3D CATALOGUE JUNE 2008 by Webb's Auction House

Front Cover 520 Gavin Hurley Young Donald 2004 oil on hessian title inscribed, signed with the artist’s initials GJH and dated ‘04 verso Exhibited: Mixed Up Childhood, Auckland Art Gallery (2005) Illustrated: Mixed Up Childhood, Janita Craw & Robert Leonard, Mixed-up Childhood (Auckland Art Gallery, Toi o Tamaki 2005) 1400mm x 1000mm

$15,000 - $20,000

Fine Jewellery & Watches, Antiques & Decorative Arts, Important Works of Art

Sale 296

Viewing

DAY 1 Fine Jewellery & Watches

Evening Preview Thursday

19 June

BUYER’S PREMIUM A buyer’s premium of 12.5% will be charged on the Important Works of Art and Fine Jewellery & Watches section of this catalogue. A buyer’s premium of 15% will be charged on the Antiques & Decorative Arts section of this catalogue. GST of 12.5% is payable on the buyer’s premium only.

Thursday Friday Saturday Sunday Monday Tuesday Wednesday Thursday Friday Saturday Sunday Monday

19 20 21 22 23 24 25 26 27 28 29 30

CONDITION OF ITEMS The condition of items is not detailed in this catalogue. Buyers must satisfy themselves as to the condition of lots they bid on and should refer to clause 6 in the Conditions of Sale for Buyers printed at the back of the catalogue. Webb’s are pleased to provide intending buyers with condition reports on any lots.

Note: Please refer to section title pages for specific viewing times as there is limited viewing on sale days.

Wednesday, 25 June 2008, 2pm & 6pm

DAY 2 Antiques & Decorative Arts Thursday, 26 June 2008, 6pm

DAY 3 Important Works of Art Monday, 30 June 2008, 6.30pm

June June June June June June June June June June June June

6.00pm – 8.00pm 9.00am 9.00am 11.00am 11.00am 9.00am 9.00am 9.00am 9.00am 9.00am 11.00am 11.00am 9.00am

– 8.00pm – 5.30pm – 3.00pm – 3.00pm – 5.30pm – 5.30pm – 5.30pm – 5.30pm – 5.30pm – 3.00pm – 3.00pm – 12.00pm

CONTENTS

ART

INFOCUS The June sale began to feel like something special with the arrival of Don Binney’s Fat Bird (lot 519). The delightful image of the puffed out tom tit graced the cover of our recent brochure, and is a major, representative work by the artist. “These confident, celebratory paintings first appeared in the 1960s and brilliantly captured the mood of the times, seeming to express a distinctive New Zealand identity1.” Only one other work from this important series has been available to the open market in recent years. It was offered by Webb’s in 2002 and after fierce bidding sold to Te Papa Tongarewa. In his book Damian Skinner describes that Fat Bird as suggestive of…“ the pared-back black and grey hills of Colin McCahon’s early South Island landscapes… fulfils the primary function of evoking and reinforcing movement and flight, as Binney keeps the tension active between the bird’s form and the surrounding hills2.” Not since 2006 has a highly sought after bird painting from the sixties been on the market. Fat Bird was gifted to the current owner upon the birth of her daughter. With the record auction price achieved for Bill Hammond’s Fortified Gang Headquarters in April, we are pleased to have the opportunity to market an equally significant work Containers (lot 527). This work was exhibited at the Peter McLeavey Gallery in 1998 in a show entitled Hokey Pokey, well known as a quintessentially Kiwi ice cream flavour. This work was sold in 2002 and held the then record price, before the sale was bettered at Webb’s in 2003. The best of Hammond’s works continue to attract the focus of collectors with competition at auction, strong primary dealer representation and national recognition with the exhibition and publication Jingle Jangle Morning. Also on offer is an exquisite work executed on an ostrich egg. This Green Egg (lot 552) is reminiscent of the jewelled Faberge eggs made for the Czars of the Russia; it features Hammond’s distinctive bird imagery in a palette of gold and green. Colin McCahon’s scrolls were begun in 1969, inspired in part by the gifting of two books. Peter Hooper’s, Journey Towards an Elegy given by John Caselberg and the New English Bible, from Colin’s wife Anne. In 2006 Webb’s sold one of the strongest of all the scrolls The Calling of a Christian, its uplifting text both simple and beautiful, with its message of hope and advice. In If You Can Afford a Psychiatrist (“Try Having a Bonfire” Peter Hooper) (lot 531) the text from Peter Hooper’s poem deals with many of the existential issues that fascinated McCahon, such as death, hope and despair. Rather than uplifting, the text is cynical, philosophical and instructional. The simplicity of its layout with the triangle below, its three sides representing the holy trinity or perfection of both geometry and spiritually, and the message it conveys, gives a powerful reading. Rare indeed on the secondary market is Gordon Walter’s Rauponga No1 (lot 529). A work on canvas from this series has never before been offered on the auction market. A painting all about shape and colour, the white and beige forms create positive and negative areas, enlivening the neutral surface of the canvas. The tonal distinction is minimal giving a gentle optical effect. Always pristine, ordered, and immaculate, this is an elegant and exceptional Walters canvas.

The Richard Killeen, Looking is Not Seeing, (lot 526) combines figuration and abstraction on 14 aluminium pieces. Highly individual and requiring a degree of practical input from the viewer, this large scale work emerged just before Killeen began including more computer generated imagery. Using hand painted abstraction and realism, the pieces are in colour and in black and white. They combine complex images with simple ones and their infinite variety of appropriation, found imagery and creative input are collected from the artist’s encyclopaedic collection of images. Cut outs of this scale and period are also relatively rare, and results achieved in the last few years, show a steady rise in both prices and demand among collectors. A Tree I Know Near Matauri Bay by Michael Illingworth (lot 518) is a jewel bright landscape where the centralised tree serves to connect the land, sea and sky. Formalised oppositions such as the ripples on the water, the highly stylised cloud formations, and the concentric rings within the foliage of the tree, activate the composition and create figures in the land. Intensely interested in the idea of powers and deities lurking in the nature, he has subtly illustrated a figure in the tree. Man is encircled by the powerful forces of nature. These anthromorphic landscapes seek to represent the ideal with their pleasing symmetry and bright colour. This work was bequeathed to the present vendor and has never before been offered to the secondary market. Tony Fomison’s Portrait of a Circus Clown (lot 525) does more to unsettle than to entertain. Often objects of ridicule and misery, the clown is held up like a mirror, reflecting man’s inhumanity to man. A butt of endless jokes, cruel jibes, and often physical abuse, clowns belong to that sector of society that most interested Fomison. The disposed, the outsider, the jester, the beggars and the victims of disease and misfortune, but also soothsayers and the tellers of truth. The use of jute stretched over a dart board, illustrates his use of material at hand, and his distinctive, idiosyncratic style. The cast lead glass pieces of Ann Robinson continue to attract strong interest from collectors. Undeniably beautiful and extremely tactile, the Te Rito (Cactus Pod Bowl) (lot 513) is an example of the short stemmed oval vessels begun in the mid 1990’s. Originally purchased from Masterworks Gallery in 1996 this deep green bowl weighs in at a hefty 16kgs of solid lead glass. The smaller Yellow Boat (lot 506) is a more freely modelled piece, formed from sheets while still malleable and left to drip; this piece is both sculpted and cast. The large scale portrait Young Donald by Gavin Hurley (lot 520), was exhibited in Mixed Up Childhood at the Auckland Art Gallery in 2005. An interesting context in which to be shown in as its subject matter is Donald Baechler an American artist renowned for his boyish appearance, and accused of being a modern day Dorian Gray. The June Sale has a number of rare and beautiful works, only a few of which we have featured here. We are also proud to present the entire collection of the Art Appreciation Society including works by Pat Hanly, Stanley Palmer, Jeff Thompson, Peter McIntyre, Simon McIntyre and Ann Robinson. More can be found about the Society and its collection on page 4 of this catalogue. Emma Fox

Damian Skinner, Don Binney Nga Manu/Nga Motu – Bird/Islands, (Auckland University Press, 2003) p.9

ibid p.9

IN FOCUS

ART APPRECIATION SOCIETY COLLECTION Like many art collectives, the Art Appreciation Society modeled itself on the Prospect Collection formed by Grahame Reeves, Peter Webb and Warwick Brown in 1979 and whose founding principle was to make a collection of contemporary New Zealand painting. The Art Appreciation Society was formed in 1997 with the intention of collecting for a period of ten years. Unlike most collectives the members were happy to have purchasing decisions guided by those members of the group who were already experienced collectors. Their motivating factor was not financial gain but rather the acquisition of knowledge and the fostering of members’ personal interest. Much of the group’s buying took place at auction, its first purchase being the Pat Hanly, Mangawhau / Mt Eden (lot 537). The collection includes sculptural pieces, such as the small Greer Twiss Owl (lot 589),

and two works by Jeff Thomson, a corrugated iron NZ Bouquet (lot 504) and the more abstract Woven lot 593). The eclectic group of paintings includes a traditional Still Life with Cyclamens by Peter McIntyre (lot 584), large scale works by Robin Kahukiwa Conception (Lot 555)and Hongi (lot 547) as well as Eluia Moana by Fatu Feu’u (lot 509). Three works by Stanley Palmer, an artist with personal connections to some members of the group, were added over the years, the first of these being Islands of the Gulf (lot 508). Ann Robinson’s Yellow Boat (lot 506) was included simply because it was too compelling to resist. Now that the original ten year collection period has finished the works have found their way back to auction to invigorate and challenge new collectors. The Art Appreciation Society lot numbers are marked in red in the catalogue.

Lot 546

Lot 507

Lot 503

Lot 506

Lot 504

Lot 537 Lot 509

DIAMONDS At Webbâ&#x20AC;&#x2122;s, New Zealandâ&#x20AC;&#x2122;s Leading Auctioneer of Fine Jewellery and Watches in association with Christopher Devereaux Top to bottom: A 5.59ct emerald-cut diamond solitaire graded H, VS1 elegantly set in a fashionable split-shank ring with accent baguettes | $140,000 - $150,000 A 2.13ct Rare Natural Fancy Light Grey-Green marquise-cut diamond | $85,000 - $95,000 A round modern brilliant cut diamond of 3.86ct, graded G, VS1, set in a quatrefoil platinum and diamond ring | $150,000-160,000 (Not shown actual size)

IN FOCUS

SAATCHI TV7 0020

MURDERERS SHOULD DIE of natural causes and not by state administered execution. Opposers of the death penalty attest that when a governing body has the power to decide over life or death there is no telling how far it can go. They hold the extermination of millions of Jewish people, justified and sanctioned by the German Government during World War II as an, albeit extreme, example of this, and argue that no one should have the power to take away another person’s life. Aside from moral and emotional concerns, opposers also believe there is very little hard evidence to suggest capital punishment does anything more than satisfy the basic human desire for revenge. So let’s look at some of the facts. In 1976 thirteen US states elected not to reintroduce capital punishment. The homicide rate in states that opted to keep it, and where executions still regularly occur such as Texas, is almost double that of states without it. Conversely, Canada abandoned capital punishment in 1976, opting instead for a sentence of 25 years with no possibility of parole for the crime of murder. The homicide rate has been gradually dropping ever since, a phenomenon observed in many other countries that have abandoned the death sentence. Capital punishment can also result in great miscarriages of justice. By 2005 DNA testing in the United States had proven that fourteen convicted inmates awaiting execution on death row were innocent. To that end, opposers question, is it right to grant the state the power of life and death over its citizens based on what can sometimes be circumstantial evidence and the wavering opinion of judge and jury? And can society risk putting to death innocent people based on the unproven theory that it would result in fewer murders? Campaigners against the death penalty believe that if you take away the motive of revenge for the victim’s family and counter the possibility of re-offending by increasing nonparole life sentences, then you may begin to find a system in which victims find justice and offenders pay

FOR THEIR CRIMES.

TVNZ.CO.NZ KEYWORD: TVNZ 7 – AVAILABLE ON FREEVIEW

CONTEMPORARY ART

Seung Yul Oh Untitled | acrylic and ink on enameled metal | signed and dated â&#x20AC;&#x2122;04 verso | 800 x 990mm | $7,000 - $9,000 (Detail)

21 October 2008

Entries now invited Contact Emma Fox +649 529 5601 efox@webbs.co.nz Jonathan Organ +64 21 503 251 jorgan@webbs.co.nz

Quality entries are now invited for a sale of Contemporary Art to be held in October. The sale will include progressive works in a variety of media by leading New Zealand and international contemporary practitioners.

IN FOCUS

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PROFILE NEIL CAMPBELL

Webb’s is pleased to announce the appointment of Neil Campbell as Managing Director. Over the last 15 years Neil has worked extensively in and alongside a range of creative sectors including f ilm, television, publishing and music.

Neil has previously served as the Executive Director of the New Zealand Screen Director Association and was Television New Zealand’s in house legal counsel for six years. More recently he acted as Head of Strategic Alliances and Partnerships for Telecom’s video services group. Neil has a strong interest in the arts, and a particular interest in New Zealand contemporary art, having recently been responsible for bringing into New Zealand a range of international artists for one off exhibitions. His personal interests are currently focused on an international project with the World Heritage Organisation. This is a large scale photography project which is documenting every listed world heritage site (www.ourplaceworldheritage.com). Alongside this, Neil’s passion for important motorcycles will come to bear on the 22nd July when Webb’s is to hold an exhibition and sale of some of New Zealand’s most significant pioneer and classic motorcycles. Neil was educated in Auckland at Sacred Heart College and went on to obtain a Bachelor of Law degree from the University of Auckland. He also read at the University of Queensland and holds a further degree in Economics. He has a longstanding interest in the development of Intellectual Property rights in favour of the creative sectors. Neil is married to Sophie Coupland, also a Director of Webb’s and Peter and Ann Webb’s daughter. This appointment reinforces Webb’s family owned history and assures strong, fresh and innovative management, long term, for the business.

IN FOCUS

Webb’s has important works for sale by Private Treaty including:

HAMMOND McCAHON HOTERE APPLE FOMISON GOLDIE HANLY KILLEEN MRKUSICH WALTERS

Contact: Sophie Coupland +64 9 529 5603 +64 21 510 876 scoupland@webbs.co.nz or Jonathan Organ +64 21 503 251 +64 9 524 6804 jorgan@webbs.co.nz

IN FOCUS

PRIVATE TREATY SALE Contact

Last year Webb’s introduced a comprehensive re-sale service focusing on the private placement of important Modern and Contemporary works of art on behalf of clients. Private sales have already exceeded expectations with major works by Colin McCahon, Ralph Hotere, Pat Hanly, Bill Hammond and Michael Smither being sold in recent months. Webb’s is also offering an acquisition service to clients seeking specific works for their collections.

Sophie Coupland +649 529 5603 scoupland@webbs.co.nz Jonathan Organ +64 21 503 251 jorgan@webbs.co.nz

Major works available for private sale may be viewed by appointment.

Ralph Hotere Song of Solomon mixed media on fourteen sheets of paper each individual sheet signed with Ralph Hotere’s initials R.H and with Cilla McQueen’s initials C.M.Q. title inscribed, signed by Hotere and McQueen and dated ’91 on each panel verso Exhibited: Hotere, Out The Black Window: Ralph Hotere’s Work with New Zealand Poets, June-July 1997 630 x 490mm each, 1324 x 3675mm overall dimension P.O.A Created in response to the 1991 Gulf War, this is a haunting multi-panel painting full of paradoxes. It operates like an antiphonal project, a choral work built on statement and response, between monochromatic chord structures and printed text and between opposing levels of textual content. Wedged into 14 panels the painting unfolds through an alternation of thick bands or blocks of sprayed black paint with glaring white-paper blanks. The tragic grandeur of the work’s major tonal progression is modulated by a host of bleedings, scuffs, speckles, arcs of silver dots, and scripted annotations. The improvisational diversity of these playful surface effects appears to go against the painting’s overridingly bitter and melancholy pall. A staccato string of words, ‘cut out’ one might guess, from military reports and press releases covering the Gulf War, run like two throughlines in the top and bottom sequence of panels. The word strings act as fixed horizon lines amidst a plurality of graphic levels that jump and drop in syncopated order. The plain-text or ‘courier’ font of the printed words holds the communications technology of earlier wars with their typewritten despatches from the front together with the plain-text of contemporary data screens and email systems. This is Cilla McQueen’s text at work in the Hotere matrix. McQueen’s lexical collage functions like a reality principle to Hotere’s broodingly romantic graphic and painterly rhetoric.

