of native flora. H1180 W640 $1,200 - $1,800

CERAMICS 354 A CROWN LYNN TOBY JUG in green and black colourway. H130 $50 - $80 355 A PAIR OF CROWN LYNN DOG FIGURES in brown colourway. Tiki mark to base H190 W260 $100 - $200 356 A CROWN LYNN AIR NEW ZEALAND STORE FRONT BOTTLE J. Binnes. Sealed. H100 $80 - $120 357 A CROWN LYNN ‘FACES OF EVE’ TABLE LAMP in cream satin finish glaze. H490 $500 - $800

350 A CARVED FOLK ART MAORI BELLOWS L540 $150 - $200 351 A CARVED FOLK ART MAORI WALL PLAQUE D340 $120 - $180

308

358 A LARGE STONEWARE BOWL with black glaze and stone chip decoration. W340 $50 - $80

359 A JOVA RANCICH SQUAT VASE with dribble green glaze. W120 $120 - $180 360 A T.N. LOVATT BROWN GLAZE BOWL W200 $80 - $120 361 A JOVA RANCICH GREEN MILK JUG W155 $200 - $300 362 A JOVA RANCICH MOTTLED POTTERY BOWL with green, blue and ochre glaze. Faults.

W180 $200 - $300 363 A LUKE ADAMS SANCAI GLAZED POT H105 $60 - $80 364 A LUKE ADAMS MOTTLED GLAZE MONEY BOX H92 $120 - $180 365 A LUKE ADAMS ARCHAIC STYLE GREEN GOBLET VASE with relief eagle support. Crack. H145 $120 - $180 366 A LUKE ADAMS POTTERY WALL BRACKET classical style with mask and fluted leaf decoration. H160 $150 - $200

317

367 A BRIAR GARDINER COLOURFUL DRIBBLE GLAZE BOWL W150 $200 - $300

376 A TEMUKA MOTTLED ORANGE TEAPOT H170 $100 - $150

386 A PAIR OF SPARTAN PAINTED BOY AND GIRL FIGURES H75 $120 - $180

368 A LARGE MIREK SMISEK GLAZED POT with dark brown manganese glaze over a fluted ovoid body. Exhibition piece. Signed to base. H325 $1,000 - $1,500

377 A PAIR OF PAINTED POTTERY HALF LADIES for pin cushion or tea cosy. H60 $150 - $200

387 A PAIR OF NEW ZEALAND POTTERY COLLIE DOG FIGURES in ochre glaze, minor chips. H130 $100 - $150

378 A SPARTAN PAINTED SLIP CAST KOALA BEAR H105 $150 - $200

388 A TEMUKA GREEN GLAZE CHAMBER POT W270 $80 - $120

379 THREE SPARTAN PAINTED SANTA CLAUS FIGURES H80 $120 - $180

389 A PAIR OF SPARTAN BISCUIT GEORGIAN STYLE FIGURES H195 $200 - $300

380 THREE SPARTAN PAINTED ANIMAL FIGURES pig, cat and rabbit. H100 $120 - $180

390 A SPARTAN PAINTED 1930’S WOMAN FIGURE H200 $200 - $300

381 A SPARTAN PAINTED COCKATOO H120 $150 - $200

391 A SPARTAN PAINTED 1930’S WOMAN FIGURE H200 $200 - $300

369 A LARGE LEN CASTLE STONEWARE BOWL with grey, green glaze and iron fleck decoration. W410 $300 - $500 370 A DORIS DUTCH WALL VASE SCULPTURE triple layered. Small chips. W160 $40 - $60 371 A TITIAN STUDIOWARE AUCKLAND HARBOUR PLATE with sailboat off Rangitoto in low relief.

W250 $300 - $400 372 A TITAN STUDIOWARE NEW ZEALAND SOUVENIR PLATE with underglaze blue transfer New Zealand scene. Marked ‘Souvenir of New Zealand 1963’. W250 $200 - $300 373 A PLYNINE & CO. AMMONIA BOTTLE W155 $80 - $120 374 A CRUMM STONEWARE SALT GLAZE OVAL MOULD W220 $50 - $70 375 A TEMUKA MAORI WARE LIDDED JAR with trickle glaze and raised Maori motif decoration. Cracks H280 $100 - $200

382 A PAIR OF SPARTAN PAINTED DUTCH BOY AND GIRL FIGURES H125 $150 - $200 383 A PAIR OF SPARTAN PAINTED DUTCH BOY AND GIRL FIGURES H125 $150 - $200

392 A BOSSON’S WALL PLAQUE depicting the Royal Liner ‘Gothic’ below Mitre Peak. Top edges flaking glaze. D360 $400 - $500 393 A BENHAR BLACK DOG FIGURE H140 $100 - $150

384 A PAIR OF SPARTAN PAINTED DUTCH BOY AND GIRL FIGURES H160 $200 - $300

394 A GRIMWADES ‘MAORILAND’ BOWL W160 $80 - $120

385 THREE SPARTAN PAINTED SLIP CAST GNOME FIGURES H75 $100 - $150

395 A POOLE CHARGER BY NICOLA MASARELLA with a polychrome cubist figure on a blue ground. D410 $800 - $1,000

IN FOCUS 141

396 A POOLE ROUND FLORAL VASE satin glaze. Impressed mark, shape 203.

H210 $200 - $300 397 A POOLE AEGEAN PLATE with abstract brown and yellow pattern.

Signed 3A. D205 $50 - $70 398 A HAND DECORATED POOLE VASE signed to base, shape 687. H170 D160 $250 - $350 399 A CLARICE CLIFF BIZARRE ‘INSPIRATION’ BOWL with dribbled floral glaze on a turquiose ground. D180 $2,000 - $2,500

403 A LARGE WEDGWOOD KEITH MURRAYCREAM VASE the tapered and turned shoulder vase with green matt cream glaze. H285 $1,000 - $1,500

409 A ROYAL WORCESTER HANDLED PHEASANT VASE signed James Stinton, 1902. Green mark, 914. H180 W150 $1,200 - $1,800

404 A WEDGWOOD KEITH MURRAY SQUAT GREEN VASE the tapered and turned squat vase with matt green glaze H170 W275 $1,200 - $1,800

410 A ROYAL WORCESTER HIGHLAND CATTLE CUP AND SAUCER signed J. Stinton. Hairline crack. W95 $800 - $1,000

405 A LARGE 18TH CENTURY WORCESTER MUG the first period mug with underglaze blue Chinese landscape painting. Filled crescent mark, circa 1770. Crack to handle.

H150 $800 - $1,000

400 A CLARICE CLIFF BIZARRE PLATE with sunburst geometric pattern in blue, yellow, orange and mauve. D275 $1,500 - $1,800

406 A ROYAL WORCESTER BLUE SABRINA VASE the small baluster shaped vase with carp decoration, 1926. Slight wear to rim. H78 $100 - $200

401 A WEDGWOOD KEITH MURRAY YELLOW VASE the tapered and turned shoulder vase with yellow matt satin glaze. Minor underglaze manufacturing flaw to rim. H190 $700 - $900

407 A ROYAL WORCESTER ‘FOX HUNTER’ FIGURE the porcelain horse and rider, Lt. Col. H.M. Llewellyn. 134/500. Fitted wood base.