It is as if, through breaks in battlefield smoke or post-war toxic haze, and shown up by detonations and muzzle flashes on the skyline, McQueen’s chains of words tear through the aesthetic dazzle of the military sublime. Photographs and videos that we followed on CNN at the time seduced us with their telemetric and optical wizadry. Tracer bullet tattoos of white across night-vision green, slow exfoliations of black and grey from destroyed buildings and bridges became familiar imagery in the living room. The asyntactical repetition of McQueen’s words, following one another randomly and dumbly mimics the kind of psychic shutdown that can act as one form of defense against unmanageable trauma. Perhaps McQueen and Hotere, in a sense, have responded to Adorno’s rhetorical question, “Can there be poetry after Auschwitz?” What sort of art and poetry can accompany our contemporary and all too extensive knowledge of war and atrocities? Perhaps only something that works through a sort of affectless enumeration, a machinic refusal to play with delectations of word choice and tonal chromatics. This is the sort of protection from trauma that Freud alluded to in his discussion of ‘the compulsion to repeat’. The McQueen vocabulary which cites ‘main gambit box airburst shift communications shrapnel [sic] jam chamber’ and ‘smart blood break count bodybag holymilk operations kill strategy factory reprisal’ is answered in a dreamlike manner by Hotere’s handwritten fragments from the Song of Songs, the ancient Hebrew text of seduction and lament for an elusive lover who approaches in the night. The lover calls, “Arise my love, my fair one and come away”, “For lo, the winter is past and the rain is over and gone”. The work therefore talks to itself, and thus becomes many works in one, but whether its borrowing of the new testament stations of the cross format or the old testament poetry of desire and lament provide the work with the confidence of redemptive purpose amid desolation has deliberately been left unresolved. Allan Smith

IN FOCUS

PRIVATE TREATY SALE Ralph Hotere Baby Iron acrylic on board with burnished and painted steel with roofing rivets signed and dated 1983; signed and dated 1983 verso 1200 x 855mm P.O.A Ralph Hotere is known to be reticent in discussing his own work. He once said: “There are very few things I can say about my work that are better than saying nothing.” One of the major influences on Hotere’s work, especially his austerely black ‘minimalist’ works from the late 1960s, was the work of American painter Ad Reinhardt. Ironically, although Reinhardt claimed his paintings were about nothing, with nothing to say, he actually wrote a great deal about them and the type of art he wanted to advocate. Hotere however, has not been given to written or verbal loquacity about his work. Yet for all the apparent reticence of the man - a combination of genuine humility, shyness and fierce impatience with art-world rhetoric, role-playing and posturing – Hotere’s art is full of quoted speech, of poetry, names, liturgical incantations, numbers and a host of stylistically expressive communicative gestures, and, all of this communicative repertoire is given to us with a great range of theatrical shadings. Hotere’s is always a highly dramatic, at times even operatic, art. By referring to Hotere’s art as theatrical I am not thinking of Harold Rosenberg’s famous explanation of Abstract Expressionist painting, when he said avant-garde American painters were treating the painting as an arena in which to act. Although there are plenty of remnants from Abstract Expressionist gestural and calligraphic painterliness in Hotere’s work, his paintings are not about bodily immersion in the way that Pollock’s paintings were for instance. Hotere’s paintings, often constructed and worked on with grinders and acetylene torches as much as paint brushes or spray guns, are more like lovingly improvised props and banners for an on-going dramatic performance. This work from the 1983 Baby Iron series is no exception. Though smaller in scale than his

Contact Sophie Coupland +649 529 5603 scoupland@webbs.co.nz Jonathan Organ +64 21 503 251 jorgan@webbs.co.nz

Song Cycle banners from the mid 1970s, they still have a sense that they have been made to accompany some grandly scaled and richly orchestrated theatrical event in which laments, warnings and blessings articulate a type of prophetic vision of a nation in trouble, which yet remains a deeply strange and beautiful place. Each new work and series of work further adds to the building of Hotere’s virtual prophetic theatre. As banners and placards of protest carry declarative words and assertive signs, so Hotere’s Baby Iron is branded with the slashes of a cross made by a grinder, in the middle of an agitated field of white paint. The cross, which has an inherent implication of denial, error, or eradication, is enforced as a potent symbol by the formality of the dark ‘H’ of the painted backboard that frames the top white area and the burnished and scorched , corrugated stainless steel below. The window frame, which contains this work, automatically draws the viewer into the imaginative space within the picture; the assertively physical and flat treatment of the painted and lettered components of the painting, however, push the approaching viewer back again. The cross and the passive-aggressive gesturalism of Hotere’s mark making turn the window into a shield; the lead-head nails are like small bosses. This type of Hotere painting makes me think of Melanesian decorative shields, which played an apotropaic role in tribal ritual; they were signs invested with the capacity to ward of evil influences and protect their users. Much of modernist and contemporary painting could be investigated in terms of such theatrical defenses against various kinds of threat. With Hotere, it is hard not to think always of the threat once posed by the Aramoana aluminium smelter, which was to be built amidst a wildlife sanctuary near Dunedin, and that Hotere’s first paintings using found sheets of corrugated iron were directed against. Perhaps back then Hotere even had in mind the widespread pre-modernist belief that iron held apotropaic powers. Though stainless steel, used in the Baby Iron series in flat or corrugated sheets, is a resolutely modern invention without archaic associations, its impersonal sheen still deflects as well as attracts our gaze; it is both beautiful and fiercely resistant. Allan Smith

IN FOCUS

IMPORTANT VINTAGE & COLLECTORS’ MOTORCYCLES 22 July 2008 Webb’s is pleased to announce a sale of Important Vintage & Classic Motorcycles to be held in association with Auckland Motor Power Sports (AMPS.) Already consigned for the sale is an extremely rare 1915 Ariel Vee Twin. This bike, featured in Maureen A. Bull’s publication New Zealand’s Motor Cycle Heritage, represents the height of Edwardian technology and the beginning of New Zealand’s motorcycle history. Another highlight is a classic example of the famous 1963 Harley Davidson Sportster from the first year that renowned designer Willie G. Davidson led the design team. The sale also includes: an exquisite 1974 Ducati GT 750, a 1917 Harley Davidson ‘Boardtracker’, No 6/120 hand built CCM 500, 1952 AJS 350, 1969 BSA Bushman, 1967 Yamaha DS6 250, 1980 Yamaha XT500, 2000

Further entries now invited

Ducati MH900E and an extraordinary 1914 Clyno Vee Twin. Also of interest is the inclusion of the infamous 1967 T120 TT, 1914 Triumph Tourist TT, 1926 Harley Davidson side side car outfit, 1929 BSA Sloper, 1931 Ariel Sloper, 1939 Ariel Square four, 1953 AJS MS, 1953 AJS MC, 1955 BSA Goldflash, 1959 Manx Norton with full racing history (Hugh Anderson and John Hempleman). Further quality entries are now invited. Acting as specialist consultant is Hugh Anderson, four time Grand Prix world champion and connoisseur of vintage motorcycles. All entries to the sale will receive expert appraisal. Please contact Neil Campbell for details on how to participate in the auction or discuss, in confidence, any aspect of buying or selling motorcycles at our auction sales.

An Extremely Rare 1915 Ariel 670 CC Vee Twin $15,000 – $20,000

Contact Neil Campbell +64 21 875 966 ncampbell@webbs.co.nz

A 1914 Cyno Vee Twin $30,000 – $35,000

PHOTOGRAPHY

ILLUSTRATED: Peter Peryer Edward Bullmoreâ&#x20AC;&#x2122;s Launch | silver gelatin print | 410 x 275mm | $6,000 - $9,000

24 July 2008

Final entries now invited Contact Emma Fox +649 529 5601 efox@webbs.co.nz Jonathan Organ +64 21 503 251 jorgan@webbs.co.nz

IN FOCUS

14 - 22 Aug 2008

OPENING FUNCTION 14 Aug 2008 6 - 8pm

Emma Fox +649 529 5601 efox@webbs.co.nz

Jonathan Organ +64 21 503 251 jorgan@webbs.co.nz

ILLUSTRATED: Misery Holly Melancholy and The Night That Saved the Day | watercolour, airbrushed water based ink and glitter on paper | 730mm x 545mm (Detail)

Contact

The A2 sales offer works of art by leading New Zealand artists priced below $5,000. Held four times a year, A2 sales provide the perfect opportunity for new collectors to make their first foray into the art market. Contact

5 Aug 2008 Further entries now invited

ILLUSTRATED: Don Binney Matuku Tokatoka | lithograph 9/15 | title inscribed, signed and dated 1980 | 760mm x 580mm | $2500 - $3500

Jessica Pearless +649 529 5609 jpearless@webbs.co.nz

A2 ART

IN FOCUS

MAORI & PACIFIC ARTEFACTS CERAMICS & COLONIAL FURNITURE 18 September 2008 A sale celebrating the history, arts and culture of New Zealand and the Pacific region.

Ngaire Lawson +649 524 6804 nlawson@webbs.co.nz

ILLUSTRATED: A Maori 19th Century Wood Carved Whakahuia Treasure Box, the surfaces and cover with tiki figures in low relief and rauru patterns, supported by two standing ancestal figures and mounted on a wood plinth | $6,000 - $10,000

In response to the ever growing interest in New Zealand cultural icons and Taonga, a sale celebrating our creative history will be held on September 18th 2008. The offering will include Maori artefacts, Folk Art, New Zealand inlaid furniture and boxes and ceramics produced by our most celebrated potters.

Contact

ILLUSTRATED: A. Lois White Pelican Design | varnished watercolour on straw board | title inscribed and signed; inscribed Auckland Society of Arts ÂŁ8.8 on original backing board verso Provenance: originally purchased from the Auckland Society of Arts and passed by descent to the present owner | 340mm x 260mm | $25,000 - $35,000

IMPORTANT WORKS OF ART 22 Sept 2008

HISTORICAL ART

16 Sept 2008

Further entries now invited

Contact

Emma Fox +649 529 5601 efox@webbs.co.nz

Jonathan Organ +64 21 503 251 jorgan@webbs.co.nz

IN FOCUS

Vorsprung durch Technik www.audi.co.nz

Stick to your principles.

The Audi A4. The new sedan. A belief in the highest standards possible. An uncompromising attitude. And what has emerged is the new Audi A4 – a vehicle for today built with tomorrow’s technology. Experience the ultimate in driving agility and precision through a longer wheelbase and optional dynamic steering control. And if you demand even more from your driving experience, Audi drive select lets you choose comfort, auto or dynamic to suit your style. Of course, the Audi A4 wouldn’t be complete without a luxurious interior and the unique Multi Media Interface. Visit your nearest Audi dealership to experience the vehicle built to standards that match your own. BlackwoodGroup AUD0715

Fine & Rare WINE AUCTION

Bethunes@Webbâ&#x20AC;&#x2122;s RARE BOOKS & MAPS

23 June 2008

27 August 2008

Featuring a large selection of premium New Zealand and overseas wines, all from premium cellars, and all in excellent condition.

Featuring natural history, military and antiquarian titles as well as cookery books, Maori printing, historical photographs and postcards.

Of special note is a selection of French wines by the case and by the bottle, two examples are illustrated above:

In demand are fern albums and New Zealand regional material. To discuss entering items into our August auction, please contact bethunes@webbs.co.nz or phone 09 529 5602. Entries close July 16th

Illustrated: Ch Cheval Blanc 1986 (Illustrated left) RMP Jr. 92/100

Illustrated:

The 1986 Ch Cheval Blanc still has a youthful dark ruby saturated color

The New Zealand Farmer and Bee and Poultry Journal,

with no amber at the edge. The wine possesses a developing bouquet that offers up weedy tobacco, juxtaposed with sweet black berry, raspberry, and cherry fruit. $800 - $1,200

A Repository of Practical Information for Farmers, Stockbreeeders, Dairymen, Horticulturist, Beekeepers and Poultry Fanciers. 17 vols (1885 - 1902, Vols. 5-22, minus Vol.12, for 1892) $2,000 - $2,500

Ch Margaux 1983 (Illustrated right) RMP Jr. 96/100 The 1983 Margaux is a breathtaking wine. The Cabernet Sauvignon grapes achieved perfect maturity in 1983, and the result is an astonishingly rich, concentrated, atypically powerful and tannic Margaux. The color is dark ruby, the aromas exude ripe cassis fruit, violets, and vanillin oakiness, and the flavors are extremely deep and long on the palate with a clean, incredibly long finish. $1,100 - $1,700

IN FOCUS

HIGHLIGHTS MAY 2008 7.

14.

20. 23.

23.

22. 21.

1. 3.

28. 8.

18.

19. 24.

31.

34.

25.

17.

30. 12.

Contemporary Art - May 2008 1. 4.

11.

15. 27.

Tony de Lautour - Mountain Range oil on canvas Achieved $25,000 2. Seraphine Pick - Kami-Kaze Pilot oil on canvas Achieved $7400 3. Paul Hartigan - Phantom unique screenprint Achieved $3000 4. Jeff Koons - Balloon Dog (Blue) cast porcelain with reflective finish Achieved $6,500 5. Damian Hirst Lysergic - Acid, Diethylamide lambda print Achieved $18,000 6. Peter Robinson - Binary Code lambda print Achieved $10,000 7. Sara Hughes - Nimda acrylic on linen Achieved $12,000 8. Judy Millar - Untitled acrylic on paper Achieved $5,000 9. Simon Kaan - Chinese Workers Beds oil on board Achieved $17,000 10. Tony de Lautour - Plan acrylic on canvas Achieved $3,300

Modern Design - May 2008 16.

26.

11. A Pair of Acapulco Patio Chairs. Achieved $900 12. A Teak American Chest of Drawers. Achieved $2,000 13. A ‘Heron’ Rocking Chair and Ottoman by Tendo Moko. Achieved $2,800 14. A Pair of Teak Floating Bedside Cabinets. Achieved $1,500 15. A Pair of Florence Broadhurst Upholstered, Vintage, Teak Armchairs. Achieved $2,000 16. A Highly Figured Burr Dining Table. Achieved $4,500 17. A Charles and Ray Eames Shell Armchair by Herman Miller Achieved $390 18. A Set of Six Charles and Ray Eames Aluminium Group Chairs by ICF Achieved $6,000 19. A Teak Scottish Sideboard by McIntosh Achieved $2,350 20. A Front Designed Horse Lamp by Mooi Achieved $3,500 21. A Set of Four Rare Charles and Ray Eames La Fonda Chairs by Herman Miller Achieved $1,200

Antiques & Decorative Arts - May 2008

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2. 29.

22. A Large and Rare Carders, Bisque Fired, Garden Vase on Stand. Achieved $3,000 23. A Large and Rare G. Boyd, Bisque Fired, Pair of Garden Vases on Stands. Achieved $6,600 24. A Superb, Brass Cased, Carriage Clock. Achieved $2,700 25. A German Kienzle Advertising Alarm Clock. Achieved $1,300 26. A Belleek First Period Black Mark ‘Dragons’ Pot. Achieved $6,400 27. A Chinese Display Case on Stand. Achieved $2,000

Antiques & Decorative Arts - April 2008

10.

28. A Spectacular French Clock Garniture Achieved $19,750 29. A Superb George I Period Sterling Silver, Octagonal Section, Caster by John Eckfourd. Achieved $3,700 30. A Drury Pottery and Fireclay Works Terracotta ‘Homer’ Tree Trunk Garden Seat. Achieved $3,500 31. A Late 19th – Early 20th Century Wood Carved Waka Huia. Achieved $3,000 32. A Regency Period Sideboard of Imposing Dimension in Mahogany. Achieved $3,000 32. 33.

Fine & Rare Wine - May 2008 33. Penfold’s Grange 1998 Achieved $585 34. Ch Mouton Rothschild Achieved $2,337

IN FOCUS

VALUATION SERVICES Webb’s offers a comprehensive valuation service covering private, corporate and institutional collections. Whilst Webb’s in-house specialists perform valuations for New Zealand’s largest and most important private and museum collections, no valuation commission is too small.

ILLUSTRATED: Len Lye Grass | 1965 | mechanism modified | stainless steel on wood base with motor | 2230mm x 1580mm x 425mm Image courtesy of Len Lye Foundation and Govett-Brewster Art Gallery

Webb’s are pleased to have recently undertaken a valuation of the entire holdings of the Len Lye Foundation, housed at the Govett-Brewster Art Gallery.

Contact Erika Chamberlain + 649 524 6804 +64 21 875 966 echamberlain@webbs.co.nz

Another great result for our clients. Hesketh Henry advised Amalgamated Telecom Holdings in the recent World Bank facilitated commercial mediation and historic agreement with the Government of Fiji on the deregulation of the countryâ&#x20AC;&#x2122;s telecommunications industry. For more enterprising achievements call Erich Bachmann on 09 375 8709 or visit www.heskethhenry.co.nz HHWC1002_S

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Day 1

Jewellery & Watches

Vintage and Valuable Modern Watches, Fabulous Jewels, Diamond Solitaires, Fine Antique & Modern Jewellery

Wednesday 25 June 2008 Two Sessions 2.00pm & 6.00pm 2pm

6pm

Lots 1000 - 1200 Affordable, Estate & Modern Jewelllery. A list will be available free of charge at viewings or online at www.webbs.co.nz Lots 1- 50 Lot 51 - 57a Lots 58 - 168

Wrist & Pocket Watches Accoutrements and NZ Interest Items Fine Jewellery

Viewing Evening Preview Thursday

19 Jun

6.00pm -

Thursday Friday Saturday Sunday Monday Tuesday Wednesday

19 Jun 9.00 am 20 Jun 9.00 am 21 Jun 11.00 am 22 Jun 11.00 am 23 Jun 9.00 am 24 Jun 9.00 am 25 Jun 9.00 am -

8.00pm 8.00pm 5.15pm 3.00pm 3.00pm 5.15pm 5.15pm 1.00pm sharp

Viewing strictly until 1.00pm on day of sale

JEWELLERY

2PM AFFORDABLE AND ESTATE JEWELLERY

OMEGA, A Gentleman’s Vintage All 18ct Yellow Gold Cased ‘Bumper’ Automatic Wristwatch.