H300 $400 - $600

402 A LARGE WEDGWOOD KEITH MURRAY GREEN VASE the tapered and turned shoulder vase with green matt satin glaze. H290 $1,500 - $2,000

408 A ROYAL WORCESTER MOUNTAIN GOAT VASE signed Harry Davis. Green mark, 405.

H120 $2,000 - $2,500

411 A ROYAL WORCESTER SMALL HANDLED HIGHLAND CATTLE VASE signed Harry Stinton, 1903. Puce mark, 2026. Base restored. H120 W80 $800 - $1,000 412 A ROYAL WORCESTER MINIATURE PHEASANT JUG signed J. Stinton. H55 $400 - $600 413 A ROYAL WORCESTER HANDLED HIGHLAND CATTLE VASE signed E. Townsend. Pierced lid. Black mark, 314H. H280 W225 $3,000 - $4,000 414 A LOCKE & CO WORCESTER MITRE PEAK VASE signed W. Stinton. H70 $250 - $350 415 A ROYAL WORCESTER HIGHLAND CATTLE POT POURRI VASE signed E.Townsend. Pierced lid. Black mark, 169A. H160 D90 $1,500 - $1,800 416 A ROYAL WORCESTER HANDLED HIGHLAND CATTLE VASE unsigned 1959. Black mark 2563. Slight restoration to body. H160 W130 $1,200 - $1,600

461

417 A ROYAL WORCESTER HIGHLAND CATTLE LIDDED VASE signed John Stinton. Restored neck. H200 $1,600 - $2,200

418 A ROYAL WORCESTER CYLINDER FRUIT VASE signed H. Ayrton, 1954. Black mark, G42.

Hairline crack to shoulder. H140 $400 - $500

427 A ROYAL WORCESTER LIDDED FLORAL JAR unsigned, circa 1915. Puce mark, 2589.

Cracked lid. H65 $60 - $80

429 A ROYAL WORCESTER POT POURRI VASE with foliate pieced body, 1878. Green mark, inscribed 743. H200 D115 $800 - $1,000

419 A ROYAL WORCESTER GLOBULAR BIRD VASE unsigned. W80 $200 - $300

428 A ROYAL WORCESTER CONICAL FRUIT VASE signed W. Roberts,1960’s. Black mark, G957. H80 $400 - $600

430 A LOCKE & CO TAPERED PHEASANT VASE signed E. Blake. H65 $150 - $250

420 A ROYAL WORCESTER BOTTLE FRUIT VASE signed W. Roberts, 1940’s. Black mark, 2491. H140 $400 - $500

413 415

409 408

411 410

421 A ROYAL WORCESTER CONICAL PHEASANT VASE signed L. Maybury, 1951. Black mark, G957. H80 $400 - $500 422 A ROYAL WORCESTER URN FRUIT VASE signed R. Seabright 1912. Puce mark 1868.

Base restored. H125 $1,200 - $1,500

425 A LOCKE & CO WORCESTER PHEASANT VASE signed E. Blake. H70 $150 - $220

414 412

424 429 418

420 419

422 421

431

426 423

430

428

425

423 A PAIR OF ROYAL WORCESTER BALUSTER PEACOCK VASES signed A. Watkins. Both with minor cracks. H105 $350 - $450 424 A ROYAL WORCESTER FRUIT PLATE signed W. Roberts, 1933. Puce mark. D270 $2,000 - $2,500

417

416

432

427

434 436

439

440 442

438

435 433

437 443

441

445 444

447 446

426 A ROYAL WORCESTER HANDLED PHEASANT VASE signed James Stinton, 1903. Green mark, 998. H160 W90 $1,200 - $1,800

IN FOCUS 143

431 A ROYAL WORCESTER TRUMPET FLOWER VASE unsigned, 1914. Puce mark G923. H150 $400 - $500 432 A ROYAL WORCESTER ROUND FRUIT VASE signed W.Roberts, 1940’s. Black mark, G161. H70 W80 $400 - $500 433 A ROYAL WORCESTER SMALL LOBED FLORAL VASE signed H. 1907. Green mark, 261. H80 $200 - $300 434 A ROYAL WORCESTER ROSES VASE signed R. Austin, 1910. Green mark, F104.

H250 D135 $700 - $900

439 A ROYAL WORCESTER FARMLAND CATTLE PLATE signed Jason Stinton. Hairline cracks.

W240 $400 - $550

447 A ROYAL WORCESTER ROTHWELL CASTLE PLATE signed R. Rushton. W270 $200 - $300

440 A ROYAL WORCESTER BIRD VASE urn shape with printed exotic birds on white ground.1897. Green mark, 964 H185 $300 - $500

448 A ROYAL WORCESTER HIGHLAND CATTLE PLAQUE signed Francis Clark in a gilt frame, circa 1975. H130 W180 $500 - $700

441 A ROYAL WORCESTER BOTTLE FLOWER VASE signed Freeman, 1940’s. Black mark, 2491.

H140 $400 - $500

449 A GRAINGER & CO. SQUAT BIRD VASE with bird and gilt decoration, 1893. Brown mark 545. H75 D100 $200 - $300

442 A ROYAL WORCESTER FLARED CHINOISERIE VASE mountain landscape pattern. H150 $300 - $400

450 A ROYAL DOULTON KINGFISHER LUSTRE VASE the cylindrical vase with bird and butterfly decoration. H250 $500 - $700

435 A ROYAL WORCESTER LOBED ROSE VASE unsigned. Green mark, 1910. H135 $200 - $300

443 A ROYAL WORCESTER WINDSOR CASTLE PLATE signed W. Nicholls. W270 $300 - $400

436 A ROYAL WORCESTER PHEASANT PLATE signed Jason Stinton. W240 $500 - $700

444 A ROYAL WORCESTER CHEPSTOW CASTLE PLATE signed H. Stinton. W220 $700 - $900

437 A ROYAL WORCESTER TALL ROSES VASE signed C. V. White, 1908. Green mark, 248.

H355 W150 $3,000 - $4,000

445 A ROYAL WORCESTER LARGE ROSES JARDINIERE signed Walter Sedgley, 1919. Puce mark, H295. H210 D280 $2,000 - $2,500

438 A ROYAL WORCESTER SMALL HANDLED ROSES VASE unsigned, 1909. Puce mark, 2021. H140 W95 $700 - $900

446 A ROYAL WORCESTER STRATFORD CHURCH PLATE signed R. Ruston. W200 $400 - $500

451 A ROYAL DOULTON WOODLAND BALUSTER VASE signed T. Pyrit. H150 $300 - $400 452 A MINTON POTTERY TILE in wooden frame with blue transfer ‘Bear attack’ pattern. W190 $200 - $250 453 A HARLEY JONES CHINOISERIE FLARED VASE cylindrical with speckled green glaze. H210 $200 - $300 454 A LARGE GEORGE JONES SERVING DISH fan shaped with underglaze blue pattern and gilt edging. Circa 1880. W440 $200 - $300 455 A VICTORIAN DOULTON LAMBETH SANITARY FOUNTAIN traveller’s sample, in two tone brown and cream glaze. H170 $100 - $180

460

456 AN EDWARDIAN MACINTYRE TEA SERVICE with slip trailed cobalt blue swags on a pale blue ground , gilt edges. Minor chips. $400 - $500 457 A DEVON ‘SYLVAN’ FIELDINGS LUSTRE ROSE BOWL on stand with gilt borders and painted butterfly decoration. H210 $150 - $250

461 THREE EARLY 18TH CENTURY ITALIAN MAJOLICA DRUG JARS one for wet drugs with spout and handle the other two cylindrical. Tin glazed with painted blue floral decoration and manganese purple latin labels. H210 $1,500 - $2,200

SILVER

458 A TALL RUSKIN ORANGE LUSTRE VASE of ovoid form, impressed marks to base, circa 1905. H275 $300 - $400 459 A SQUAT PILKINGTON BLUE GLAZE VASE with light blue and green dribble glaze.

Marks to base, circa 1905. H140 $200 - $300 460 AN IMPRESSIVE MID 19TH CENTURY FRENCH GARNITURE comprising two richly gilt ormolu mounted jardineres with a matching central urn vase. All with Sevres style porcelain bowlsdecorated with hand painted scenes of cherubs at play. Jewelled borders on a turquoise ground. Elaborate mounts with folded draps, acanthus leaves, cherub masks, beads and pineapple finials with impressed marks ‘Deniere’. H370 $5,000 - $7,000

462 A VICTORIAN STERLING SILVER COFFEE POT of fat bodied form with domed lid, relief scroll and floral decoration on four scroll feet. William Hunter, London 1859.

Weight 890g. H260 $1,200 - $1,800 463 A GEORGE IV STERLING SILVER TEA SET teapot, sugar and creamer of squat round shape with deeply embossed floral decoration. J. H. C. Lias, London 1823.

Together with sterling tongs. Dent to pot body. $2,000 - $3,000 464 A GOOD VICTORIAN STERLING SILVER FRUIT BASKET with pierced and engraved scroll decoration. The swing handle and ornate edge decorated with relief wheat sheaves and flowers. Walter Knowles, Sheffield circa 1850. Wieght 829g. D320 $1,600 - $2,200

465 A VICTORIAN IRISH STERLING SILVER COFFEE POT the large baluster shaped pot with scroll handle, birds neck spout and raised floral decoration. Domed lid and circular foot.

Richard Sawyer, Dublin 1896. Weight 901g. H290 $3,000 - $4,000 466 AN EARLY VICTORIAN STERLING SILVER TEA SERVICE the elaborate four piece set of compressed melon shape with raised leaf and flute decoration. Coffee, tea, sugar and cream with gilt bowls. J. & A. Savory, London 1839. Weight 2.4kgs. $2,500 - $3,500 467 A VICTORIAN TODDY LADLE with twisted horn handle. Eady, London 1859. L200 $150 - $220 468 A VICTORIAN SILVER MOUNT CARVING SET knife, fork and steel with stag antler handles. John McClory & Son, Sheffield. $250 - $350 469 AN EDWARDIAN SILVER MOUNT CARVING SET two knives, two forks and a steel with stag antler handles. Weir & Sons, Dublin. Silver marks Sheffiled 1905. $350 - $450

465

462 464 466

463

IN FOCUS 145

480

470 A 19TH CENTURY SHEFFIELD PLATE INKSTAND with two cut crystal bottles and candle holder. The tray with floral scroll border on four scroll feet. L225 $200 - $300 471 A GOOD STERLING SILVER LINK BELT comprising eleven cartouche links joined by twelve pair of mask motif links to an ornate figured scroll buckle. Maker R.W, London 1899. L740 $600 - $800 472 A SET OF SIX STERLING SILVER APOSTLE STYLE SPOONS each surmounted by a cast mythical beast with enamelled coat of arms. Maker T.K. & S. Birmingham 1970. Total weight 288g. $700 - $800 473 A GEORGIAN STYLE STERLING SILVER BACHELOR’S CREAM JUG AND SUGAR silver gilt, Birmingham, 1919. $120 - $180

474 A LARGE STERLING SILVER QUAICH with side handles, leaf border on a circular foot. Walker & Hall, Sheffield 1923. W155 $150 - $250

481 A PAIR OF GEORGIAN FIDDLE PATTERN TABLE SPOONS initialed AB to handle. Lias Bros, London 1825. L220 $200 - $300

475 A GEORGIAN SHEFFIELD PLATE DECANTER COASTER W150 $120 - $180

482 A GOOD SET OF VICTORIAN STERLING SILVER CUTLERY Queen’s pattern comprising twelve each of table forks, spoons, desert forks and spoons, teaspoons. Plus twelve matching table and desert knives 1922. Maker George Angell, London 1845-1867. Eighty four pieces, total weight with cloth bags 6.7kg. $4,000 - $5,000

476 A VICTORIAN SILVER PLATE WRITING SET with two inkwells, candle holder set into a tray. H160 W385 $120 - $180 477 AN EDWARDIAN STERLING SILVER SAUCE BOAT with two handles and double ended pourer, matching saucer. Chester 1909. H85 W185 $200 - $280 478 A PAIR OF GEORGIAN TABLESPOONS Eley & Fearn, London 1802. L225 $80 - $100 479 AN EARLY EUROPEAN SILVER SPOON with a fat oval bowl, twisted and pierced stem surmounted with a man in period costume with a bottle and glass. Possibly early 18th century. Unknown mark, remarked Edinburgh 1935. L172 $400 - $600

483 AN ART NOUVEAU WMF SILVER PLATED DISH with semi-clad young girl and cherubs.

Impressed marks. L325 $200 - $300 484 A GEORGIAN STERLING SILVER COFFEE POT the lidded pot, baluster shaped, plain body with raised gadrooned edgings and wrythen finial. Engraved crest. Whipham & Wright, London 1762. Weight 830g.

Later handle. H270 $3,500 - $4,500 480 AN IMPRESSIVE VICTORIAN STERLING SILVER TRAY the shaped oval tray with scroll and scallop shell border and foliate engraved surface.

Central boar crest with ‘Deo Fidens Proficio’ inscribed. William Mammatt & Son, Sheffield 1899. Weight 4.1kgs. W745 D480 $6,000 - $7,000

488

484 486

490

479

486 491 485

487

489

485 A VICTORIAN STERLING SILVER AND CRYSTAL INKWELL of grenade form with crystal nodules and silver mounts. London 1872. H75 $80 - $120 486 FOUR SILVER PLATE CANDLESTICKS with cartouche shaped candlesticks, reeded edges and tapered fluted columns.

H305 $200 - $400 487 A VICTORIAN STERLING SILVER FRUIT BOWL with pierced and engraved floral scroll body and raised borders on four feet.

London 1898. Weight 552g. W230 $900 - $1,200 488 A GEORGE II STERLING SILVER COFFEE POT of tapering form, deeply embossed rococo decoarations, ebonised wood handle and bird finial. William Shaw & Priest, London 1754. Restoration to upper handle and a small dent to body. H265 $3,000 - $4,000 489 A STERLING SILVER THREE PIECE TEASET with plain wide lobed body ebony handle, sugar and creamer. Sheffield 1945. $500 - $800 490 A GEORGIAN STERLING SILVER LIDDED TANKARD the large tankard with all over heavily embossed floral decoration. ‘Thomas’ Bond St. London’ inscribed to base. John Deacon, London 1777. Weight 1kg. H225 $3,000 - $4,000 491 A PAIR OF ANTIQUE SILVER PLATE WINE COASTERS D145 $200 - $300

ORIENTAL 492 AN IMPERIAL PERIOD RUSSIAN SILVER GILT AND ENAMEL ‘COSSACK’ BELT thirty three twin domed links with cartouche shape central buckle secured by a scimitar. Each link marked in cryllic ‘AD’ 84 Zolotnik. Circa 1900. L715 $6,000 - $7,000 493 AN CHINESE OR JAPANESE SILVER TEAPOT with scroll handle and raised floral decorated panels on a circular foot.

Unmarked. L200 $600 - $800 494 A JAPANESE MEIJI STERLING SILVER TEAPOT with raised bamboo decoration on body and bamboo moitf handle and finial.

Stamped KH, Kobe Sterling. L270 $1,500 - $2,000 495 A CHINESE SILVER BELT comprising seventeen pearl shell medallions linked together each with a cut out Chinese character applied. Oval character buckle. L950 $400 - $600 496 AN ORIENTAL SILVER BELT the mesh belt with pierced oval dragon motif buckle. L840 $150 - $300 497 A PAIR OF CHINESE SILVER CUP HOLDERS with tray, dish and cover. Incised floral, scroll and character decoration. L110 $120 - $180 498 A CHINESE SILVER HAND WARMER the double lobed body with relief courtesan interior scenes, pierced lid and double swing handles. Marks to base. L130 $1,000 - $1,400

481

499 A CHINESE BRONZE INCENSE BURNER the plain round body on tripod feet. Marks to the base. H75 W150 $900 - $1,200 500 A 19TH CENTURY CHINESE SHORT SWORD with double fullered steel blade. The shagreen scabbard covered with ornate scroll engraved brass mounts. Some losses.