A list will be available free of charge at viewings or online at www.webbs.co.nz

Ref 2500, movement 12053308 (c1950) case 10981238. Polished gold face with Arabic meridians and diamond shaped batons, subsidiary seconds. Tapered roller-link integrated 18ct yellow gold bracelet. With original box.

________________________________________________________

$3,250 – 4,250

6PM WEDNESDAY 25 JUNE 2008

see colour illustration page 33.

Lots 1000-1200

WRIST AND POCKET WATCHES Important Conditions 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.

CHAUMET, A Lady’s Stainless Steel Wristwatch Set With Diamonds. Ref 22K8856. Water resistant 30m. Rectangular outline case and integrated gate-link mesh bracelet. Quartz movement. Blue mother of pearl face with diamond indexes. Twin row diamond borders. With box, excellent appearance.

$3,500 – 4,000 8

MOVADO FOR CARTIER, A Lady’s Rose Gold Retro Wristwatch Set With Diamonds and Rubies. Rectangular convex case in 14ct rose gold. The geometric stepped lugs pavé set with round Swiss cut diamonds to a fan of tapered baguette rubies flowing to a snake-link bracelet. 17 jewel Swiss mechanical movement. Bronze face with quarter batons and dot indexes. Signed Cartier on Face. Case numbered 71581.

$1,500 – 1,800 see colour illustration page 33.

ROLEX, A Lady’s All 18ct Yellow Gold Oyster Perpetual Datejust Wristwatch.

Ref 6917, S/N 7107655 (c1981). Gold face with date window and sweep second.

Ref 116509 S/N F812794. Black face with Arabic numerals and subsidiary chronometric dials, red hands. Stop and return buttons in band. With original box and papers showing purchase new in New Zealand March 2005.

$4,500 – 5,500 see colour illustration page 35.

$22,000 – 26,000

ROLEX, A Gentleman’s All 18ct Yellow Gold Submariner Oyster Perpetual Wristwatch. Ref 16808, S/N 6510671 (C 1980-81). Black face and black rotating bezel ring. Luminous chapters and hands, date window, sweep second. 18ct yellow gold oyster lock bracelet with spare link. Minor chips to lens, minor creasing to bracelet catch. Gemologist’s report and valuation available on request.

see colour illustration page 31.

see colour illustration page 35.

$3,800 – 4,800

STEINHART, A Gentleman’s Aviation Wristwatch. Ref 1.03.06 Nav B-UHR with UNITAS Cal 6497 17 Jewel manual mechanical movement. 48mm circular gold finished stainless steel case. Black face with luminous batons, hands and Arabic numerals, subsidiary seconds at 9 o’clock. Black leather strap. With original box, spare straps and papers dated January 2008.

see colour illustration page 33.

see colour illustration page 35.

A Sterling Silver Pair-Cased Verge Pocket Watch. Keywound fusee with verge escapement, white face with Arabic numerals. Movement signed Sam. Holmes, Stourbridge and numbered 362. Inner and outer cases with matching hallmarks London 1796. Replacement lens. With key.

$400 – 600 5

A Sterling Silver Pair-Cased Verge Pocket Watch. Keywound fusee with verge escapement. Decorative silver face with inner Roman hour numerals and outer Arabic minute numerals, both in relief. Movement signed Josh Johnson, London. Inner and outer cases of matching hallmarks for London 1780. Going, with key.

$550 – 850 see colour illustration page 35.

A Sterling Silver Pair-Cased Verge Pocket Watch. Keywound fusee with verge escapement. White face with Roman numerals. Movement signed JNO, Blackburn, London and numbered 409. Matching inner and outer case hallmarks London 1798. With key.

$850 – 950

BAUME & MERCIER, A Lady’s 18ct Yellow Gold Wristwatch Set With Diamonds. Ref 18632 S/N 1854430. Oval outline case and integrated gate-link bracelet. The bezel set with a continuous line of round modern brilliant cut diamonds. Bezel and bracelet fitted ex-factory. Quartz movement. Gold face with polished batons. With original box, papers and spare links.

$8,000 – 10, 000

ROLEX, A Gentleman’s All 18ct White Gold Oyster Perpetual Cosmograph Daytona Wristwatch.

$400 – 600 12

A Sterling Silver Cased Open Face Pocket Watch. Keywound fusee lever. Decorative face with foliate gold to centre and gold Roman numerals in relief on silver engine turned ground. Subsidiary seconds. Movement signed Geo. Jeffrey, Bathgate and numbered 5500. Case hallmarks Chester 1891. With key.

$200 – 300

JEWELLERY

A 14ct Yellow Gold Hunting Cased Pocket Watch.

Keyless 15 jewel lever, white face with Roman numerals and subsidiary seconds. Heavy case with engine turning to garter style vacant cartouche. Unidentified continental mark to stem. Cuvette numbered 106689.

Keyless lever, white enamel face with Arabic numerals, subsidiary seconds and jump sweep seconds. Chronograph button in band stops sweep second featuring a double ended hand. Handset button also in band. The repeat on two gongs operated by a slide in the band. The heavy case ornamented with an applied armorial relief to the front cover. Movement and face signed Dent, 33 Cockspur St London and numbered 31744. Hallmarks London 1898.

$600 – 800 see colour illustration page 33.

INTERNATIONAL WATCH CO (I.W.C) A Gentleman’s 9ct Yellow Gold Cased Open Face Pocket Watch. Keyless lever, silver face with Arabic numerals and subsidiary seconds. Signed.

$4,000 – 5,000 see colour illustrations page 31.

$500 – 700 see colour illustration page 33.

$1,800 – 2,400 see colour illustration page 35.

LONGINES, A Lady’s Wristwatch Enhanced With Diamonds. Le Grande Classique Ref L4-209-4. Circular stainless case and matching gatelink bracelet. Quartz movement. Black face with diamond indexes. As new appearance with original box, spare links and papers.

$55,000 – 65,000 see colour illustration page 31.

$600 – 800

PATEK PHILIPPE, An Ultra Thin 18ct White Gold Cased Wristwatch.

CORUM, A Lady’s Bubble Watch In Stainless Steel Set With Diamonds.

Ref 3572 case 2745405 movement 1167102 (c1967), cal 175. Manual mechanical movement less than 2mm thick stamped twice with Geneva seal. Rectangular tank style, silver face with Arabic Quarters. Black crocodile strap with 18ct PATEK PHILIPPE clasp. Original box.

Ref 39.151.47, Sn 778528. Circular outline, pink mother of pearl face with Arabic quarters and luminous chapters, sweep second and date window. Bull’s eye bubble lens enclosed by a continuous row of brilliant cut diamonds. Quartz movement. Fawn leather strap with deployant clasp. With original box and papers dated 3.3.03. Unblemished condition. Valuation available on request.

$12,000 – 14,000 see colour illustration page 31.

see colour illustration page 35.

$400 – 600

PATEK PHILIPPE, A Gentleman’s All 18ct Yellow Gold Calatrava Automatic Wristwatch With Rare Back Crown. Ref 3563/003 Movement 1 186 974 CAL 350 aut. 28 jewels. Hobnail textured face with matching texture to bracelet. Polished batons, sweep second. Crown fitted to case back. With original box and papers dated 1978. Excellent appearance with very slight surface wear.

see colour illustration page 31.

$800 – 1,200 see colour illustration page 33.

A Lady’s Dainty 18ct Yellow Gold Cased Open Face Fob Watch. Keyless cylinder, cream face with Arabic numerals and restrained gold decoration. The case enhanced with repoussé and engraving. Handset button in the band.

$450 – 550 see colour illustration page 33.

$2,000 – 2,500

A Gilt Metal Pair-Cased Verge Pocket Watch. Key wound fusee with verge escapement. White enamel face with Arabic numerals movement. Signed Benjamin Hickley, London March 1793. Minor repair to face enamel by thumb-catch. Going, with key.

BELL & ROSS, A Professional Diver’s Watch In Stainless Steel. Hydromax S/N 400S10009. Waterproof to 11,100m! Circular case and integrated bracelet of stainless steel. Black face with Arabic numerals, date window and sweep second. Quartz movement. As new with original box, spare rubber and webbing straps and papers dated April 2005.

$12,500 – 15,000

A Gilt Metal Pair-Cased Verge Pocket Watch. Keywound fusee with verge escapement. Decorative gold face with Arabic outer minutes and Roman inner hours in relief. Signed on face and movement W.Watters, Broughton. Repair to inner case at stem. With key.

$2,800 – 3,400

BREITLING, A Gentleman’s Magnificent and Rare Limited Edition “Bentley Mulliner” 18ct Rose Gold Cased Perpetual Calendar Chronograph Wristwatch. Unblemished, as new condition with original protective seals, purchased in New Zealand July 2005. Numbered 62 of an extremely limited production of just 100. Black face with sweep second, four multi function subsidiary dials and rotating outer tachymetric bezel. Arabic numerals, stop, return and calendar adjustment buttons in the band. Functions and complications include: Moon phase, day, month, season, leap year, week, elapsed time, 24 hour indicator and variable tachymetric scale. Water resistant to 500m. Brown leather strap. With SCATOLA leather constant winding box (battery operated rotating mechanism for storage to ensure continuous calendar functions). An exceptional timepiece and a sound investment.

OMEGA, A Lady’s Stainless Steel and Gold Constellation Wristwatch Enhanced With Diamonds. Ref 1267.7.00 s/n 59118241. Mother-of-pearl face with diamond indexes, the bezel also set with diamonds. Quartz movement.

DENT, A Particularly Good 18ct Yellow Gold Hunting Cased Quarter Repeating Chronograph Pocket Watch.

see colour illustration page 35.

OMEGA, A Gentleman’s Vintage 18ct Yellow Gold Cased De Ville Automatic Wristwatch. Octagonal convex case. Gold face with polished batons and date window. Waterproof. Black leather strap. With original box and spare strap.

$900 – 1,200 see colour illustration page 33.

40 8

JEWELLERY

HUBLOT, A Gentleman’s Stainless Steel Cased ‘Subaqaneus’ Diver’s Watch.

EBEL, A Lady’s Wristwatch Set With Diamonds. Circular outline case with palmate and lobed ajouré lugs to an articulated box link strap, 18ct white gold, all set with lines of single cut diamonds, some 82 in all. Silver face with polished batons. Manual mechanical movement. With presentation box. Gemologist’s report and valuation available on request.

Ref 1951.NM40.1, s/n 600 846. Black face with luminous chapters, sweep second and date window. Quartz movement. Rotating outer bezel with ‘Turnlock’ system. Screw down crown. Water resistant 2000m. Black rubber strap with stainless deployant clasp. With original box and papers dated October 2005.

$1,500 – 2,000

$2,500 – 3,000 see colour illustration page 35.

A Sterling Silver Pair-Cased Verge Pocket Watch. Keywound fusee with verge escapement. White face (faults) with Arabic numerals. Movement signed R & F Halsall, Hale and numbered 454. Matching inner and outer case. Hallmarks London 1776. Makers listed in Baillie in Hale 1797 – 99. With key.

A 14ct Yellow Gold Hunting Cased Pocket Watch. Keyless 15 jewel lever. Slim case with restrained engine turning to an offset vacant cartouche on the front cover. Base metal cuvette. Silver face with Arabic numerals and subsidiary seconds.

$400 – 600

$500 – 700 see colour illustration page 35.

A Sterling Silver Pair-Cased Lever Pocket Watch.

Keyless lever, white face with Roman numerals. Roman black enamel numerals to outer case. Signed Rotherhams. Chip to face at 12 o’clock. Monogram engraved to case back.

Keywound fusee with lever escapement. Decorative silver face with foliate engraved centre to gold Roman numerals in relief on engine turned ground. Subsidiary seconds. Movement signed Berreys, London and numbered 7845. Matching inner and outer case. Hallmarks London 1859. With key.

$300 – 400 30

$300 – 400 37

$300 – 400 38

$375 – 475 31

Keyless lever, white face with Arabic numerals and subsidiary seconds. 17 jewels, movement number 461439. Cuvette also gold. Monogram to back cover, hairline crack to face.

$250 – 350 39

65mm case, keyless lever, white face with Roman hours, Arabic minutes and subsidiary seconds. The face decorated with a central train motif. Hairline cracks and repairs to the face. Hand set button in the band. Floral and foliate engraving to case back.

$300 – 400 40

$6,500 – 7,000 see colour illustration page 35.

LONGINES, A 14ct Yellow Gold Cased Tank Watch With Extended Scroll Lugs. Rectangular outline, gold face with Arabic meridian, deco batons and subsidiary seconds. Convex lens. Brown lizard strap.

CHRONOSWISS KELEK, A Gentleman’s Rolled Gold Cased 5 Minute Repeating Automatic Wristwatch. Ref DK87-211A, CAL CH 8735. Circular outline case, white enamel face with Arabic numerals. 21 jewel movement exposed under crystal case back. Repeat on two gongs operated by push piece at 6 o’clock. Brown crocodile strap. With original box.

An Oversize Nickle-Silver Pair Cased Verge Pocketwatch. 69mm, Keywound fusee with verge escapement. White face with Roman numerals. Movement and face signed Graham, London. Damage to face at 7 o’clock. With key.

A Silver Cased Open Face ‘Regulator’ Railway Watch.

$200 – 300

A Sterling Silver Cased Open Face Pocket Watch. Keywound fusee lever. Decorative face in silver with foliate engraved centre, engine turning, Roman numerals in gold relief and gold enhanced border. Subsidiary seconds. Movement numbered 5781. Case hallmarks London 1860. With key.

GRUEN, A 14ct Yellow Gold Cased Open Face ‘Verithin’ Fob Watch.

$250 – 350

A 10ct Gold Hunting Cased Pocket Watch. Keyless lever, white face with Roman numerals and subsidiary seconds. Signed ELGIN and numbered 2650931. Cuvette also 10ct. The case enhanced with restrained engine turning to a vacant cartouche. Inside back cover engraved ‘W.Simmonds, Napier, 1899’.

A Swiss Silver Cased Open Face Verge Pocket Watch. Keywound fusee with verge escapement. The single case of paircase appearance. White face with Roman numerals and outer Arabic quarters. Key aperture on face (chipping to rim). The face signed Pho. Terrot (Britten lists this makes as C1770 – 80, Geneva). Hairline cracks to face. With key.

A Lady’s 9ct Yellow Gold Half-Hunting Cased Fob Watch.

$1,400 – 1,600 see colour illustration page 33.

SARCAR, A Lady’s Wristwatch Enhanced With Diamonds. Octagonal case of 18ct yellow gold with rope-edge border. Gold face with diamond quarter indexes. Twin strand rope link straps with white gold ties, the lugs also of white gold both set with diamonds. Quartz movement. With original leather pouch and box.

$700 – 800

5 17

1 2

JEWELLERY

TECHNOMARINE, A Chronograph Stainless Steel Cased Wristwatch With Diamond Set Bezel. Circular outline case with stop and return buttons in the band. Quartz movement. White face with chronometric dials, sweep second and date window. The bezel set with two rows of brilliant cut diamonds. Brown crocodile strap. With box and spare straps.

ACCOUTREMENTS & NZ INTEREST ITEMS 51

$1,500 – 1,800 43

$1,000 – 1,200

CHAUMET, A Gentleman’s Automatic Stainless Steel ‘Dandy’ Chronograph Wristwatch. Ref W11690-304, S/N 1229-1849A. Cushion outline case. Black face with polished batons, sweep second, date window and subsidiary chronometric dials. Stop and return buttons in the band. Non reflective crystal lens. With original box, spare link and papers dated September 2006. As new condition. Purchased in New Zealand. Valuation from original retailer, Hartfields of Parnell, available on request.

$2,500 – 3,500

ASPREY & CO, A 9ct Yellow Gold Cigarette Case. Rectangular outline with engine turned decoration. The lid slides on the hinge to release the clasp. 99.2g.

A Sovereign Pendant. The Geo V sovereign dated 1927, South African mint set in a freemount of 18ct yellow gold.

$180 – 220 53

see colour illustration page 33.

A Telescoping Pencil Of 14ct Yellow Gold. With bale ring for use as a fob pendant.