L700 $150 - $250 501 A CHINESE RED GLAZED BOTTLE VASE in Kang His style. H180 $600 - $800 502 A CHINESE BLUE AND WHITE DOU VASE The lidded vessel of globe form on a long footed base. Decorated with dragons amidst clouds and chrysanthemums.

H320 D210 $1,600 - $2,000 503 A CHINESE ARCHAIC STYLE BALUSTER VASE four sided with underglaze Kylin and pearl decoration H150 $300 - $500 504 A JAPANESE MEIJI KUTANI BALUSTER VASE painted with a procession of boy musicians. Gilt floral and cloud borders.

Signed. H350 $600 - $800

IN FOCUS 147

505 A CHINESE POLYCHROME FEMALE FIGURE of a reclining courtesan with floral enamel decoration. L130 $300 - $500

507 A PAIR OF CHINESE BLUE BOTTLE VASES H240 $150 - $250 508 A CHINESE PALE CELADON VASE with pale bubble glaze over incised floral .

Blue Wan Li mark to base. H125 $450 - $600

506 A GOOD QUALITY CHINESE DOUBLE GOURD VASE with underglaze blue figures in a landscape decoration. H330 $2000 - $3,000 504 502

506

512 A CHINESE FAMILLE NOIRE BALUSTER VASE depicting birds and blossoms on a black ground. Six character Kang Hsi mark H415 $1,200 - $1,600

503

505

514 A CHINESE WHITE “JADE” GUAN YIN FIGURE the carved figure standing with hand out and holding beads. H270 $1,000 - $1,500

512

513 509

514 516

510

517

508

511

518

510 AN ANTIQUE TIBETAN BRONZE BUDDHA FIGURE with four arms, raised scroll and dragon decoration seated on a lotus plinth. H220 $600 - $900 511 A CHINESE SQUARE FORM VASE with a celadon glaze. H115 $300 - $500

507

501

509 A CHINESE POLYCHROME BALUSTER VASE finely painted phesant amongst blossoms on a white ground. Mark to base. H210 $600 - $800

515

519

520

513 A CHINESE GILT BRONZE SEATED BUDDHA FIGURE seated with gesturing benign expression.

H310 $3,000 - $4,000 515 A CHINESE STAINED HORN HOTEI BUDDHA seated with benign expression. H80 $700 - $900 516 A CHINESE BRONZE OCTAGONAL CENSER decorated with Kylin in low relief and supported on three lion mask legs. H220 $400 - $600

519

517 A CHINESE MOTTLED BALUSTER VASE the shouldered vase with long neck and red and green spotted glaze. Blue marks to base. H235 $1,200 - $1,800 518 A PAIR OF CHINESE BALUSTER VASES decorated with polychrome floral still life and Chinese characters. One vase damaged. H430 $550 - $650 519 A LARGE MEIPING CHINESE VASE with yellow glaze, pine tree, crane and chrysanthemum decoration. Signed to base. H550 D350 $1,000 - $1,500 520 A LARGE CHINESE CRACKLE GLAZE VASE decorated with four panels of playing Kylin in underglaze blue on a grey crackle glaze body. Low relief black key and leaf borders. Four character mark. H450 $500 - $800

524 A CHINESE MYTHICAL BEAST HARDSTONE CARVING the brown and grey variegated stone foo dog style figure lying in a curled position.

Features an internal water bubble. H50 L90 D75 $1,000 - $1,500 525 A LARGE CHINESE POLYCHROME BALUSTER VASE heavily decorated with famille rose flowers and dragon. Foo dogs and dragons to the neck. H445 D200 $400 - $600 526 A CHINESE BRONZE INCENSE BURNER the round burner with bamboo edging and feet withrelief tree decoration. Marks to base. H80 W133 $700 - $900 527 SIX CHINESE TEK SING BOWLS W75 $120 - $180 528 A CHINESE EXPORT PIERCED FLORAL PLATE W220 $160 - $220

521 A CHINESE POLYCHROME ENAMEL BOWL with painted figures on a pale celadon ground. W165 $450 - $550

529 NO LOT

522 A CHINESE DARK HORN LIBATION CUP with entwined dragon and pearl motif.

H90 $600 - $800

530 A CHINESE BROWN TERRACOTTA TEAPOT of round form with bamboo decoration and rat finial. W185 $80 - $120

523 A GOOD QUALITY POLYCHROME INCENSE BURNER possibly Ming period. The cylindrical thick walled body with underglaze polychrome dragon and cloud decoration on three paw feet. Six character mark to base. H165 W185 $5,000 - $10,000

531 A CHINESE BROWN TERRACOTTA TEAPOT of square form and dragon decoration.

Mark to base. W150 $120 - $180 532 A CHINESE GREEN HARDSTONE KWAN YIN HEAD fluorite quartz head of a goddess. H210 $400 - $600

533 A CHINESE GREEN HARDSTONE LOTUS BUD the fluorite quartz lotus bud censor with entwined leaves, small buds and blossom.

Carved wood stand. H200 $200 - $400 534 A PAIR OF CHINESE TEK SING BOWLS with underglaze blue, grey pattern and barnacle traces. W280 $300 - $400 535 A PAIR OF CHINESE LIDDED BALUSTER JARS with painted enamel dragons chasing flaming pearls. Lid finial repaired. H310 $400 - $500 536 A CHINESE BAMBOO SCRIBES POT AND BRUSH STAND L155 $180 - $220 537 A CHINESE GREY JADE TABLE WEIGHT of slim oval form with pine tree motif. L95 $650 - $850 538 A CHINESE JADE TRIPLE BAMBOO CARVING of bamboo sections with pink and orange tones on a wood stand. L180 $1,200 - $1,500

523

IN FOCUS 149

539 A CHINESE SCRIBES INKSTONE in a dark Rosewood oval box. Stone inscribed with poem and archaic characters. W210 $750 - $950 540 A PAIR OF CHINESE IVORY BUDDHIST MONK FIGURES with ink hairwork details, standing on silver inlaid champleve cloisonne stands.

H160 $450 - $600 541 A CHINESE LUNA HARE BROWN HARDSTONE CARVING L58 $200 - $400 542 A SMALL JAPANESE LATE MEIJI SATSUMA VASE decorated with lohan and dragons. Signed to base. H100 $300 - $400 543 A MEIJI JAPANESE CLOISONNE TAPERED VASE of cylindrical form with patterns of birds, trees and flowers on a black ground.

Repaired. H180 $100 - $180 544 A JAPANESE MEIJI IVORY ANIMAL GROUP CARVING depicting a troupe of monkeys on a log bridge over a carved wood river and rock stand. Repairs L440 $400 - $600

545 A JAPANESE MEIJI IVORY ANIMAL GROUP CARVING depicting linked lions, tigers, monkeys and elephant on a black wood stand. Repairs L290 $500 - $700 546 A CHINESE BROWN AGATE SNUFF BOTTLE with high relief ochre sage with bat and pine tree. Coral and Brass stopper. H65 $100 - $200 547 A CHINESE MEI PING SNUFF BOTTLE with celadon glaze over a raised floral decoration. H75 $100 - $200 548 A CHINESE REVOLVING SNUFF BOTTLE the under glaze blue bottle with a revolving cylinder and jade bead stopper.

H80 $100 - $200 549 A CHINESE BALUSTER SNUFF BOTTLE with underglaze blue warrior figure decoration. H67 $100 - $200

551 NO LOT 552 A GOOD CHINESE HARDSTONE FO DOG the mottled grey and brown dog with snarling expression. L60 $300 - $400 553 AN ANTIQUE LACQUER THAI BUDDHA maroon lacquer finish, seated position with contemporary stand. H790 $3,500 - $4,500 554 AN ANTIQUE CHINESE ROSEWOOD BARREL SEAT with inlaid mother of pearl floral pattern.

Faults. H450 $150 - $250 555 AN ORNATE TRADITIONAL CHINESE JACKET AND SKIRT embroidered in silver thread with low relief coloured dragons and phoenix over red silk. Tin carry case. $700 - $900 556 A 19TH CENTURY CHINESE MANDARIN COSTUME comprising two richly embroidered and woven robes with dragons, clouds, bats, pearls, fungus and symbols etc. Black silk pants and shoes. $500 - $700

563

569

550 A CHINESE FLASK SNUFF BOTTLE with underglaze blue and pink floral decoration. H63 $100 - $200

562

566

557 FOURTEEN EMBROIDERED ORIENTAL TEXTILE PATCHES antique patches cut out from Kimono’s. $150 - $250

563 A VINTAGE WEST GERMAN SUNBURST WALL CLOCK D300 $100 - $200

558 A JAPANESE EMBROIDERED SILK BED COVER with fighting cockerals in a centre field of wisteria leaves, entwined vines and butterflies. W1700 D1700 $1,500 - $2,000

564 A WELTRON YELLOW GLOBE STEREO $200 - $300

559 ANTIQUE JAPANESE BOY AND GIRL MODEL FIGURES in standing pose, the arms, legs and heads in lacquer and glass eye inserts. The bodies in wood and wicker. Circa 1900.

H1090 $1,000 - $1,500

MODERN DESIGN 560 A KOSTA BODA ART GLASS VASE orange flame and lava vase. Signed. H270 $100 - $200 561 A LARGE ART GLASS VASE with five sections of blended colours. H320 $100 - $150 562 A MURANO ART GLASS ANGEL FISH

by Oscar Zanetti. The slender glass fish with colourful inclusions and mounted on a black glass base. H414 W300 D95 $800 - $1,200

565 A PAIR OF VINTAGE H. W. KLEIN BROWN LEATHER ARMCHAIRS with curved shell body and buttoned cushion seats on a five star base. Some wear to the base. H1010 $1,800 - $2,200 566 A VINTAGE DANISH TEAK DINING SUITE comprising an extendable table and six woven cord chairs. Two chairs similar but not an exact match. L1630 D850 $1,500 - $2,000

570 A VINTAGE NEW ZEALAND WOODS COFFEE TABLE the rectangular table with inlaid woods.

H380 W1150 D400 $200 - $300 571 A VINTAGE TEAK CHEST OF DRAWERS with six drawers and recessed handles on a four point base. Front legs need reattaching. H730 W1830 D420 $800 - $1,000 572 A VINTAGE BOOMERANG TABLE with a teak top and three black legs. Small chip to base. H405 W800 $100 - $200 573 A VINTAGE WHITE OAK FREE FORM COFFEE TABLE with glass top and shelf. H380 W1110 $200 - $300

567 A PAIR OF VINTAGE MILO BAUGHMAN ARMCHAIRS for Directional. Square section body with solid steel exposed frame and chartreuse upholstery. H700 W770 D820 $2,500 - $3,500

574 A FRENCH MID 20TH CENTURY METAL TABLE with metal legs, green composite top and single frieze drawer. Establishment Hermant Burxelles. H760 W1530 D870 $350 - $500

568 A PAIR OF GEORGE NELSON COCONUT CHAIRS

by Vitra 2003. H830 W1020 D830

INTERIOR DECOR

$3,000 - $4,000 569 A VINTAGE TEAK CHEST OF DRAWERS the three drawer chest with recessed handles and inlaid detailing. Fault to front leg. H710 W930 D390 $300 - $400

575 AN 18TH CENTURY LONGCASE CLOCK signed Josh Kember Shaw. The brass dial, chapter ring and spandrels with rococo engraved and cast decoration. The plain Georgian style case in oak. Works require servicing. H1950 W450 D240 $1,200 - $1,800

567 565

IN FOCUS 151

576 A WILLIAM IV MAHOGANY TWIN PEDESTAL SIDEBOARD inverse breakfront, panelled doors with reeded columns. The upstand back with foliate carved decoration and three frieze drawers. H1260 W1830 D620 $1,200 - $1,800 577 A RUSSET LEATHER WINGBACK SOFA beech legs with stretcher, scroll carved detailing. English circa 1900. Worn seats.

H950 W1810 D850 $1,800 - $2,200 578 NO LOT 579 A PAIR OF VERSACE TABLE LAMPS in Neo-classical form in brass and black finish, some faults. H800 $200 - $400 580 A 19TH CENTURY OAK SIDEBOARD with carved details to the upstand back, frieze and cabriole legs. H1100 W1400 D570 $1,000 - $1,200 581 AN ANTIQUE MAHOGANY LONGCASE CLOCK a plain case, painted dial with floral spandrels. Signed J. Noaks, early 19th century. H1985 W500 D250 $1,000 - $1,500 582 AN EARLY 19TH CENTURY MAHOGANY DISPLAY CABINET raised on late Victorian cabriole ball and claw feet. H1860 W1230 D400 $1,500 - $2,000

583 A 19TH CENTURY MAHOGANY DUMB WAITER the two tiers with turned supports. H980 W1300 D600 $600 - $900 584 A PAIR OF 19TH CENTURY FRENCH SALON CHAIRS in ebonised finish and distressed green velvet upholstery. $800 - $1,000 585 A LATE VICTORIAN MAHOGANY SECRETAIRE BOOKCASE the pediment, drawer front and cupboard doors with carved detailing. Adjustable shelves to the glazed upper section. H2490 W1230 D500 $800 - $1,200 586 A 19TH CENTURY MAHOGANY CHEVAL MIRROR of large form, three frieze drawers and turned uprights. Old repairs and faults.

H940 W820 $300 - $500 587 A PAIR OF REGENCY MAHOGANY ARMCHAIRS with brass inlay, leather drop seats and sabre legs. Old repairs. $800 - $1,200 588 A LATE VICTORIAN MAHOGANY CAMPAIGN DESK the cross stretcher legs opening with the top to reveal a leather fitted interior compendium. H800 W620 D620 $500 - $700

589 A LATE 19TH CENTURY OAK METAMORPHIC DUMBWAITER in Jacobean style. The two open oak shelves with barley twist supports, below two drawers. The top opening t.o form a shelved upstand back with a marble top H1000 W1140 D420 $800 - $1,200 590 AN 18TH CENTURY FRENCH AUBUSSON TAPESTRY depicting birds in a landscape of trees, pavillions and shrines with floral borders.

H820 W1540 $5,000 - $7,000 591 AN 18TH CENTURY FRENCH AUBUSSON TAPESTRY depicting a classical romantic scene of youthful courting bourgeois figures within a garden setting. Framed by a fine floral border. Derived from Jean-Baptiste Huet’s ‘Genteel Amusement Series’. The quality of the tapestry is shown in the characters definite features, the splendid depth of the background and the meticulously detailed shading. Circa 1770. H2550 W2150 (see Illustration page 88) $30,-000 - $40,000 592 A GEORGIAN MAHOGANY BREAKFRONT SIDEBOARD with satinwood shell inlays to the front and upstand back. Lion ring handles to the drawers. H1010 W1600 D610 $1,800 - $2,200 593 A REGENCY D-END PEDESTAL DINING TABLE with brass inlays and extension leaf. L2150 W1010 $600 - $1,000 403

568

402

404

401

573

594 A HARLEQUIN SET OF TEN GEORGE III DINING CHAIRS in mahogany with Sheraton inlaid ovalpanels to the blade backs. Some losses. $1000 - $2,000 595 A REGENCY FOUR TIER WHAT NOT with a single drawer to the base, on brass castors. H1450 W530 D450 $800 - $1,200 596 A GEORGIAN MAHOGANY SPLATBACK SIDE CHAIR with pierced back and drop in seat. $150 - $250 597 A GEORGIAN MAHOGANY SPLATBACK SIDE CHAIR with over stuffed seat. $250 - $350 598 A VICTORIAN BRASS WARMING PAN with a turned wood handle. $80 - $120 599 A 19TH CENTURY COPPER AND BRASS COAL BUCKET $150 - $250 364

600 A PAIR OF BRASS AND IRON FIREDOGS with seahorse decoration. $150 - $300

602 A SMALL ANTIQUE OAK COFFER the front panel with carved decoration and exposed iron lock. H500 W890 D370 $400 - $600 603 A WATERFORD FIVE BRANCH CUT CRYSTAL CHANDELIER the swag branches deocrated with drops.