$150 – 200 44

A Sterling Silver Cased Open Face Pocket Watch With An Unusual Niello Face. Keywound fusee lever. Niello face with subsidiary seconds and gold Roman numerals in relief. Movement signed Edwin Flinn, Allesley Road, London and numbered 2152. Case hallmarks 1875, contemporaneous with a sentiment engraved on the cuvette of even date. With key.

$200 – 300 45

A Powder Compact of 14ct Yellow Gold. Square outline with milled decoration, 72.7g (net of mirror and gauze).

$1,000 – 1,200 55

A Pair of Cufflinks Set With Diamonds. Octagonal plate and toggle design in 9ct yellow gold, each set with a graduated line of three old cut diamonds of total diamond weight in excess of 0.50ct (for the pair).

A Sterling Silver Cased Open Face Fob Watch. Keywound fusee full plate. White face with Roman numerals and subsidiary seconds. Hairline crack to face. Movement signed Gaskin, Dublin, No 3490. Case Hallmarks London 1837. With key.

$500 – 700 see colour illustration page 37.

$150 – 250 56 46

A 9ct Yellow Gold Cased Open Face Pocket Watch.

The polished heart shaped quartz, richly veined with gold, set in a frame of 9ct gold suspended by a fine 9ct gold neck chain.

Keyless lever, white face with Arabic numerals and subsidiary seconds. Swiss movement signed SYREN. Case hallmarks Birmingham 1944.

$400 – 600

$250 – 350 47

A Continental Silver Cased Open Face Slim Fob Watch. Keywound lever, white face with Roman numerals. With key.

$150 – 200 48

A Continental Silver Cased Open Face Fob Watch. Keywound cylinder, silver face with engine turned decoration to Roman numerals in gold relief. With key.

$100 – 200

A Heart Motif Pendant Set With Gold – Bearing Quartz.

see colour illustration page 37.

John Hislop, A Locket Decorated With Enamel and Pearls. Oval 33 x 28mm hinged double photograph design in yellow gold. (tests approx 15ct, overgilded with gold of a higher carat). The front cover decorated with a marquise outline panel set with seed and halfpearls about a star and St Andrews cross motif enhanced with midnight blue enamel. Verso a sentiment “To John Millar from a few friends on his leaving Dunedin New Zealand July 1878”. Interior compartments vacant but bearing makers mark HISLOP. John Hislop was a noted Dunedin Jeweller 1868 – 1900.

$1,500 – 1,800 49

A Sterling Silver Cased Open Face Pocket Watch. Keywound fusee lever. White face with Roman numerals and subsidiary seconds. Face and movement signed Edwin Flinn, Allesley Road. London, numbered 2454. Case hallmarks London 1868. With key.

$200 – 300 50

A Sterling Silver Hunting Cased Verge Pocket Watch. Keywound fusee with verge escapement. White face with Roman numerals (hairline crack). Movement signed H.Myers Winchester and numbered 9827. Case Hallmarks London 1846. Operational but fault to mainspring rachet / barrel. With key.

$150 – 200

see colour illustration page 37.

57A CHRISTIAN DIOR, A Lady’s Black Leather Handbag. Stitched pattern leather with metal fittings. Purchased new in New Zealand, November 2007. With certificate of authenticity, original sales receipt ($2,400) and cloth dust cover.

$1,000 – 1,400

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JEWELLERY

FINE JEWELLERY 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.

TIFFANY & CO, A Ten Strand Necklace Of Sterling Silver Beads. Signed on the clasp ring 400mm with original Tiffany necklace pouch.

$300 – 400 67

CARTIER, An 18ct Yellow Gold Necklace. Curved bar and lozenge shaped links, concealed clasp. 41cm, 92.1g. Signed Cartier with ref No B70316, 1992. With Cartier box. Gemologist’s report and valuation available on request.

$5,000 – 6,000 see colour illustration page 37.

A Citrine Pendant And Chain. The emerald-cut citrine of estimated weight 30.41ct is set in a frame of 14ct yellow gold as a pendant suspended by a 14ct yellow gold cable link chain. Gemologist’s report and valuation available on request.

$400 – 600

$450 – 650 59

An Amethyst Pendant.

$2,800 – 3,200 70

$500 – 800 71

$200 – 300 61

A Pair Of Ruby And Diamond Cluster Earrings. Pendeloque outline in 18ct white gold (tested), each set with a pendeloque cut ruby within a border of single-cut diamonds. Screw clips.

An Edwardian Brooch Set With A Citrine, An Amethyst And Half-Pearls. 9ct gold washed with gold of a higher carat, set with rows of half-pearls to a round cut citrine, a curved swing bar and a pendeloque amethyst drop.

A Heavy Necklace Of 18ct Yellow Gold. Flat curb links, 74mm, 123.8g.

The rectangular mixed cut amethyst of approx 16.7ct is set in a pendant of 14ct yellow gold. Gemologist’s report and valuation available on request.

$350 – 550

A Neck Chain Of 18ct White Gold Rope links, 70mm, 18.2g.

A Pink Sapphire and Diamond Ring.

An Italian Necklace And Earrings En-Suite Of 18ct Yellow Gold.

18ct white gold centred by an oval cut intense dark pink sapphire of approx 1.82ct, the band full set with a line of 21 round brilliant modern cut diamonds of fine quality (estimated F, VS) having a total diamond weight approx 1.41ct. Australian gemologist’s report and valuation available on request.

The rope mesh necklace suspending a circular pendant of ‘birds nest’ woven gold. The pendant drop earrings of similar design. 45.5g.

$5,750 – 6,750 see colour illustration page 45.

$1,000 – 1,200 72 62

An 18ct Yellow Gold Bracelet Enhanced With Diamonds. Designed as an articulated line of ‘C’ motif links, each set with two small round modern brilliant cut diamonds at the terminals. 57g.

A White South Seas Cultured Pearl and Diamond Cluster Ring. The ovoid 14.2mm fine quality pearl set in a ring of 18ct yellow gold encircled by a border of round brilliant modern cut diamonds. Gemologist’s report and valuation available on request.

$1,800 – 2,400

$2,500 – 3,000 63

see colour illustration page 37.

A Bracelet Of 18ct Yellow Gold. Designed as a wide double row of chevron motif links, each enhanced with milled texture within polished ends. 28.4g.

A Bracelet Of 18ct White And Yellow Gold Enhanced With Diamonds. Designed as a line of 6 open navette shaped links of yellow gold joined by 5 bars of white gold, the central 3 enhanced with lines of round modern brilliant cut diamonds. 29g.

$750 – 850 65

A Bracelet Of 9ct Yellow Gold. Double curb links secured by a large puff heart padlock clasp decorated with pierced floral motifs. 48.1g.

$600 – 700

A Ring Set With An Emerald – Cut Diamond of 1.42ct. The diamond reported to be E, VS (still to be confirmed at time of publication) is set in an elegant contemporary design ring of 18ct white gold. Gemologist’s report and valuation available on request.

$700 – 800

$10,000 – 12,000 see colour illustration page 43.

A Pair of Solitaire Diamond Earstuds of Approx 1.30ct Total. The round brilliant modern cut diamonds assessed as I/K, I1/2 are set in four-claw mounts of 14ct white gold. Gemologist’s report and valuation available on request.

$1,850 – 2,450 see colour illustration page 43.

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JEWELLERY

BVLGARI, An 18ct Yellow Gold Wedding Band Or Dress Ring.

‘Cotton reel’ design with BVLGARI engraved to sides. With original box.

The diamond of reported weight 0.50ct and assessed quality H/J, SI1 is rub-over set in a band of 18ct white and yellow gold. Gemologist’s report and valuation available on request.

$450 – 550 76

A Pendant and Earrings En-Suite Set With Amethysts and Diamonds Convertible to a Single Articulated Pendant.

A Ring Set With A Heart Shaped Solitaire Diamond of Approx 0.50ct.

$1800 – 2200 83

The pendant set with a pendeloque cabochon amethyst, the earrings each set with a cushion outline cabochon amethyst, all in 18ct yellow gold with pave diamond borders, bale and clips. The removable bale and clips and concealed hooks allow conversion into a two or three panel drop. Total stone weights: amethyst 12.88ct, diamonds 2.29ct. Gemologist’s report and valuation available on request.

A Necklace And Earrings En-Suite Of Lemon Quartz And Diamonds. Each piece comprising a polished cabochon drop set in 18ct white gold with a sinuous overlay line of diamonds, with further diamonds to the bale and clips. The pendant suspended from a trace chain of 18ct rolled gold. Gemologist’s report and valuation available on request.

$1,800 – 2,200 (3)

$5,500 – 6,500 see colour illustration page 37.

A Pendant Set With Diamonds. Rectangular outline in 18ct white gold to a wedge shaped bale, set with Princess, round modern brilliant, baguette and tapered baguette cut diamonds to suit the design. Gemologist’s report and valuation available on request.

$2,200 – 2,600 78

$750 – 850 85

18ct white gold, the Latin cross suspended by an 18ct white gold foxtail link trace neck chain, with Hartfields Box. Gemologist’s report and valuation available on request.

$4,500 – 5,000 see colour illustration page 45.

see colour illustration page 45.

18ct white gold, the body of pavé invisibly set square cut rubies, the wings and head set with round brilliant modern cut diamonds and the eyes with cabochon emeralds.

$2,750 – 3,250 87

see colour illustration page 41.

A Ring Set With A Pendeloque Cut Yellow Diamond Together With White Diamonds. The fancy yellow diamond of approx 1ct is set in 18ct white gold within a border of round brilliant modern cut white diamonds, with further diamonds to the split-shank shoulders. Gemologist’s report and valuation available on request.

A Splendid And Highly Fashionable Necklace Of Black And White Diamonds. Art Deco influenced design in 18ct white gold. The necklace of slightly graduated round cut black diamond beads, with white diamond set rondelles at even intervals, suspends a pendant/ enhancer brooch of white gold ajouré, set with brilliant cut white diamonds,and briolette cut black diamonds to a tassel fringe of white diamond set drops with black diamond finials. Black diamonds TDW approximately 30ct, white diamonds TDW approximately 2.28ct. With a matching pair of single drop pendant earrings. Gemologist’s report and valuation available on request.

A Ring Set With A Black South Seas Cultured Pearl And Diamonds. The 13mm round pearl showing excellent peacock green overtones is set in a ring of 18ct yellow gold, the shoulders pavé set with round brilliant modern cut diamonds having a total diamond weight 1ct. Gemologist’s report and valuation available on request.

An Exquisite Insect Motif Brooch Set With Rubies, Diamonds and Emeralds.

$2,500 – 3,000

A Three Stone Diamond Ring. The bridge of 18ct white gold set with a central round modern brilliant cut diamond of stated quality 0.703ct, G, SI2 (Quazar) and two trilliant cut diamonds of TDW 0.644ct and quality GH, SI. Gemologist’s report and valuation available on request.

PIERO MILANO, A Cross Pendant Set With Pink Sapphires and A Diamond.

$1,200 – 1,400

A Pair Of Solitaire Blue Sapphire Earstuds. The round cut Ceylonese blue sapphires of approx total weight 2.00ct are set in 18ct white gold. Gemologist’s report and valuation available on request.

$6,250 – 6,750 see colour illustration page 43.

A Line Bracelet Set With Panels Of Diamonds. Designed as a line of square beveled links, in 18ct white gold, each set with a square pattern of 4 Princess cut diamonds. Total diamond weight 3.83ct. Gemologist’s report and valuation available on request.

$4,500 – 6,500

$4,500 – 5,500

see colour illustration page 45.

see colour illustration page 41.

A Pair Of Flowerhead Cluster Diamond Earstuds. Each stud of 18ct white gold set with 7 round brilliant modern cut diamonds. Total diamond weight 2.30ct for the pair. Gemologist’s report and valuation available on request.

$3,750 – 4,750 see colour illustration page 45.

A Striking Green Tourmaline and Diamond Ring. The oval mixed cut rich green tourmaline of 9.38ct is set in a ring of 18ct yellow gold within a border of round brilliant modern cut diamonds, the split shank shoulders also enhanced with diamonds. Gemologist’s report and valuation available on request.

$5,000 – 6,000 see colour illustration page 39, see also following lot.

145

124 149

112

102 88

92 125 148

79 99 147

JEWELLERY

A Green Tourmaline and Diamond Pendant of Art Deco Design.

A Ring Set With A Solitaire Diamond of Approx 1.14ct. The round modern brilliant cut diamond assessed as H/J, SI1, Good Make is partially rub-over set in a ring of 18ct white and yellow gold. Gemologist’s report and valuation available on request.

The oval mixed cut rich green tourmaline of 13.52ct is set in 18ct yellow gold together with round brilliant modern and baguette cut diamonds to suit the design. Gemologist’s report and valuation available on request.

$6,000 – 7,000

$5,800 – 6,400

see colour illustration page 37.

see colour illustration page 39, see also previous lot.

98 91

A Pair of ‘Blue White’ Solitaire Diamond Earstuds of 1.00ct Each.

A Striking Five Diamond Bridge Ring. The bridge of 18ct white gold set with a line of round modern brilliant cut diamonds mildly graduated from the centre stone of estimated weight 0.57ct. The diamonds of TDW approx 2.35ct are assessed as KLM, SI1-2. Gemologist’s report and valuation available on request.

The round brilliant modern cut diamonds, described in G.I.A reports 16340456 and 4949002 as colour D, I1, Very Good Make, are set in 18ct White Gold. Gemologist’s report and valuation available on request.

$5,000 – 6,000 see colour illustration page 45.

$10,000 – 12,000 see colour illustration page 28.

A Ring Set With A Solitaire Early European Cut Diamond of Approx 2.27ct. The diamond assessed as N-P, VS2 is set in a traditional style ring of platinum. Gemologist’s report and valuation available on request.

$7,750 – 8,750

A Rubellite Tourmaline and Diamond Dress Ring. The cushion outline mixed cut Rubellite of 6.33ct is set in a ring of 18ct white gold within a border of round brilliant modern cut diamonds, with further diamonds to the split shank shoulders. Gemologist’s report and valuation available on request.

$4,250 – 4,750 see colour illustration page 41.

see colour illustration page 41.

100 A Five Diamond Bridge Ring 93

A Pendant Set With An Emerald Cut Fancy Yellow Diamond and White Diamonds. The fancy yellow diamond of 0.93ct set in 18ct white gold within a border of small round brilliant modern cut diamonds to a bale set with two further brilliant cut diamonds and a tapered baguette cut diamond. Gemologist’s report and valuation available on request.

The round modern brilliant cut diamonds of matched size assessed as H/J, VS-SI1, with a total diamond weight approx 1.10ct are set in a rounded square band of 18ct yellow gold and platinum. Makers mark for Jack Garret. Gemologist’s report and valuation available on request.

$2,200 – 2,800 see colour illustration page 39.

$5,000 – 6,000 see colour illustration page 41.

A Quatrefoil Diamond Set Cross Motif Pendant. Rectangular box section each face in the form of a Latin Cross set with rows of round brilliant modern cut diamonds to a swivel bale. 18ct white gold. Total diamond weight 2.94ct. Gemologist’s report and valuation available on request.

The diamond described in GILI report 43433 as 1.660ct, F, VS2, good make is rub-over set at the centre of a ring of 18ct yellow gold. The shoulders close channel set with baguette cut diamonds of fine quality and approx TDW 1.5ct. Gemologist’s report and GILI report available on request.

$3,750 – 4,750

$17,000 – 20,000

see colour illustration page 39.

A Good Rhodalite Garnet and Diamond Ring.

102 A Cocktail Ring Set With Sapphires and Diamonds.

The 14 x 10mm rectangular cut rhodalite garnet set in a stepped mount of 18ct yellow gold of classical art deco influenced design, with two baguette cut shoulder diamonds. Gemologist’s report and valuation available on request.

Folded and rectangular offset panel design in 18ct white gold pavé set with round cut blue sapphires and round brilliant modern cut diamonds to suit the design. Gemologist’s report and valuation available on request.

$2,500 – 3,000

$1,750 – 2,250

see colour illustration page 37.

see colour illustration page 41.

A Line Bracelet Set With Some 7.3ct Of Diamonds. Designed as a line of articulated convex 18ct yellow gold links, each channel set with a row of Princess cut diamonds, separated by transverse arches of 18ct white gold each channel set with a row of round modern brilliant cut diamonds. The diamonds, some 118 in all have an estimated TDW 7.39ct. Gemologist’s report and valuation available on request. The vendor has dramatically reduced the reserve on this item presenting a rare opportunity for the astute buyer.

$5,000 – 7,000 see colour illustration page 37.

101 PIERO MILANO, A Ring Set With An Emerald Cut Diamond Of 1.66ct Together With Baguettes.

103 A Mid 19th C Roman Micromosaic Brooch And Pendant Drop Earrings En Suite. The brooch of oval outline with a frame of yellow gold (tests 9ct washed with gold of a higher carat). The glass tesserae set within black and faux malachite borders. The scene is St Peter’s and piazza viewed from the Via D Conciliazone. The earrings of similar design with scenes of ruins about the Forum. Some chips to outer and inner brooch borders, chips to brooch back. The micromosaic panels appear, however, to be complete and in good condition.

$2,000 – 2,500 see colour illustration page 39.

111

107

143

132

117 156

87 138

135 144

115

150

JEWELLERY

104 A Loose Diamond of 1.54ct. The round brilliant modern cut diamond of reported quality H/I, SI, Very Good Make (to be confirmed at time of publication). Gemologist’s report and valuation available on request.

$8,000 – 9,000 see colour illustration page 39.

105 A Necklace of Moonstones. Yellow gold (tests approx 15ct) set with a line of round brilliant modern cut moonstones, the mid-section suspending a fringe of pendeloque moonstone drops.

$800 – 1,000 see colour illustration page 39.

106 A Bracelet Of 9ct Yellow Gold Set With Moonstones. Designed as a line of 11 circular links graduated from the centre, each set with a circular moonstone cabochon, to a line of gate links.

111 A Bridge Ring Set With Baguette And Brilliant Cut Diamonds. The slightly tapered bridge of 18ct white gold close set with a central graduated line of baguette cut diamonds within raised borders set with diamond baguettes separated by round brilliant modern cut diamonds. Total diamond weight 1.55ct. Gemologist’s report and valuation available on request.

$2,000 – 2,500 see colour illustration page 43.

112 A Good Ceylonese Blue Sapphire and Diamond Ring. The oval cut sapphire of even colour, bright appearance and estimated weight 5.15ct is set in a ring of 18ct white gold, the bezel pavé set with some 62 round brilliant modern cut diamonds of good quality and estimated total diamond weight 1.05ct. Gemologist’s report and valuation available on request.

$9,000 – 10,000 see colour illustration page 41.

$400 - 500 113 A Stylish Bow Brooch Set With Rubies and Diamonds. 107 An Eternity or Wedding Ring Set With A Line of Baguette Cut Diamonds. The band of 18ct white gold with raised borders enclosing a close-set line of 21 baguette cut diamonds of very good quality (G+, VS) and stated total diamond weight 1.00ct. Gemologist’s report and valuation available on request.

$2,000 – 2,500 see colour illustration page 43.

108 A Desirable Bridge Ring Set With Three Fine Quality ‘Regent’ Cut Diamonds. Traditional design in 18ct yellow gold and platinum centred by a Regent cut (octagonal brilliant) diamond of actual weight 1.12ct and G.I.A reported E, SI1, very good make, supported by two side stones assessed as E/G VS2, very good make and total approx 0.91ct. TDW 2.03ct. Gemologist’s report and valuation available on request.

Designed as a bow-tie in 18ct white gold set with lines of round brilliant modern cut diamonds and French cut rubies to suit the design. Gemologist’s report and valuation available on request.

$4,000 – 5,000 see colour illustration page 28.

114 A Ring Set With A Rare 2.13ct Natural Fancy Grey – Green Marquise Cut Diamond. The diamond described in G.I.A report 12400776 as being Marquise brilliant Natural Fancy Light Greyish Green is set in a ring of 18ct rose gold enhanced with lines of round modern brilliant Fancy Pink Diamonds, the supports each set with three fancy yellow pendeloque rose cut diamonds. Gemologist’s report and valuation available on request.

$85,000 – 95,000 see colour illustration page 28.

$13,000 – 15,000 see colour illustration page 37.

109 A Striking Oval Diamond Cluster Ring. Concave oval design in 18ct white gold. A border of round brilliant modern cut diamonds encloses a concave panel of close set diamond baguettes bisected by a raised line of baguettes. The shoulders also close set with baguettes within brilliant borders. total diamond weight 2.75ct. Gemologist’s report and valuation available on request.

115 A Bracelet Set With 7.95ct of Brilliant and Baguette Cut Diamonds. Hinged slightly tapered design in 18ct white gold, the upper section close set with a central line of baguette cut diamonds bordered on either side by a line of round brilliant modern cut diamonds. Gemologist’s report and valuation available on request.

$11,000 – 14,000 see colour illustration page 43.

$3,400 – 3,800 see colour illustration page 45.

110 A Ring Set With A Princess Cut Diamond of 1.07ct Together With Shoulder Diamonds. The princess cut diamond described in H.R.D report 07003305039 stating it to be 1.07ct I, VS2+, Excellent Make, is set in a ring of 18ct white gold. The shoulders each channel set with 4 small Princess cut diamonds of total diamond weight 0.50ct. Gemologist’s report and valuation available on request.

$6,750 – 7,750 see colour illustration page 39.

116 A Spectacular Necklace Set With Over 35ct of Diamonds. Designed as a rivière of circular diamond clusters graduated from the centre. Each cluster centred by a flowerhead of round brilliant modern cut diamonds, bordered by a fan of tapered diamond baguettes to an outer border of sevenround modern brilliant cut diamonds, all set in 18ct white gold. The diamonds of good quality, some 1400 in all having a total diamond weight of 35.6ct.Gemologist’s report and valuation available on request.

$37,000 – 47,000 see colour illustration page 28.

109

158

128 85

141

142

161 80

123

160

JEWELLERY

117 A Tennis Style Line Bracelet Set With Approx 9.26ct of Diamonds. The articulated line of 49 circular links in 18ct white gold, each set with a round brilliant modern cut diamond of good quality (G/H SI1) and stated total diamond weight 9.26ct. Gemologist’s report and valuation available on request.

$16,000 – 18,000

123 An Art Deco Period Brooch Set With Diamonds. Oval outline in platinum enhanced with geometric ajouré. Set with 114 diamonds of mixed cuts in round and baguette shapes to a central early European cut diamond of around 0.55ct. TDW estimated at approx 3.78ct. Gemologist’s report and valuation available on request.

$7,000 – 8,000 see colour illustration page 45.

see colour illustration page 43.

124 A Bangle Set With 5.01ct of Diamonds. 118 A Magnificent Emerald Of 20.98ct. The loose emerald-cut emerald of exceptionally rare colour, clarity and brilliance. Gemologist’s report and valuation available on request.

$87,500 – 97,500 see colour illustration page 28.

Hinged design in 18ct white gold, the upper section set with a raised central two row line of round brilliant modern cut diamonds bordered on either side by rows of close channel set diamond baguettes. Gemologist’s report and valuation available on request.

$8,000 – 9,000 see colour illustration page 41.

125 A Splendid Diamond Rivière Necklace. Designed as a line of circular links in 18ct white gold, graduated from the centre, each set with a round brilliant modern cut diamond. The diamonds, graduated from 0.74ct at the centre have a stated total diamond weight 10.95ct. Gemologist’s report and valuation available on request.

$17,500 – 20,000 see colour illustration page 41.

126 A Ring Set With An Exceptional Diamond of 3.86ct. 119 An Impressive Ring Set With A Solitaire Old Cushion Cut Diamond Of Approx 5.90ct. The diamond assessed as L/M, SI1 (chip to crown facet), Good Make is set in a ring of platinum, the shoulders enhanced with a total of eight small single-cut diamonds. Gemologist’s report and valuation available on request.

$40,000 – 44,000 see colour illustration above.

120 A Magnificent Emerald – Cut Diamond of 5.596ct Set In A Ring With Accent Diamonds. The diamond described in Auckland Gem Laboratory report 6612 as H, VS1 is elegantly set in a split shank ring of platinum enhanced with channel set lines of baguette cut diamonds. Gemologist’s report and valuation available on request.

$140,000 – 150,000 see colour illustration page 28.

121 A Ring Set With A Fine White Diamond of 2.107ct. The round brilliant modern cut diamond described in Gemlab diamond report 7H345 as E, VS1, Good (-) Make is set in a wide band of 18ct white gold edged with scroll work about channel set lines of small diamond brilliants to each shoulder. Gemologist’s report and valuation available on request.

$55,000 – 60,000 see colour illustration page 28.

122 A Ring Set With An Exceptionally Rare Natural Green Diamond. The round brilliant modern cut diamond assessed as Natural Pale Green, VVS is set in an Art Deco style ring of 18ct white gold enhanced with ajouré to circlets and lines of round brilliant modern cut white diamonds. Gemologist’s report and valuation available on request.

$95,000 – 100,000 see colour illustration page 28.

The round modern brilliant cut diamond described in Gemlab diamond report 7J398 as G, VS1 Good Make is set in a quatrefoil crossover of platinum set with lines of small brilliant cut diamonds. Gemologist’s report and valuation available on request.

$150,000 – 160,000 see colour illustration page 28.

127 A Three Diamond Bridge Ring. The round brilliant modern cut diamonds of matched size and estimated quality I/J VS1 – SI1 with a reported total diamond weight 1.22ct are rub-over set in a bridge of 18ct yellow gold.

$4,000 – 5,000 see colour illustration page 39.

128 PASQUALI BRUNI, A Ring Pavé Set With Pink Sapphires. 18ct black finished white gold, the upper section set with a panel of pave round cut pink sapphires, with original box. Gemologist’s report and valuation available on request.

$2,500 – 3,000 see colour illustration page 45.

129 A Serpentine ‘S’ Ring Set With Diamonds. 18ct yellow gold channel set with a line of tapered baguette cut diamonds, some 43 in all. Having an estimated total diamond weight approx 2.00ct. Gemologist’s report and valuation available on request.

$1,600 – 2,000 130 A Stylish Diamond Eternity Ring. Rounded square profile in platinum edged with 18ct yellow gold set with a double row of round modern brilliant cut diamonds of fine white colour and estimated total diamond weight 0.35ct. Gemologist’s report and valuation available on request.

$1,000 – 1,200

131 A Full Eternity Ring Set With Diamonds.

139 A Three Stone Diamond Ring.

The band of 18ct yellow gold channel set with a continuous line of 30 round modern brilliant cut diamonds of Good Quality and estimated total diamond weight 0.90ct. Gemologist’s report and valuation available on request.

The round modern brilliant cut diamonds, centered by the largest stone (approx 0.30ct/0.40ct/0.30ct) are rub-over set in a bridge of 18ct yellow gold. Original purchase certificate stating diamond weights and quality (H/J, SI1) available on request.

$1,200 – 1,500

$1,750 – 2,250

132 A Diamond Cluster Ring of Marquise Outline. 18ct white gold. A central raised panel of marquise outline is set with 4 marquise cut diamonds bordered by round brilliant modern cut diamonds to a fan of close set baguettes enclosed by an outer border of brilliants. Total diamond weight 2.07ct. Gemologist’s report and valuation available on request.

$3,000 – 3,500

140 A Ring of 18ct Yellow Gold Enhanced With Circlets of Diamonds. The wide band designed as an interlocking pattern of open circles and closed semi-circles, the five central circles each set with a line of round brilliant modern cut diamonds.

$750 – 850 see colour illustration page 39.

see colour illustration page 43.

133 A Panther Pendant / Enhancer / Brooch Set with Diamonds and Emeralds. 18ct satin yellow gold, the Panther draped from the bale in the Cartier manner. The body shot set with brilliant cut diamonds as spots, the eyes set with marquise cabochon emeralds. Gemologist’s report and valuation available on request.

$1,800 – 2,400 see colour illustration page 37.

134 A Loose Emerald Cut Diamond Of 1.01ct. Gemologist’s report and valuation available on request.

$1,200 – 1,500

141 A Stylish Emerald and Diamond Dress Ring. Bevel edged twist design in platinum pave set with round brilliant modern cut diamonds to a pendeloque cut diamond of 0.79ct assessed as G, SI2 and a similarly cut emerald of 1.52ct. Gemologist’s report and valuation available on request.

$8,500 – 9,500 see colour illustration page 45.

142 A Line Bracelet Set With Rubies and Diamonds. Designed as an articulated line of oval and quatrefoil links in 18ct white gold. Each oval link set with an oval cut ruby, the quatrefoil links each set with 4 small round brilliant modern cut diamonds. Gemologist’s report and valuation available on request.

$3,500 – 4,000 135 A Pendant And Earrings En-Suite Set With Diamonds And Seed Pearls. The pendant of open oval outline in 14ct white gold, designed as a double border of diamond brilliants enclosing a pendeloque and wire spray motif set with further diamonds, suspends a tassel fringe of seed pearls.The bale set with further diamonds and a single seed pearl. With three strand 14ct gold chain. The pendant earrings of matching design fitted with wires and notched clips. The diamonds (187 in all, with one small stone deficient) have an approximate TDW 3.1ct. Gemologist’s report and valuation available on request.

see colour illustration page 45.

143 An Aquamarine and Diamond Dress Ring. The cushion outline mixed cut aquamarine of 8.20ct is set in a ring of 18ct white gold within a border of round brilliant modern cut diamonds, with further diamonds to the split – shank shoulders. Gemologist’s report and valuation available on request.

$3,800 – 4,200 see colour illustration page 43.

$1,800 – 2,800 see colour illustration page 43.

136 An Attractive Eternity Wedding or Dress Ring Set With A Marquise Cut Diamond. 18ct yellow gold, centred by a marquise cut diamond of around 0.50ct, the curved band channel set with tapered baguettes on either side. Gemologist’s report and valuation available on request.

$2,800 – 3,800 see colour illustration page 37.

137 A Diamond Full Eternity Ring. The band of 18ct yellow gold shot set with small round brilliant cut diamonds around the entire circumference.

$550 – 650

144 A Splendid Aquamarine and Diamond Pendant of Art Deco Design. The cushion outline mixed cut aquamarine of 21.61ct is set in 18ct white gold together with round brilliant modern and baguette cut diamonds to suit the design. Gemologist’s report and valuation available on request.

$6,500 – 7,000 see colour illustration page 43.

145 A Pair Of Diamond Cluster Earstuds. Circular outline in 18ct white gold bordered by a line of round brilliant modern cut diamonds. Ajouré separates the border from a raised central panel of 4 princess cut diamonds within a circular border of round brilliant modern cut diamonds. Total diamond weight 2.67ct. Gemologist’s report and valuation available on request.

$3,750 – 4,750 138 An Exceptional Ring Set With A Ceylonese Blue Sapphire Of Approximately 15.00ct. The oval cut sapphire set in a ring of 14ct white and yellow gold within an undulating border of good quality tapered baguette and round modern brilliant cut diamonds having an estimated TDW 1.00ct. Gemologist’s report and valuation available on request.

$9,500 – 11,500 see colour illustration page 43.

see colour illustration page 41.

146 A Ring Set With A Solitaire Diamond of Approx 2.24ct. The round brilliant modern cut diamond of reported weight 2.24ct and quality I, SI2, Very Good Make is set in 18ct yellow gold and platinum with 4 small accent under bezel diamonds. Gemologist’s report and valuation available on request.

$17,000 – 22,000 see colour illustration page 39.

JEWELLERY

147 An Unusual Pendant Set With A Fine White Epaulet Cut Diamond of 2.361ct. The stepped epaulet (pentagonal) cut diamond assessed as F, I2, Good Make is set in a mount of 18ct white gold with a foliate tendril overlay. The overlay, claws and bale all enhanced with small diamond brilliants. Gemologist’s report and valuation available on request.

154 A Ring Set With A Cabochon Citrine And Diamonds. The rectangular citrine cabochon of 13.47ct set in a ring of 18ct yellow gold with a sinuous overlay extending to the shoulders, set with a line of round modern brilliant cut diamonds having a total diamond weight 0.40ct.

$1,400 – 1,600

$7,750 – 8,750 see colour illustration page 41.

148 An Exceptional Emerald And Diamond Ring. The emerald-cut emerald of rare colour, clarity and brilliance and of reported weight 3.68ct, is set in a ring of platinum and 18ct. yellow gold within a border of round modern brilliant cut diamonds. The split shank shoulders enhanced with lines of round modern brilliant cut and square cut diamonds. This ring was previously offered in our April Sale. The vendor has significantly reduced the reserve to a level which presents a rare opportunity to obtain a spectacular piece of jewellery at a very modest price. Gemologist’s report and valuation available on request.

$15,000 – 18,000 see colour illustration page 41.

155 A Pair Of Creole Hoop Earrings Set With Diamonds. 18ct yellow gold, the inner and outer leading edges set with rows of round modern brilliant cut diamonds, 56 for the pair, with a total diamond weight 1.47ct. Gemologist’s report and valuation available on request.

$1,700 – 2,000 156 A Signet Style Ring Set With A Solitaire Diamond of Approx 0.87ct. The round brilliant modern cut diamond assessed as G/H, VS1, Good Make is set in a box bezel ring of 18ct white gold. Gemologist’s report and valuation available on request.

$2,800 – 3,800 149 A Latin Cross Pendant Set With Diamonds. 18ct white gold set with two rows of Princess cut diamonds to a raised metal cruciform line bordered by round brilliant modern cut diamonds. Total diamond weight 2.59ct. Gemologist’s report and valuation available on request.

$3,250 – 3,750 see colour illustration page 41.