H500 $1,200 - $1,600 604 A GEORGE III MAHOGANY CHEST ON CHEST with dentil cornice, cockbeaded drawers and bracket feet. Later brass swan neck handles, some wear and deterioration.

H1790 W1110 D540 $1,500 - $2,000 605 A LATE GEORGIAN OAK FALL FRONT BUREAU with filled interior and well. Two short and two long drawers above bracket feet.

Replaced hardware. H1030 W910 D510 $1,500 - $2,000 606 AN INDONESIAN STORAGE TRUNK on a decorative wheeled base. H770 W1180 D490 $300 - $450

607 A EUROPEAN PINE DOMED TOPPED TRUNK with painted decoration. H600 W1110 D640 $300 - $450 608 A 19TH CENTURY FRENCH PINE STUDENTS DESK with lift top lid and single drawer. H820 W630 D460 $300 - $500 609 AN ENGLISH BEECH CHILD’S CHAIR with bobbin turned decoration and caned seat. H930 $150 - $200 610 A RUSTIC DINING TABLE with brown paint finish on square section legs. H750 W1660 D640 $650 - $800 611 A 19TH CENTURY MAHOGANY DESK with turned and carved legs, upstand back and brass castors. H730 W1070 D620 $600 - $900

604

601 A PAIR OF JACOBEAN STYLE BELLOWS L400 $100 - $200 595

588

IN FOCUS 153

612 AN ENGLISH STEEL AND WOOD CABINET with two drawers above two doors, the internal shelving swivelling outwards.

Circa 1930. H1060 W730 D470 $2,000 - $2,500 613 AN ART DECO SHOP DISPLAY COUNTER with decorative curved and veneered sides, glazed front and top with mirrored drawers to rear. Ex Smith & Caughey. H1000 W1380 D760 $800 - $1,200 614 A 19TH CENTURY CAST IRON OUTDOOR TABLE with a round weathered terrazzo top. H720 D550 $500 - $800 615 AN UNUSUAL IRON AND STEEL STAND with a cast top by TJ. Griffiths, Liverpool.

H800 D360 $300 - $400

617 A 19TH CENTURY PRINT OF A SOLDIER AND HORSE after E, Detaille, 1876. In period frame.

H800 W630 $80 - $150

621 A TERRIER OIL ON CANVAS PORTRAIT - GEORGE ARMFIELD with two terriers and a cornered fox in a barn. Ornate gilt frame. H530 W640 $800 - $1,200

618 A VICTORIAN PASTEL YOUNG GIRL PORTRAIT the girl with toy whip and toy horse.

Unsigned. H330 W220 $100 - $200

622 A VICTORIAN OIL ON BOARD OLD LANDSCAPE with ruins, in a gilt wood frame. Signed S. Hunt?. H410 W620 $100 - $200

619 A VICTORIAN OIL ON CANVAS HARBOUR SCENE in period gilt frame, some faults. H760 W1090 $300 - $500

623 A PAIR OF ANTIQUE CLASSICAL WOMAN ENGRAVINGS sepia stipple finish in an oval gilt frame.

H370 $100 - $200

620 A TERRIER OIL ON CANVAS PORTRAIT - GEORGE ARMFIELD in ornate gilt frame. H400 W430 $800 - $1,200

624 A VICTORIAN OIL ON CANVAS WOMAN PORTRAIT the young woman in an ornate gilt frame.

H930 W770 $800 - $1,000 625 A WATERCOLOUR COASTAL SCENE - DOUGLAS PINCHER H200 W370 $100 - $150

616 A VICTORIAN OIL ON BOARD OLD MAN PORTRAIT of an old bearded man in ornate gold frame. Unsigned. H830 W650 $200 - $400 621

302 587

626 A PAIR OF EUROPEAN CASTLE SCENES - A.F. AFFLECK H510 W430 $100 - $200

576

627 A 19TH CENTURY EUROPEAN WATERCOLOUR SCENE H340 W260 $150 - $200

636 AN OIL ON BOARD FLORAL STILL LIFE in period oak fframe H690 W530 $200 - $400

628 AN OIL ON CANVAS YOUNG WOMAN PORTRAIT H450 W350 $100 - $200

637 AN OIL ON BOARD LANDSCAPE J.A. RASMUSSEN H480 W600 $200 - $400

629 A ‘SHOWER OF BODY PARTS: KIWI BACON’ ENGRAVING - MARY MCINTYRE H300 W400 $300 - $350

638 KUNICHIKA – SAMURAI PORTRAIT combined aratame and date seal 1865. An actor playing a samurai H550 W430 $180 - $250

630 HAMLET’ ACRYLIC ON BOARD ALAN TAYLOR H400 W290 $350 - $500

639 A HAND KNOTTED SAROOK WOOL RUNNER of repeating pattern on a cream ground.

L5500 W1200 $650 - $800

631 A WOMAN READING INK DRAWING - TOSS WOOLLASTON H370 W260 $1,000 - $1,500

640 A TURKISH WOOL KELIM RUG with red and blue diamond guls. L2600 W1800 $200 - $400

632 MARKARITA AKAPITA OF OHINEMUTU OIL ON BAORD PORTRAIT - C.T. LAUGESEN H335 W245 $150 - $200

641 A FINE ISFAHAN WOOL AND SILK CARPET Kurk wool on silk warps from Serekian’s workshop. Central panel foliate design on a cream ground with rich red and blue borders. L3300 W2060 $9,000 - $11,000

633 MANGROVES AT MATAPOURI INK DRAWING - ERIC LEE JOHNSON purchased at Webbs Galleries sale of his collection, 1982. H270 W360 $350 - $500 634 AN OIL ON BOARD FLORAL STILL LIFE - T. BERGER in gilt frame. H840 W700 $400 - $600

641

643 A HAND KNOTTED WOOL KASHAN SMALL CARPET of stylised foliate design on a red ground.

L3480 W2430 $1,000 - $1,500 644 A HAND KNOTTED WOOL RUG of traditional design, three medallions in reds and indigo. L2000 W1350 $200 - $400 645 AN ANTIQUE WOOL KILIM in subtle muted colours. L3020 W1910 $200 - $300 646 A HAND KNOTTED WOOL RUNNER with multi coloured diagonal stripe decoration. L3760 W1040 $250 - $400

642 A HAND KNOTTED WOOL RUG of three medallions in browns and navy blue. L2000 W1100 $150 - $250

635 AN OIL ON CANVAS YOUNG WOMAN PORTRAIT H950 W660 $200 - $400 590

IN FOCUS 155

CONDITIONS OF SALE FOR BUYERS 1. BIDDING. The highest bidder shall be the purchaser subject to the auctioneer having the right to refuse the bid of any person.

Should any dispute arise as to the bidding, the lot in dispute will be immediately put up for sale again at the preceding bid, or the auctioneer may declare the purchaser, which declaration shall be conclusive. No person shall advance less at a bid than the sum nominated by the auctioneer, and no bid may be retracted.

B. To rescind the sale of that or any other lot sold to the purchaser at the same or any other auction.

2. RESERVES. All lots are sold subject to the right of the seller or her/his agent to impose a reserve.

C. To resell the lot by public or private sale. Any deficiency resulting from such resale, after giving credit to the purchaser for any part payment, together with all costs incurred in connection with the lot shall be paid to Webb’s by the purchaser. Any surplus over the proceeds of sale shall belong to the seller and in this condition the expression ‘proceeds of sale’ shall have the same meaning in relation to a sale by private treaty as it has in relation to a sale by auction.

3. REGISTRATION. Purchasers shall complete a bidding card before the sale giving their own correct name, address and telephone number. It is accepted by bidders that the supply of false information on a bidding card shall be interpreted as deliberate fraud.

D. To store the lot whether at Webb’s own premises or elsewhere at the sole expense of the purchaser and to release the lot only after the purchase price has been paid in full plus the accrued cost of removal storage and all other costs connected to the lot.

4. BUYER’S PREMIUM. The purchaser accepts that in addition to the hammer or selling price Webb’s will apply a buyer’s premium of 12.5% for the Important Paintings and Contemporary Art sale and Fine Jewellery and Watches sale, and a buyer’s premium of 15% for the Antiques and Modern Design, (unless otherwise stated), together with GST on such premiums.

E. To charge interest on the purchase price at a rate 2% above Webb’s bankers’ then current rate for commercial overdraft facilities, to the extent that the price or any part of it remains unpaid for more than seven days from the date of the sale.

5. PAYMENT. Payment for all items purchased is due on the day of sale immediately following completion of the sale.

If full payment cannot be made on the day of sale a deposit of 10% of the total sum due must be made on the day of sale and the balance must be paid within 5 working days.

Payment is by cash, bank cheque or Eftpos. Personal and private cheques will be accepted but must be cleared before goods will be released. Credit cards are not accepted.

6. LOTS SOLD AS VIEWED. All lots are sold as viewed and with all erros in description, faults and imperfections whether visible or not. Neither Webb’s nor its vendor are responsible for errors in description or for the genuineness or authenticity of any lot or for any fault or defect in it. No warranty whatsoever is made. Buyers proceed upon their own judgement.

Buyers shall be deemed to have inspected the lots, or to have made enquiries to their complete satisfaction, prior to sale and by the act of bidding shall be deemed to be satisfied with the lots in all respects.

7. WEBB’S ACT AS AGENTS. They have full discretion to conduct all aspects of the sale and to withdraw any lot from the sale without giving any reason.

8. COLLECTION. Purchases are to be taken away at the buyer’s expense immediately after the sale except where a cheque remains uncleared. If this is not done Webb’s will not be responsible if the lot is lost, stolen, damaged or destroyed.

Any items not collected within seven days of the auction may be subject to a storage and insurance fee. A receipted invoice must be produced prior to removal of any lot.

9. LICENCES. Buyers who purchase an item which falls within the provisions of the Protected Objects Act 1975 or the Arms Act 1958 cannot take possession of that item until they have shown to Webb’s a license under the appropriate Act. 10. FAILURE TO MAKE PAYMENT. If a purchaser fails either to pay for or take away any lot, Webb’s shall without further notice to the purchaser, at its absolute discretion and without prejudice to any other rights or remedies it may have, be entitled to exercise one or more of the following rights or remedies: A. To issue proceeding against the purchaser for damages for breach of contract.

F. To retain possession of that or any other lot purchased by the purchaser at that or any other auction and to release the same only after payment of money due.

G. To apply the proceeds of sale of any lot then or subsequently due to the purchaser towards settlement of money due to Webb’s or its vendor. Webb’s shall be entitled to a possessory lien on any property of the purchaser for any purpose while any monies remain unpaid under this contract.

H. To apply any payment made by the purchaser to Webb’s towards any money owing to Webb’s in respect of any thing whatsoever irrespective of any directive given in respect of, or restriction placed upon, such payment by the purchaser whether expressed or implied.

I. Title and right of disposal of the goods shall not pass to the purchaser until payment has been made in full by cleared funds.

Where any lot purchased is held by Webb’s pending i. clearance of funds by the purchaser or ii. completion of payment after receipt of a deposit, the lot will be held by Webb’s as bailee for the vendor, risk and title passing to the purchaser immediately upon notification of clearance of funds or upon completion of purchase. In the event that a lot is lost, stolen, damaged or destroyed before title is transferred to the purchaser, the purchaser shall be entitled to a refund of all monies paid to Webb’s in respect of that lot, but shall not be entitled to any compensation for any consequent losses howsoever arising.

11. BIDDERS DEEMED PRINCIPALS. All bidders shall be held personally and solely liable for all obligations arising from any bid, including both ‘telephone’ and ‘absentee’ bids. Any person wishing to bid as agent for a third party must obtain written authority to do so from Webb’s prior to bidding.

12. ‘SUBJECT BIDS’. Where the highest bid is below the reserve and the auctioneer declares a sale to be ‘subject to vendor’s consent’ or words to that effect, the highest bid remains binding upon the bidder until the vendor accepts or rejects it. If the bid is accepted there is a contractual obligation upon the bidder to pay for the lot.

13. SALES POST AUCTION OR BY PRIVATE TREATY. The above conditions shall apply to all buyers of goods from Webb’s irrespective of the circumstances under which the sale is negotiated.

14. CONDITION OF ITEMS. Condition of items is not detailed in this catalogue. Buyers must satisfy themselves as to the condition of lots they bid on and should refer to clause six. Webb’s are pleased to provide intending buyers with condition reports on any lots.

BIDDING SLIP FOR ABSENTEE BIDDERS ON LOTS IN SALE 330 Please bid on my behalf at the above sale for the following lots up to the prices recorded. These bids are to be executed as cheaply as is permitted by other bids or reserves if any.* I agree to comply with the Conditions of Sale as printed in the catalogue. I understand that in the case of a successful bid on items in the Important Paintings and Contemporary Art and Fine Jewellery and Watches sales a buyer’s premium of 12.5% will be added to the hammer price and that GST is charged on the premium, and that in the case of a successful bid on items in the Antiques and Modern Design sales, a buyer’s premium of 15% will be added to the hammer price and that GST is charged on the premium. On major lots customers may prefer to bid by telephone. Please enquire regarding this service which Webb’s carry out at no charge.

LOT NO.

CATALOGUE DESCRIPTION

BID*

MR MRS MISS MS (PLEASE CIRCLE) FIRST NAME

SURNAME/COMPANY

HOME PHONE

BUSINESS PHONE

MOBILE

FACSIMILIE

POSTAL ADDRESS CONTACT NAME EMAIL ADDRESS ARRANGEMENTS FOR PAYMENT: I agree to pay immediately on receipt of notice from Webb’s of my successful bid. Payment will be by cash cheque or bank transfer. I will arrange for collection of my purchases or I agree to pay for packing and freight costs incurred by Webb’s in having any purchases forwarded to me. In order to avoid delay in clearing purchases buyers who are unknown to us are advised to make arrangements for payment before the sale or for references to be supplied. If such arrangements are not made cheques will be cleared before purchases are delivered. * Webb’s will do its utmost to carry out bidding instructions for absentee bidders.

It will not be responsible however if circumstances prevent it from doing so.