150 A Striking Bracelet Set With Emeralds And Diamonds. Designed as an articulated line of alternating quatrefoil and ribbon bow links in 18ct yellow and white gold. Each quatrefoil set with four oval cut emeralds to a central chenier set diamond; each bow set with lines of diamonds. The round modern brilliant cut diamonds, some 162 in all, having an estimated TDW 1.4ct. The emeralds estimated to total 20.5ct. Gemologist’s report and valuation available on request.

see colour illustration page 43.

157 A Ring Set With A Solitaire Diamond Of 0.57ct. The round brilliant modern cut diamond assessed as G/H, VS2 is set in a ring of 18ct white gold. Gemologist’s report and valuation available on request.

$1,800 – 2,400 158 A Jewelled Butterfly Brooch. Late Victorian 9ct gold / silver doublet set with Ceylonese blue sapphires, rubies, pearls and senaille cut diamonds to suit the design. Gemologist’s report and valuation available on request.

$1,600 – 2,000 see colour illustration page 45.

$4,250 – 4,750 see colour illustration page 43.

151 An Edwardian Wild Flower Motif Brooch Set With Diamonds. The foliate and floral spray of 15ct yellow gold set with lines of diamonds to single stone flowerheads. The diamonds all old cut with a total diamond weight around 0.80ct.

$500 -800 152 A Pair Of Princess Cut Solitaire Diamond Earstuds Of Approx 1.00ct Total. The diamonds assessed as G/H, I1 are set in 18ct white gold. Gemologist’s report and valuation available on request.

$1,600 – 2,000 153 A Ring Set With A Solitaire Princess Cut Diamond Of 0.601ct. The diamond assessed as 0.601ct., H, SI1 is set in a ‘v’ mount of platinum on a band of 18ct. yellow gold. Gemologist’s report and valuation available on request.

$1,750 – 2,000

159 A Brooch Set With A Ruby And Diamond Cluster. The tapered bar of 18ct yellow gold set at one end with a cluster of an oval cut ruby within a border of round modern brilliant cut diamonds. Gemologist’s report and valuation available on request.

$750 – 1,000 160 A Pair Of Square Outline Diamond Cluster Earstuds. 18ct white gold, each set with princess baguette and round brilliant modern cut diamonds to form a square. Total diamond weight 0.99ct. Gemologist’s report and valuation available on request.

$1,200 – 1,500 see colour illustration page 45. See also following lot.

161 A Two Panel Drop Diamond Pendant. The square outline panels set corner to corner from a simple bale. 18ct white gold set with princess, baguette and round brilliant modern cut diamonds. Total diamond weight 0.98ct. Designed as a companion to the previous lot.

$1,200 – 1,400 see colour illustration page 45. See also previous lot.

162 A Necklace of Rubies and Diamonds With Matching Earrings. A single strand of graduated faceted ruby beads suspends an enhancer/pendant of ribbon bow and drop design in 18ct white finished gold set with some 118 round modern brilliant cut diamonds to 5 pendeloque polished ruby drops. The single drop earrings of matching design. Gemologist’s report and valuation available on request.

$1,850 – 2,250 163 A Ribbon Bow Brooch Set With A Sapphire and Diamonds. 18ct white gold, the ribbon set with lines of small round brilliant modern cut diamonds, the knot set with a round cut blue sapphire surrounded by 5 marquise cut diamonds.

$600 – 800 164 A Ring Set With A Solitaire Princess Cut Diamond Of 0.54ct. The diamond described in G.I.A report 16111685 as G, SI2 is set in a ring of 18ct white gold. Gemologist’s report and valuation available on request.

$1,900 – 2,400 165 A Ring Set With A Yellow Sapphire And Two Diamonds. The oval cut yellow sapphire of 1.08ct rub-over set in 18ct yellow gold with two round brilliant modern cut diamonds of total diamond weight 0.42ct and estimated quality G/H, SI1-2. Gemologist’s report and valuation available on request.

$1,200 – 1,500 166 A Ruby And Diamond Ring Of Art Deco Design. Octagonal domed design enhanced with ajouré around the five round cut rub-over set rubies in a cruciform pattern on a ground of brilliant cut diamonds. 18ct white gold. Gemologist’s report and valuation available on request.

$1,250 – 1,500 167 A Signet Style Diamond Cluster Ring. 18ct white and yellow gold square outline centred by a round brilliant modern cut diamond of around 1.2ct, box set within a border of baguette cut diamonds. Gemologist’s report and valuation available on request.

$7,800 – 8,400 see colour illustration page 39.

168 A Pair Of Earrings Set With Diamonds. Scroll design mirror images in 18ct white gold, each set with a line of baguette cut diamonds bordered by round modern brilliant cut diamonds to a raised finial cluster of 7 round brilliant modern cut diamonds. Gemologist’s report and valuation available on request.

$1,500 – 1,800

JEWELLERY

Day 2

Antiques & Decorative Arts

Illustrated left: Lot 232 Carved Head of Christ

Thursday 26 June 2008 6.00pm

Viewing Thursday

19 June

Lots Lots Lots Lots Lots Lots

Friday Saturday Sunday Monday Tuesday Wednesday Thursday

20 21 22 23 24 25 26

200 225 256 292 307 353

224 255 291 306 352 366

Silver & Plate Miscellaneous Porcelain & Glass Oriental Furniture & Clocks Paintings & Prints

Evening Preview June June June June June June June

6.00pm – 8.00pm 9.00am 11.00am 11.00am 9.00am 9.00am 9.00am 9.00am

– – – – – – –

5.30pm 3.00pm 3.00pm 5.30pm 5.30pm 5.30pm 12.00 noon

Please note: A buyer’s premium of 15% will be charged on all items in the Antiques & Decorative Arts section of this catalogue. Phone and absentee bids are to be placed no later than 12 noon on day of sale.

ARTS5151 IMPORTANT WORKSDECORATIVE OF ART

SILVER & PLATE 200 A Sterling Silver Covered Cut Glass Pin Box of rectangular section, the domed cover foliate embossed with repousse and with the cartouche area vacant. Chester 1904. Note; slight dimple to the cartouche. W.122mm. D.56mm. H.50mm.

$120 - $150

208 Two George III Period Sterling Silver Old English Pattern Spoons

the plain surface with engraved initials, the hinged case opening to reveal a fitted moss green moroccan leather compendium with a celluloid writing tab and a propelling pencil. Birmingham, the marks rubbed. Note; the initialled surface with shallow indents.

L.312mm.

L.225mm.

$80 - $120

$60 - $80 209 Two George III Period Sterling Silver Old English Pattern Spoons L.225mm.

$60 - $80 210 Eight Victorian Period Sterling Silver Albert Pattern Flatware Pieces

See Illustration page 58

211 A Set of Six William IV Sterling Silver Fiddle Pattern Teaspoons

the hinged rectangular box with reeded surfaces and foliate decorated edges, gilt remnants to the interior. Birmingham 1825, maker T.S.

London 1904, maker JM, the curved oval sectioned case impressed Down Bros London. L.135mm.

$450 - $600

$40 - $60

each bottom struck and with Roman Block initials reverse stem end, three of Hanovarian pattern with extended drops, London, George III Period, the fourth with a detached fancy shell picture back, London, circa 1749. L.210mm.

$160 - $300 205 Six Victorian Period Sterling Silver Fiddle Pattern Table Forks script initialled, London, various dates and makers.

$60 - $100 206 Five George III Period Sterling Silver Feather Edge Dessert Spoons crested ‘VIGILO’. London, various dates and makers.

214 A Sterling Silver Pair of Small Toast Racks

$300 - $400 222 A Sterling Silver and Lined Wood Cased Swiss Travel Clock/Pocket Watch white enamel face with black Roman numerals and a subsidiary seconds dial. The silver pierced foliate decorated, the cartouche vacant, Birmingham 1902. Note; the case with minor loss.

$300 - $400

$60 - $80 215 A Sterling Silver Pair of Seal Spoons, Cased London 1954.

$80 - $120 216 Two George III Period Sterling Silver Old English Pattern Tablespoons script initialled, London 1809, the other wth rubbed marks.

$80 - $120 217 A George III Period Sterling Silver Sauce Boat

H.85mm.

$100 - $140

L.212mm.

H.118mm. W.105mm.

$50 - $100

L.220mm.

each with floral and bead engraved gilded oval bowls.

L.58mm. H.72mm.

squat oval form with flying scroll handle. London circa 1776, marks rubbed.

Old English pattern, 1811/12, maker W.W.

221 A Cased Set of Four Silver Plate Large Apostle Spoons

Sheffield 1925.

L.78mm.

207 Two George III Period Sterling Silver Exeter Spoons

213 A Sterling Silver Cased ‘Needle’ Mystery Instrument

W.72mm. D.42mm. H.20mm.

204 Four Georgian Period Sterling Silver Soup Spoons

220 A Sheffield Plate Pair Two Branched Baluster Candelabras

$1,000 - $1,500 212 A Set of Six Victorian Period Sterling Silver Fiddle Pattern Teaspoons

$50 - $60 203 A George IV Period Sterling Silver Pocket Snuff Box

$200 - $300

H.460mm.

$200 - $300

$800 - $1,200

H.115mm.

$50 - $60

$80 - $160

L.125mm.

of plain squat octagonal form with ebonised handle and finial, and raised on four heart pierced feet. Edinburgh 1904, makers H & J. Diam.120mm.

script initialled, London 1884, maker CB.

W.102mm. D.80mm.

scrolling foliate embossed and with six bells, whistle and coral teether, (the teether with small loss). Birmingham 1871.

219 An Arts & Crafts Period Scottish Silver Small Teapot

the two urn nozzles held out on sinuous reeded branches, the central nozzle with an optional cap with flame finial surmounting the sleeve fitting into the candle holder, set on a foliate-moulded embellished knopped stem, raised on a spreading circular base similarly enriched. Note; some age related wear inc. old solder repair to a base, solder repair to sleeve on the other candelabra.

two of each: table and dessert spoons, table and dessert forks. London, various dates and makers.

202 A Victorian Period Sterling Silver and Coral Child’s Rattle

Sheffield 1895, the ‘bone’ handle with an old stress fracture.

script initialled, London 1801.

London 1815.

201 A Sterling Silver Card Case Purse

218 A Sterling Silver Crumb Tray

$250 - $350

223 A Superb Sterling Silver Covered Wine Ewer by Barnard Brothers of an elegant simple form, the surface finely all-over engraved with stylised scrolling foliate patterns and presentation engraved to a Joseph Underwood Esq., twice elected Mayor of The Borough of Liecester,1857 & 1858, the ewer with a naturalistic fruiting vine handle and the hinged cover with an applied vine leaf in low relief. Makers Edward & James Barnard. London 1857. H.365mm.

$3,250 - $4,500 224 An Art Nouveau Period Sterling Silver and Velvet Table Picture Frame Chester 1903, makers JD WD. The silver embossed decorated with four maidens’ heads within flowers and tendrils, typical of the period. W.145mm. H.145mm.

$200 - $300

MISCELLANEOUS 225 An Arts & Crafts Period Embossed Copper and Leatherette Table Picture Frame the shaped copper frame ivy leaves and flowers embossed. H.145mm. W.126mm.

$100 - $160 226 An Arts & Crafts Embossed Copper and Oak Table Picture Frame the copper frame butterflies and foliate embossed. H.155mm. W.125mm.

$100 - $160

234 A Finely Carved Ivory Small Tazza the circular bowl lip carved with acanthus leaves in low relief, the exterior with a floral and foliate carved encircling band, the flowers and leaves with very fine detailing, the bowl supported on a carved lotus leaf above a triform base terminating in double scroll feet, the central column carved with three swans, their necks extended amongst carved reeds and pond plants. Note; one foot detached. H.132mm. Diam.145mm.

$400 - $600 See Illustration page 59

235 An Elephant Trunk Section Carved as an African Portrait Head collected in the 1920’s.

227 An Arts & Crafts Period Embossed Copper and Leatherette Table Picture Frame H.125mm. W.122mm. W.47mm.

$100 - $150 228 A Miniature Oval Portrait of a Child Painted on Ivory not signed, in a gilt metal oval frame. H.68mm.

$100 - $200 229 A Water Colour Miniature Portrait of a Matron in Jacobean Costume not signed, in an gilt metal oval frame. H.108mm. W.86mm.

$150 - $250 230 An Oak Framed Wax Seal ‘Annexation Orange Free State, Lord Robert’s Official Seal’. Frame H.142mm.

$50 - $100 231 Two Antique Dutch Bibles the smaller edition with clasps, the larger with faults, together with a 19th Century English edition of Common Prayers and Hymns.

$60 - $100 232 A European Wood Carved Head of Christ the crown of thorns wood carved, the wood ‘thorns’ inserted. H.235mm.

$350 - $500 See Illustration page 50

H.240mm.

$500 - $650 236 An Asian Elephant Tusk collected Sumatra, Indonesia, circa 1950. L.555mm.

$200 - $400 237 A Pietre Dura Inlay Desk Obelisk one side of the tapering shaft with flowering jasmine vine hardstone inlay above a briar rose sprig inlay panel, again in hardstone inlay. Note; small chip to pyramid tip and some edge chipping to the square sectioned plinth base. H.368mm.

$300 - $500 238 Two Egyptian Antique Deity Small Bronzes on M Collins McMahan Pottery one of the deity, Hathor, seated and suckling an infant, the other of a standing, possibly Horus, (defaced). The bronzes recovered after a fire in London, the terracotta plinths impressed with sea shells later commissioned. H.98mm.

$400 - $600 239 A Christofle Pair of NeoClassical Style Cast Metal Small Vases the elegant forms each with three rams heads at the shoulder above laurel festoons. Base rim stamped ‘CHRISTOFLE ‘ one with with impressed number 2481630, the other with a similar number, partially indistinct. H.135mm.

$2,000 - $3,000 See Illustration Page 58

233 Two Petit-Point Face Screens the needlework of floral designs worked on fine wire mesh, the mesh secured within a shaped and painted metal frame, each screen supported on a turned and carved wood handle. Note; some mesh rust. L.390mm.

240 A Victorian Period Cast Iron Animal Group of Hunting Dogs the three dogs investigating a lair beneath rocks and ivy, Note; loss of two dogs’ tails. L.380mm. W.170mm. H.120mm.

241 A Bronze of a Lumbering Bear 20th Century, maker unknown. L.410mm. H.200mm.

$375 - $500 242 A Good Quality Deep Oval Large Copper Pan with substantial carrying handles, each impressed ‘17’, the pan with an old repair to the base seam and coppered over. W.535mm. inc. handles. D.270mm. H.198mm.

$200 - $250 243 A Copper and Iron Large Kettle the beaten copper body of cauldron shape with a flatterned bottom, substantial iron swing hooked handles to the sides. Diam. 410mm. H.290mm.

$250 - $350 244 A Set of Three Wragg Bros Ltd Visiguage Measures the one, two and four gallon measures manufactured in copper, brass and glass, the brass slide scale named Bragg Bros Ltd Wickford Sussex, each measure stamped ‘IN 20 C’, official measures for the ‘County Council West Midlands’, each with a brass carrying handle. H.395mm, H.500mm. H.600mm. inc. handles.

$1,000 - $1,500 See Illustration page 54

245 A Dutch Blue and White Tiled and Foliate Pierced Brass Decorative Fire Surround the pierced trefoil, leaf and circle brass finished surround secured onto a wood frame, the flanking tiled panels each of five blue and white Delft style tiles depicting landscapes of windmills, dykes and botters (one tile with a crack). H.1145mm. W.894mm. D.115mm.

$800 - $1,200 See Illustration page 58

246 An Antique Pewter Samovar of Dutch Indonesian Origins the covered coffee vessel of baluster form with a scroll handle and fitted brass spigot with an ornate tap, raised on three legs supported wood turned feet, the brass trefoil stand with a pierced gallery (some loss the frieze) raised on wood turned feet. Circa 1800. Note; with faults inc. old solder repair. H.440mm.

$300 - $400 247 A Dayak Shield, Kalimantan light wood and polychrome with vegetable fibres. Collected by the vendor’s father in the 1940’s. Note; two splits to one end. L.1230mm. W.305mm.

$300 - $600 See Illustration page 58

$800 - $1,200

$100 - $140

DECORATIVE ARTS

248 A Dayak Ceremonial Spear, Kalimantan the shaft and scabbard of wood, polychrome, animal skin and teeth, beads, horn, the spear head of iron. Collected by the vendor’s father in the 1940’s. L.1210mm. inc. scabbard.

$250 - $400 See Illustration page 58

249 Two Dayak Iron Tipped Spears, Kalimantan cane, animal hide, and iron, (the iron possibly manufactured as whale harpoons), with good patination. Collected by the vendor’s father in the 1940’s. L.1820mm. & L.1570mm.

$200 - $400 250 Two Indonesian Kris Knives and Wood Covers the smaller dagger with a deity figure metal grip, in a patinated wood cover, L.322mm, the larger with a sinuous blade and wood carved bird head grip (old split to the top), the wood cover with some loss but with good patination, L.470mm. Collected by the vendor’s father in the 1940’s.