18 Manukau Rd Newmarket | PO Box 99251 Auckland 1149 New Zealand Ph: 09 524 6804 / Fax: 09 524 7048 | auctions@webbs.co.nz / www.webbs.co.nz

IN FOCUS 157

PRICES REALISED SALE 328 (4 - 6 OCTOBER 2011) A2 ART, FINE JEWELLERY AND WATCHES, ANTIQUES AND MODERN DESIGN LOT

$

LOT

$

LOT

$

LOT

$

LOT

$

0001 0002 0004 0005 0006 0007 0009

1,000 5,500 6,000 1,200 300 1,800 4,000

0066 0067 0070 0073 0075 0076 0077

1,500 1,500 750 400 1,000 500 800

0151 0152 0153 0154 0155 0157 0158

1,250 3,000 1,500 5,000 3,000 3,000 750

0246 0247 0248 0249 0250 0251 0252

1,750 850 3,800 2,800 22,000 8,500 800

0338 0339 0340 0341 0342 0347 0348

350 1,550 2,800 700 2,000 2,700 2,250

0010 0012 0013 0015 0016 0018 0020 0021 0022 0024 0025 0026 0027 0030 0031 0033 0034 0035 0037 0038 0039 0042 0044 0045 0046 0047 0048 0051 0052 0053 0055 0056 0057 0058 0059 0060 0065

2,500 1,000 1,500 4,250 1,500 5,500 2,000 600 600 5,750 5,500 4,250 1,650 3,000 6,500 2,000 3,000 1,750 400 3,000 600 1,600 1,300 500 5,000 4,750 4,000 3,500 3,000 18,500 750 800 2,000 850 1,500 450 1,500

0078 0079 0083 0084 0086 0090 0092 0093 0095 0100 0102 0103 0104 0105 0108 0110 0111 0112 0113 0115 0116 0117 0119 0121 0123 0123A 0123B 0131 0132 0133 0134 0135 0136 0139 0140 0143 0144

700 1,500 2,250 2,000 2,500 1,250 2,750 1,500 2,000 1,800 5,300 1,000 700 400 2,000 2,500 3,250 1,800 875 17,000 3,500 2,000 4,500 1,250 1,250 600 600 1,000 11,000 5,000 4,500 6,000 4,000 1,000 1,000 1,750 2,000

0159 0160 0161 0163 0166 0200 0201 0202 0203 0204 0205 0206 0207 0208 0209 0210 0211 0214 0216 0217 0218 0219 0220 0221 0227 0229 0230 0234 0235 0236 0237 0238 0241 0242 0243 0244 0245

3,750 750 1,500 4,500 2,250 1,900 450 450 2,400 1,500 700 650 15,000 1,350 2,850 400 700 550 1,400 800 1,700 550 220 300 200 300 600 350 350 500 600 350 1,750 1,750 1,750 1,750 1,750

0253 0255 0256 0257 0263 0266 0268 0271 0274 0275 0277 0279 0283 0284 0288 0293 0296 0297 0298 0299 0302 0303 0306 0309 0311 0314 0315 0316 0317 0319 0327 0328 0329 0330 0334 0335 0336

1,750 550 600 4,000 26,000 2,400 5,000 6,000 1,900 2,500 3,300 850 8,250 450 3,250 450 6,000 1,450 1,600 6,500 16,500 13,000 34,500 8,500 37,500 4,800 3,500 2,300 3,500 22,000 725 1,800 1,400 800 4,000 9,000 2,800

0350A 0400 0401 0402 0403 0404 0405 0406 0408 0409 0410 0411 0412 0413 0414 0415 0418 0419 0420 0422 0423 0424 0426 0427 0429 0430 0431 0432 0433 0434 0435 0436 0437 0439 0441 0444 0445

700 2,000 600 600 600 800 2,200 8,700 5,000 1,400 1,050 700 800 400 200 400 300 120 90 600 200 70 70 370 100 200 80 425 400 90 610 500 150 140 150 350 300

PRICES REALISED SALE 328 (4 - 6 OCTOBER 2011) A2 ART, FINE JEWELLERY AND WATCHES, ANTIQUES AND MODERN DESIGN LOT

$

LOT

$

LOT

$

LOT

$

LOT

$

0446 0447 0448 0449 0450 0451 0452

100 150 450 350 300 900 860

0509 0510 0511 0512 0513 0514 0515

550 300 270 450 425 250 200

0558 0559 0562 0564 0565 0567 0568

11,000 1,200 1,000 800 400 220 260

0618 0620 0621 0622 0624 0626 0627

150 100 20 150 150 3,100 550

0683 0684 0685 0686 0687 0689 0690

450 140 50 50 50 140 1,050

0453 0454 0455 0456 0457 0460 0461 0463 0464 0466 0467 0469 0470 0472 0473 0474 0475 0477 0478 0480 0482 0484 0485 0488 0489 0491 0492 0493 0495 0496 0497 0498 0499 0504 0505 0506 0508

175 200 100 100 50 50 240 520 100 380 400 150 50 160 450 625 450 100 240 240 225 200 400 150 150 2,750 300 450 75 40 1,150 250 275 420 180 200 360

0516 0517 0518 0519 0520 0521 0522 0523 0524 0525 0526 0528 0529 0530 0531 0532 0533 0534 0535 0536 0538 0539 0541 0542 0544 0545 0546 0547 0548 0549 0550 0551 0552 0553 0554 0555 0557

160 200 100 140 100 600 600 70 900 5,000 425 200 460 140 100 125 280 100 90 270 290 50 2,200 1,900 300 450 250 700 600 1,400 150 230 900 1,500 200 350 1,900

0569 0570 0571 0572 0574 0576 0577 0579 0580 0581 0582 0583 0584 0585 0587 0588 0589 0590 0591 0593 0594 0595 0596 0597 0598 0600 0601 0604 0605 0606 0610 0611 0613 0614 0615 0616 0617

220 125 200 250 60 200 100 80 100 175 275 50 70 30 30 200 160 60 50 50 150 130 160 160 180 260 200 150 300 90 50 160 100 100 425 150 250

0629 0633 0635 0636 0637 0638 0639 0640 0645 0647 0654 0655 0657 0658 0659 0660 0661 0662 0663 0664 0665 0666 0667 0668 0669 0670 0671 0672 0673 0674 0675 0676 0678 0679 0680 0681 0682

400 275 40 120 100 325 150 200 80 90 20 60 160 260 200 240 300 200 200 260 230 280 300 200 100 100 100 120 50 50 60 105 300 400 3,500 500 40

0692 0693 0694 0700 0702 0704 0705 0706 0707 0709 0711 0712 0713 0714 0715 0717 0719 0721 0722 0726 0728 0730 0733 0734 0735 0736 0737 0741 0743 0744 0745 0746 0749 0752 0754 0755

325 1,600 400 1,800 3,000 425 5,200 2,500 1,250 475 800 2,500 550 475 200 350 275 1,000 2,800 910 2,400 900 350 300 750 270 100 100 425 320 1,000 150 1,000 180 400 650

IN FOCUS 159

INDEX OF ARTISTS Albrecht, Gretchen

Killeen, Richard

60

Alexander, Keith

32, 33

King, Virginia

62

Binney, Don

24, 59

Lee, Jae Hoon

4

48

Maddox, Allen

2, 21

Blomfield, Charles Brake, Brian

49

11, 12, 13

McCahon, Colin

Ching, Raymond

43

Moffatt, Tracey

Dali, Salvador

79

Moore Jones, Horace

Dashper, Julian De Latour, Tony

3

Mrkusich, Milan

8

Nolan, Rose

18, 20, 23, 27, 34, 38, 40, 51, 53 81 56 52, 57, 58 64

Dibble, Paul

10

Pankhurst, Alvin

Ellis, Robert

35

Pick, Seraphine

9

Fomison, Tony

28

Robinson, Ann

17

Fraye, Andre

84

Sharpe, Alfred

Frizzell, Dick

14, 15, 31, 70

Gimblett, Max Goldie, Charles Frederick

73 19, 37

Siddell, Peter

39

Stichbury, Peter

5, 6

46

Stringer, Terry

Hammond, Bill

63

Temin, Kathy

Harris, Jeffrey Hockney, David Hodgkins, Frances Hotere, Ralph

22, 29, 36, 72, 76 7, 30 16 26, 42, 83 41, 45, 50, 61

44 25, 77

Smither, Michael

Gully, John Hanly, Pat

68, 69

Thomson, Jeff Wealleans, Rohan Wheeler, Colin Wolfe, Emily Woollaston, Toss

Jansen, Monique

78

Wright, Walter

Karaka, Emily

71

80 66, 67 82 1 74 65 54, 55, 75, 85 47

IN FOCUS 161