282

$80 - $200 251 A Gata Club notch carved with mother of pearl inlay. Note; wood repair. L.810mm.

$100 - $200 252 A 20th Century Japanned Sextant the pierced frame with mirrors, two sets of filters and telescope, the radial arm with lever clamp and tangent screw, the engraved scale with some discolouration, black painted grip to the rear. Maker unknown. Presented in wooden case.

$750 - $900

290

284

283

286

285

244

278

280

279

253 A Japanese Brass and Japanned Ship’s Compass the dial named Saura Keiki Seisakusho Co., Ltd, Tokyo, Japan, model ‘B -180’, serial number C3312. Cased. Professionally overhauled and repaired within the past year.

$1,200 - $1,800 254 A Heath & Co., New Eltham, London Rare “Hezzanith” Large Sextant C.1930 the brass frame with telescope socket, large mirrors and eight shades, the index arm fitted with a magnifier and vernier with an endless tangent screw, (first introduced in 1905), with an unusual special-release mechanism, the arc with a silver scale engraved, stamped A90. Rd. No.707648 and named Clearfield. The mahogany case fitted with some accessories and engraved A.C. Note; with faults.

$800 - $1,000 255 A Glazed Carpet Bowl decorated with a series of black and blue stripes on a white ground. Note; general wear inc. chipping. Diam.75mm.

$60 - $120

PORCELAIN 256 A China Brandy Barrel the gilt decoration with P. Brandy to the cartouche, some crazing. Circa 1870. H.335mm.

$80 - $140 257 A 19th Century Derby Pair of Small Urns with Covers of squat amphora form, each with handles to the neck mounted on gilded heads at the shoulder (the masks with some rubbing to the gilt), the surface panels decorated with birds amongst gilded foliage on a cobalt blue ground, imari floral reserves on a white ground. Blue crown mark. H.130mm.

$600 - $800 276

DECORATIVE ARTS

258 A French 18th Centry Style Pair of Two Handled Porcelain Vases each with two painted panels of painted floral sprays on a clear white ground, the eggshell blue surface scrolling foliate decorated in gilt and supported on a sqare base. Note; one minus the screw in base. H.230mm.

$400 - $600 259 A Pair Vienna Style Porcelain Lidded Urns Bleu de Roi ground with central gilt decorated cartouches of romantic scenes. H.230mm.

$500 - $650 260 A Doulton Dewsberry Covered Vase the moulded and gilded body with two panels of exotic orchids painted and signed by D. Dewsberry. Note; finial to lid restuck. H.300mm.

$800 - $1,200 261 An Amphora Comport of fantastical form, the four supports decorated with gilt scrolls and applied flowers to the blue/green glazed body. Circa 1900. Note; small losses. H.235mm. Diam.295mm.

$350 - $400 262 Four 19th Century Continental Porcelain Lithophane Panels three of rustic scenes, the fourth with putti. Impressed PPM marks and each with an impressed design number. H.88mm. W.75mm.

$100 - $160 263 A 19th Century Continental Porcelain Roses Decorated Jardiniere the deep and large oval form with moulded mask and ring side handles and raised on four mask and scroll feet, gilded, the exterior surface painted with rambling rose varieties on a white ground, rubbing to the gilt trim. W.400mm. D.238mm. H.195mm.

$200 - $350 264 Two Early 20th Century Period Copies 19th Century Sevres Style Lidded Urns sky blue ground with worn gold decoration and a band of medallion shaped portrait minatures and flowers. H.410mm.

$900 - $1,200 265 A Moorcroft Florian Ware and Silver Plate Covered Sugar Basin the basin of squat cylindrical form, signed on the base W. M. (Moorcroft), supported in a simplistic silver plate handled frame. Circa 1910. Note; discolouration to interior. H.85mm.

$450 - $600

266 A Royal Worcester Porcelain Bicentenary Cabbage Leaf Small Jug, 1951 transfer decorated â&#x20AC;&#x2DC;West Prospect of the Worcester Porcelain Manufactoryâ&#x20AC;&#x2122;. H.105mm.

$50 - $100 267 A Royal Worcester Thatched Cottage Decorated Small Vase the dwelling nestled amongst a cottage garden of hollyhocks, delphiniums and forget-me-nots, painted on an Autumn mottled ground, gilded effects. Not signed, shape number 2260, puce mark circa 1923.

273 A Royal Worcester China Works Porcelain Pair Wild Ducks Painted Quatrefoil Vases, James Stinton, Grainger Worcester period 1889 - 1902, shape G 1047; painted with drakes taking flight from reed beds, signed, and with a vignette of flowering marsh plant, the other with a vignette of a copse on an ivory ground, between moulded classical swags above and moulded acanthus leaves and daisies below, blush salmon pink and yellow matt ground, gilded effects and trims. Green Grainger shield mark. H.225mm.

$3,200 - $5,500

H.145mm.

$1,200 - $1,800 268 A Royal Worcester Fruit Decorated Small Mug signed, of tapering cylindrical shape, the glossy surface painted with two apples and blackberries, gilded handle and trim. Black mark, date code for 1951. H.72mm.

$300 - $450 269 An Early 20th Century Royal Worcester Floral Decorated Mug the daisies, forget-me-nots and rose sprigs painted on a peach bloom ground, gilded trims. Puce mark, date code for 1907. H.75mm.

$300 - $450 270 An Early 20th Century Royal Worcester Wild Roses Decorated Small Jug shape number 1094, Rd. No.29115, the delicate wild roses and daisy sprays with gilded effects, gilding to the reeded handle and trims. Olive green mark, date code for 1903. H.128mm.

$300 - $450 271 A Royal Worcester Wild Roses Decorated Small Vase shape number 245H, the moulded ovoid body raised on a triform base with gilded effects, the surface painted with pink wild roses, forget-me-nots and fern foliage with gilt outlines on a peach bloom ground. Puce mark, date code for 1914. H.140mm.

$300 - $500 272 A Royal Worcester Porcelain Game Bird Trumpet Large Vase, James Stinton, 1919 shape G 923; a study of a cock pheasant with his hen in a copse painted on a mossy ground, signed, and with a rear vignette of copse shrubbery, within misted gilt borders. Puce mark, year cypher 1919. H.185mm.

$1,200 - $1,800

274 A Royal Worcester China Works Pair Bottle Vases with Covers, 1902 shape G 151; one painted with a cock pheasant on the ground with flowering gorse, a companion pheasant taking flight, and with a vignette of a flowering grass. The other painted with a mountain and loch landscape, a recumbent black-faced highland sheep, and with a vignette of a wild rose sprig, both with matt ivory blush grounds. Printed green Grainger & Co shield mark, date cipher for 1902. H.180mm.

$2,100 - $3,600 275 A Royal Worcester Porcelain Highland Cattle Painted TwoHandled Pedestal Urn and Cover, Edward Townsend, 1956 shape 1572; the neo-classical form with acanthus capped scrolling shoulder handles with mask terminals, painted with three highland cattle grazing on flowering heathland, misty mountains in the distance, on a mottled ground, signed, and a vignette of flowering heather amongst a rocky landscape. Black mark, date cipher 1956. Note; possible repair to finial. H.270mm.

$3,250 - $5,000 276 A Royal Worcester Porcelain Highland Sheep Painted Two Handled Neo-Classical Vase, signed H. Davis shape 229H, the elegant tall ovoid form with a gilt-moulded short trumpet neck, the fore with two black-faced sheep and a lamb in a valley of rocks and heather, near a loch, towered over by crags, painted on a mottled ground, to the rear a vignette of misted trees and rocks. The vase with a beaded rim and gilt trim, acanthus moulded handles finished in gilt. Puce mark. H.312mm.

$7,000 - $12,000 See Illustration page 55

277 A Royal Worcester Porcelain Pair Water Carrier Figures, C.1891 - 1893 shape 1250, Rd. No.84463; the turbaned male carries an amphora, the female supports a large handled vessel upon her shoulder, gilt and enamel decorated on a tinted matt ivory ground. Puce marks. H.240mm.

$2,000 - $3,000 278 A Royal Worcester Porcelain Cattle in a Lakescape Painted Shallow Bowl, signed J.Stinton painted with five cattle watering at a lakeside beneath summer trees in soft tones on a mottled and white ground, bordered by gilt and cobalt blue, the rim with fine gilded leaf pattern. Puce mark, date code for 1912. Diam.235mm.

$300 - $600 See Illustration page 55

283 A Royal Doulton Fishscale Flambe Bud Vase the varied green glazes with yellow speckled effects. Flambe and Royal Doulton marks. H.206mm.

$800 - $1,200 See Illustration page 54

284 A Ruskin Orange Lustre Squat Baluster Vase raised on a large ring foot, the base impressed RUSKIN ENGLAND 1922. H.155mm. Diam.120mm.

$400 - $600 See Illustration page 54

285 A Ruskin Orange Lustre Mallet Vase the inverse baluster form with a slightly tapering neck, the base impressed marks RUSKIN ENGLAND 1915. H.210mm.

279 A Royal Worcester Porcelain Cattle in a Lakescape Painted Shallow Bowl, signed J. Stinton companion to the above, painted with five cattle watering at a lakeside beneath summer trees in soft tones on a mottled and white ground, bordered by gilt and cobalt blue, the rim with fine gilded leaf pattern. Puce mark, date code for 1912. Diam.235mm.

$300 - $600 See Illustration page 55

280 A Royal Worcester Porcelain Pheasants in a Landscape Painted Shallow Bowl, signed J. Stinton painted with a cock and a hen pheasant in the grounds of a remote castle, in soft tones on a mottled and white ground, bordered by patterned gilt and cobalt blue, the rim with fine gilded leaf pattern. Puce mark, circa 1910. Diam.235mm.

$300 - $450 See Illustration page 55

281 A Royal Worcester Porcelain Figural Dolphin and Shell Small Dish on an oval plinth, glossy clear overglaze. Green mark. H.112mm.

$60 - $100

$500 - $800 See Illustration page 54

286 A Ruskin Orange Lustre Tall Vase of gentle tapering form with an everted rim and supported on a spreading ring foot, the base with impressed marks RUSKIN ENGLAND 1914. H.274mm.

each as a kneeling male figure holding a bowl form candlestick, the head, arms and legs in black glass, the black hair and shoes with gold shot highlights, the frilled garment in milk glass with gold shot highlights set on a milk and clear glass stepped domed base with gold shot highlights. Probably Barovier and Tosa. No marks.

the upper section in orange and yellow shading to blue, satin finish with etched signature. Circa 1900’s. Note; small rim chips. H.115mm.

$320 - $400

Oriental 292 A Qing Dynasty Mid 19th Century Chinese Famille Rose Ribbed Deep Medium Bowl finely decorated with swallows and pond fish, butterflies and flowers. Note; old small chips to rim. H.110mm. Diam.170mm.

$600 - $900 See Illustration page 59

293 A Late Qing Dynasty Famille Rose Plate a roundel of crested birds, rock and flowers decorated in bright enamels against a deep green ground. Diam.214mm.

$80 - $120 294 Two Chinese Celadon Small Bowls in the Song Style

$800 - $1,200

each with sang de boeuf glaze, and raised on a small ring foot.

See Illustration page 54

Diam.117mm. H.60mm.

287 A Carltonware Jardinière well decorated with a fantasy bird in polychrome on a mottled green ground. Note; hairline to rim. H.165mm.

$400 - $600 288 A Clarice Cliff ‘Gayday’ Design Footed Conical Small Bowl shape 383. Note; some glaze scratches and glaze frit. Diam.115mm. H.53mm.

$300 - $400 289 A Clarice Cliff ‘Bizarre’ Design Circular Large Bowl painted in a palette of greens and browns and raised on a ring foot. Diam.210mm. H.89mm.

$250 - $400 282 A Mid 20th Century Venetian Glass Pair of Blackamoor Candlesticks

291 A Satin-Finished Marbled Small Vase signed Muller Fres, Luneville

290 A Keith Murray Wegewood Vase powder blue matt glazed body, lathe turned, tapering cylindrical and decorated with incised banding. KM mark. Note; hairline crack.

$200 - $400 295 A Satsuma Crested Birds Painted Rectangular Dish the flat well painted with a pair of wading birds painted with flowering iris, the walls with gilded leaf motifs on a cobalt blue ground. Base signed. L.138mm. W.108mm. H.30mm.

$320 - $400 296 A Qing Dynasty 19th Century Rice Paper and Lacquer Fan in Lacquer Box the rice paper fan painted to one side with forty figures conversing in courtyards and interiors, each figure with his or her’s facial features finely painted on shaped ivory pieces, the robes with gilded patterns. The reverse painted with finely painted rose and flower sprigs and a number of song birds on a blue-grey ground, the black lacquered wood frame of finely detailed gilded chinoiserie reserves of figures in courtyards, butterflies, flowers, lanterns and scrolls. Presented in original lacquered box. Note, the fan with some minor faults inc. loss of an ivory head, the box with faults.

H.290mm.

Fan L.372mm. closed opening to L.670mm.

$1,200 - $1,800

$800 - $1,000

See Illustration page 54

See Illustration page 58

H.265mm.

$700 - $1,000 See Illustration page 54 DECORATIVE ARTS

245

239

247 248

296

202

310

297

234

292

301

DECORATIVE ARTS

338

297 A Chinese 19th Century Wood Carved Card Case all-over fine relief carved with spring scene of figures, pagodas, willows and trees in blossom. Note; some small wood loss. H.108mm. W.68mm.

$450 - $600 See Illustration page 59

298 An Oriental Hanging Balance Scale in forged iron and hardwood, with inlaid graduations and Chinese characters. L.870mm.

$200 - $300

305 A 20th Century Chinese Blue and White Cloisonne Medium Vase the bulbous form with mask and ring handles at the tapering neck, the body with a continuous various blues enamel floral and foliate decoration on a white ground. H.204mm.

$50 - $100 306 An Early 20th Century Sumida Gawa Fern Bowl the rim with two raised women figures opposed, the well wall with a rocky outcrop supporting a panelled dwelling. Note; hairline crack. Diam.205mm. H.70mm.

299 An Oriental Bronze Urn and Cover standing on four fish form legs, the circular body surmounted by a cover of a boy holding a ball. Circa 1920. H.285mm.

$160 - $200 300 A Decorative Cast Bronze Buddha Head

$275 - $350

FURNITURE, RUGS & CLOCKS 307 A Late 19th/Early 20th Century Table Top Revolving Bookcase

H.510mm.

of square section and supported on a bevelled square base, finished in dark stained mahogany.

$500 - $600

W. 295mm. H.280mm.

mounted on a wooden stand.

$200 - $300 301 A Pair of Tibetan Lion Dogs in cast metal with extensive enamelled decoration in red, yellow and green on a blue background. H.300mm. L.400mm.

$1,500 - $1,800 See Illustration page 59

308 A Smokerâ&#x20AC;&#x2122;s Cabinet in Oak with metal mounts, two doors and a hinged lift-up cover, the interior fitted with small drawers and a full drawer, a three pipe rest attached to one of doors. Note; the cream glazed humidor with old lid repair. H.264mm. W.322mm. D.205mm.

302 A Chinese Pair of Large Cloisonne Ginger Jars with Covers the jar body with a spring time scene of prunus blossoms, rocks and a bird, the rear with a vignette of magnolia blooms on a mid blue ground, the cover with a flowering prunus branch. 20th Century.

$200 - $300 309 A Late Victorian Period Rosewood Stationery Cabinet/Compendium with Sheraton Revival Inlay

of baluster form, pink and white peonies and prunus in a floral decorated vase, butterflies, brass floral inlay reddishbrown enamel ground. 20th Century.

the box of rectangular section, the slightly domed hinged lid and fall front with anathemion inlay, opening to reveal a fitted interior for papers and envelopes, ink bottle, two small drawers, the hinged fold-out writing support and lid underside with gilt bordered green moroccan leather inlay, brass hinges, escutcheon and lock (working) with key, gilt metal carry handles. Rd number 173368 in gilt, original trade label â&#x20AC;&#x2DC;Pearson & Son Ltd., 10 Angel Row, Nottingham. Circa 1890.

H.150mm.

W.312mm. D.172mm. H.205mm.

$60 - $100

$300 - $450

H.232mm.

$300 - $450 303 A Chinese Pair of Cloisonne Small Vases

304 A 20th Century Chinese Cloisonne Large Deep Bowl with a shaped rim, the surfaces peonies and bird decorated, deep blue enamel ground with brass cloud inlay, and raised on a brass ring foot. Diam.262mm. H.86mm.

$60 - $100

310 A Georgian Period Slope and Serpentine Front Knife Box in walnut veneer, with brass swing side handles and pierced back plates, large brass escutcheon, brass clasp loss to the cover, the hinged cover with small brass pull handle opening to reveal a mahogany fitted interior decorated with stringing inlay. The box supported on four ball and claw brass small feet. Note; veneer stress crack to left side. H.362mm. W.226mm. D.220mm.

$800 - $1,200 See Illustration page 59

311 A 19th Century Painted Louis XV Style Chair cane filled back and bowed caned seat in moulded frame, on crested cabriole legs. H.890mm.

$180 - $220 312 An Early 19th Century Gallery Tray Topped Night Stand in mahogany and with a single two doored cupboard. Note; attention required to gallery.

$400 - $700 313 An Early 19th Century Fold Over Topped Supper Table in Mahogany the frieze with a simple ebony line inlay above four reeded and turned legs which terminate in brass casters. Circa 1820. Note; crack to top veneer.

320 An Early 19th Century ‘D’ Ended Extension Dining Table in Mahogany

338

standing on eight turned tapering shaped legs and with flame mahogany veneered frieze. Circa 1820. W.1200mm. L.1680mm. Extended.

$2,000 - $4,000 321 A 19th Century Mahogany Pembroke Table circa 1830, standing on four tapering reeded legs terminating with replacement brass castors. Extended L.900mm. W.470mm.

$500 - $800 322 An Early 19th Century Hooped Back Windsor Arm Chair

H.950mm. W.500mm.

in elm and with pierced beech wood back slats, standing on turned legs and stretcher rails. Circa 1820.

$800 - $1,200

$700 - $900 See Illustration page 62

314 Two Victorian Period Balloon Backed Chairs in Rosewood the backs and cabriole legs carved with bunches of grapes and vine leaves. Circa 1860. Note; the back of one in need of attention.

$400 - $600 315 A Hepplewhite Style, Serpentine Shaped Hall Table in Mahogany and standing on tapered square section legs. Incorporating an earlier cock beaded drawer with rococo shaped brass handles. Circa 1890. W.1130mm. D.510mm.

$800 - $1,200 316 A Good Carved Armchair the frame and arm supports with carved decoration, turned legs to the front. Circa 1860. H.990mm.

$800 - $1,100 317 A 19th Century Inverse Breakfront Sideboard in Mahogany with four arch topped doors and central drawer below a mirror back, the mirror within a carved and moulded frame surmounted by a stylised crest. Circa 1860.

$2,800 - $3,400 318 A Victorian Period Dining Table in Mahogany standing on four turned tulip shaped legs terminating in brass capped castors. Circa 1880.

323 A Victorian Period High Backed Gothic Chair in Rosewood the back with twist turned columns supporting ornately carved cresting rail and the tapestry panelled back. The seat serpentine shaped with tapestry upholstery and standing on cabriole front legs. Note; partial loss on side dome. Circa 1860.

$500 - $700 See Illustration page 62

324 An Early 19th Century Swivel Topped Supper Table in Flame Mahogany the top supported on an octagonal baluster shaped column in turn on a circular platform on four carved feet. Note; some looseness requiring attention. W.900mm. D.455mm.

$1,400 - $1,700 325 A Regency Sideboard in Oak (Rare) circa 1830, the twin pedestals with stylised column shaped doors with scroll carved tops. The top with three ogee shaped drawers and with a backboard of scroll acanthus and papyrus carving. W.1900mm. D.640mm.

$1,800 - $2,500 326 A Victorian Period Walnut Side Chair of Delicate Style the balloon back and back splat pierced and with dome decoration. Circa 1870.

$150 - $300

W.1030mm. L.1510mm. Extended.

$1,000 - $2,000 319 A Victorian Spoon Backed Ladies’ Chair with a pale walnut frame, scroll carved top rail and standing on cabriole legs.

$400 - $600 DECORATIVE ARTS

322

323

334

333

327

343

342

DECORATIVE ARTS

327 A William IV Period Large and Impressive Breakfronted Sideboard in Flame Mahogany the base standing on a plinth with four cupboard doors each with recessed panels with ogee shaped mouldings. The two end cupboards with scroll mounted columns. Three ogee shaped drawers in the top frieze. Surmounted by a serpentine shaped back with central foliate and fruit carving. Circa 1835. Note; some veneer losses. W.2260mm. D.640mm.

$3,000 - $4,000 See Illustration page 62

328 A Regency Foldover Card Table in Rosewood standing on four reeded tapering legs. The frieze with a border of beaded moulding (some loss). Maroon baize lined interior. Circa 1820. L.915mm. D.455mm.

$1,000 - $1,500 329 An Early Victorian Bow Fronted Chest of Five Drawers in faded mahogany, the drawers with rounded edges and replacement swan neck handles. Standing on replacement ogee shaped bracket feet. W.920mm. D.520mm.

$800 - $1,200 330 A Victorian Period Occasional Table in Walnut circa 1860, the shaped oval burr top with inlaid floral cartouche, standing on a fluted column on a carved tripod base.

$400 - $600 331 A Victorian Period Walnut Piano Stool with revolving seat and standing on a carved tripod base. Circa 1860.

$300 - $600 332 A Late 19th Century Corner Cupboard in Mahogany with a single fielded panel door opening onto two oak shelves. Circa 1890.

$400 - $600 333 An Interesting Chair in Kauri and Totara the sides which also form the arms with carved gothic style tracery. Circa 1900, made for an Arts and Crafts house in Christchurch.

$800 - $1,200 See Illustration page 62

334 A Rectangular Low Table in True Arts and Crafts Gothic Style the top with chamfered edges is probably in oregon pine and is supported on kauri square section legs and stretchers supported by pointed gothic arches. Circa 1900, made for an Arts and Crafts house in Christchurch.

$700 - $1,000 See Illustration page 62

335 A Small Regency Style Writing Table in Cedar standing on four plain turned legs and with three drawers with ebony inlay, replacement handles. The top loose and with ring marks. W.1000mm. D.520mm.

$500 - $700 336 An Oak Plank Top Farmhouse Table of dowel construction, with cleated ends and a drawer at each, standing on chamfered post legs supported by square section stretchers. The legs have been raised on blocks. Circa 1880. L.1600mm. W.720mm.

$2,500 - $3,000 337 A Continental Two Doored Cupboard in Burr Walnut the doors with moulded panels under a shaped cornice crested by shell carving, the interior fitted with adjustable shelves. W.1230mm. D.520mm. H.2010mm.

$2,000 - $2,600 338 A 19th Century Chinese Camphor Wood Set of Three Screens the upper panels with carvings of sages, attendants and auspicious characters on a river. Worn paint finish. From Dongyang Province, circa 1870. Each H.2520mm. W.470mm.

$1,800 - $2,200 See Illustration

339 A Chinese Pair of Antique Doors in Weathered Elm with iron decoration and ring handles, the doors within a later frame.

$1,000 - $1,500 340 A Rosewood Cylinder Bureau Bookcase of Hybrid Origin the base with a two doored cupboard under a bureau which opens onto pigeon holes and a maroon baize writing surface. The glazed top with turned columns supporting the detachable cornice which along with the door is mounted with bobbin turning. Manufactured most probably within the last 50 years. Note; various splits and losses.

342 An Art Deco Dining Suite in Birdseye Maple and Coromandel Wood Veneer and laminate, comprising of six chairs and table. The table top with rounded corners and quartered veneer is supported at each end by prong shaped stands. The chairs with shaped veneer backs and with slightly sabre shaped front legs. Patterned velour upholstery. Circa 1930.

$4,000 - $6,000 See Illustration page 63

343 An Art Deco Cocktail Cabinet in Birdseye Maple Veneer a companion piece to the previous lot. A large semi-circular door to the lefthand side opens to a satin beech lined cupboard with mirrored shelves with chrome galleries. Two lockable cupboards are under two drawers (one fitted for cutlery), which are beside a sliding glass doored, mirrored cupboard. The handles and knobs in metal and patterned ivorine. The whole standing on a coromandel wood laminated plinth. Circa 1930. L.1800mm. W.585mm.

$1,600 - $2,000 See Illustration page 63

344 A Chandelier with six branches radiating from a central basket which has three lights. Modern.

$900 - $1,200 345 An Elkington, Manchester Bracket Mantel Clock veneered stepped domed top, the clock front with ribbon and floral inlay, the slightly convex face with black Roman numerals behind a hinged convex glazed cover, scrolling foliate fretworked side panels below brass carrying handles, the clock raised on brass bracket feet. Note; faults inc.some minor splitting to veneer. H.422mm. W.345mm. D.246mm.

$600 - $1,200 346 A French Brass Encased Carriage Clock the gilded brass case with a bow front, bevelled glass to all sides and an arched panel in the top, the convex dial with black Arabic numerals and fine Breguet hands, a smaller subsidiary alarm below with Arabic numerals with alarm and repeat, presented in an blue velvet lined old case (not original to the clock) and with key.

H.1250mm. W.610mm.

H.170mm. inc. carrying handle.

$3,000 - $3,500

$4,000 - $5,000

341 An 18th Century Oak Coffer plain three panel top with later carved edge the front with three later carved inset panels. Replacement bracket feet. W.1290mm. D.570mm.

$1,600 - $2,000

347 A German Musical Alarm Clock in carriage syle chromed tin case with gilt metal carry handle and swing back door, with key, (not tested), embossed gilt metal face plate, paper dial (some age-related staining and foxing), with black Roman numerals, a small subsidiary dial with Arabic numerals a VI and subsidiary seconds at XII. Note; some corrosion to the body. H.150mm.

$300 - $450

348 A German Musical Alarm Clock in carriage syle chromed tin case with gilt metal carry handle and swing back door, with key, (not tested), embossed gilt metal face plate, paper dial (some age-related staining and foxing), with black Arabic numerals, a smaller alarm dial at 6 and subsidiary seconds at 12. Note; some corrosion to the body. H.150mm.

$300 - $450 349 A Car Dashboard Clock chromed case, the white enamel face with faults. Diam.90mm.

355 An Antique Copy of Rubens Portrait of His Sons Albert and Nicholas oil on canvas. Frame H.1650mm. W.1010mm.

$4,000 - $5,000

white enamel dial with black Roman numerals, open escapement. H.305mm.

$800 - $1,200 351 A Brass Cased Carriage Clock four bevelled glass side viewing panels including the back door, and a glazed panel in the top, (the front panel with a chip to lower R. edge), black Roman numerals on a white enamel panel, repeat mechanism, key present, maker unknown. Leather carry case with faults. H.122mm.

$500 - $1,000 352 A Black Bear Skin Rug with full head mount and black felt edging.

356 A Good Quality Portrait Miniature of a woman in elaborate Regency costume, the original ornate gilt frame with some small faults, some flaking to the painting. C1830. H.235mm. W.187mm.

357 A Small 19th Century Oil Painting of a European coastal landscape. H.195mm. W.235mm.

$100 - $200 358 A French Pair Antique Engravings, Framed

363 An Oil Hunting Scene, attributed to Ansell presented in a gilt wood frame. Note; some loss to gilt. Frame W.544mm. H.352mm.

$200 - $300 364 A Set of Oval Mounted Rustic 18th Century Style Prints in good gilt frames, (some losses). Signed.

$200 - $400 365 A Mid 20th Century Framed Oil on Board Portrait of an Indonesian Young Woman signed, in original frame.

….De La Commune De Paris…’

H.580mm. W.478mm.

Frame H.530mm.

$100 - $200

$100 - $200 359 A Framed Engraving ‘Bewohner der Sandwich - Inseln’

366 A Framed Watercolour of a Maritime Scene, signed

of a young man and a young woman, handcoloured. Note; some minor foxing.

A. Green. 1978. Depicting a vessel in full sail on the high seas, mounted in an old frame.

Frame W.442mm. H.378mm.

Frame H.625mm. W.778mm.

$100 - $160

$150 - $200

360 A Framed Bookplate ‘Iles Hawai’ titled ‘La Reine Kahoumanou’, handcoloured. Frame L.420mm. H.348mm.

PAINTING & PRINTS

$100 - $200

the subject seated and distracted from reading a book, she wearing a red velvet gown with white lace and bows, signed S. Bambi. Mounted in an elaborate giltwood frame.

W.506mm.

$320 - $400

$2,250 - $3,000

353 A Female Large Portrait in Oil on Canvas

depicting The Lady and The Unicorn. Frame H.506mm.

$50 - $75

$150 - $200 350 A French Heavy Cast Brass and Four Glass Compensating Pendulum Clock

362 A Machine Worked Modern Tapestry

361 A Framed Needlepoint Tapestry depicting a Romantic period scene. Frame H.840mm. W.620mm.

$140 - $200

Frame H.1285mm. W.965mm.

$1,200 - $1,600 354 An Antique Copy of a Holy Family Group oil on canvas. Frame H.1250mm. W.1520mm.

$2,400 - $3,000

DECORATIVE ARTS

Day 3

Important Works of Art Illustrated left: Lot 529 Gordon Walters Rauponga No.1 acrylic on canvas signed and dated ‘85 verso 920mm x 685mm

$80,000 - $120,000

Monday 30 June 2008 6.30pm

Note: Lot numbers in red indicate works from the collection of the Art Appreciation Society

Viewing Evening Preview Thursday

19 June

Friday Saturday Sunday Monday Tuesday Wednesday Thursday Friday Saturday Sunday Monday

20 21 22 23 24 25 26 27 28 29 30

June June June June June June June June June June June

6.00pm – 8.00pm 9.00am 11.00am 11.00am 9.00am 9.00am 9.00am 9.00am 9.00am 11.00am 11.00am 9.00am

– 5.30pm – 3.00pm – 3.00pm – 5.30pm – 5.30pm – 5.30pm – 5.30pm – 5.30pm – 3.00pm – 3.00pm – 12.00pm

IMPORTANT WORKS OF ART

501 Dick Frizzell Still Life with Daffodils oil on board title inscribed, signed and dated 3/8/83 495mm x 360mm

$15,000 - $20,000

502 Garth Tapper 11.30am from the Yugoslavia Series oil on board signed; title inscribed and signed verso 560mm x 590mm

$4,000 - $6,000

503 Richard McWhannell Donagh oil on canvas title inscribed, signed and dated 2006 verso 760mm x 840mm Provenance: Collection of the Art Appreciation Society

$7,000 - $10,000

IMPORTANT WORKS OF ART

504 Jeff Thomson NZ Bouquet screenprinted corrugated iron signed and dated 2003 1950mm x 1350mm Provenance: Collection of the Art Appreciation Society

$7,000 - $10,000

505 Paul Beadle Bank/Rooms bronze title inscribed and impressed with the artistâ&#x20AC;&#x2122;s cypher 195mm x 180mm x 130mm

$12,000 - $15,000

506 Ann Robinson Yellow Boat cast glass signed and dated 2004 NZ verso 240mm x 290mm x 100mm Provenance: Collection of the Art Appreciation Society

$7,000 - $10,000

507 Stanley Palmer Anawhata oil on linen on board signed and dated ‘03 685mm x 1340mm Provenance: Collection of the Art Appreciation Society

$18,000 - $25,000

508 Stanley Palmer Islands of the Gulf oil on linen on board signed and dated ‘03 635mm x 755mm Provenance: Collection of the Art Appreciation Society

$7,000 - $10,000

IMPORTANT WORKS OF ART

509 Fatu Feuâ&#x20AC;&#x2122;u Uluia Moana acrylic, dye and pastel on unstretched canvas signed and dated â&#x20AC;&#x2DC;99; title inscribed, signed and dated 1999 verso 1300mm x 1750mm Provenance: Collection of the Art Appreciation Society

$8,000 - $12,000

510 Pat Hanly Golden Age monoprint title inscribed, signed and dated 1979 530mm x 505mm

$4,500 - $5,500

511 Colin McCahon North Otago Landscape ink on paper signed and dated â&#x20AC;&#x2DC;67 530mm x 417mm

$30,000 - $40,000

IMPORTANT WORKS OF ART

512 Richard Killeen Past, Present and Future 1978 acrylic lacquer on aluminium title inscribed, signed and dated July 1978 verso 1210mm x 1210mm

$30,000 - $40,000

513 Ann Robinson Te Rito (Cactus Pod Bowl) cast crystal glass signed and dated NZ 2004 250mm x 280mm x 345mm

$20,000 - $30,000

Ann Robinson’s distinctive cast glass vessels are luminous, beautiful studies in mass and translucency. Made from 45% crystal glass and utilising a lost wax casting technique developed from that used in bronze casting, Te Rito (Cactus Pod Bowl) is typical of her subtle and deeply felt understanding for this medium. Although physically weighty, Robinson’s forms afford a sense of solidity and mass that is not weighed-down or stolid. Scale is an important contributing feature in this achievement. The thickness of the body of the bowl and the blunting of the edges of the rim or of the simple cast chevrons enhance its capacity to occupy and displace the space in which it is seen. Yet, even in a low bowl such as this one, the honed sense of proportion and of the interrelation of the object’s dimensions with its material thickness are finely judged and unerringly appropriate. At the same time, and due to Robinson’s acute understanding of her material and process, she ensures that multiple characteristics of glass are also realised. The way in which the deep green cavity captures the light, for example, grants the piece a luminosity that countermands its physical weight. The tiny bubbles

on the surface give a light textural patina to the exterior that suggests a delicacy or vulnerability of the otherwise massive form. Those bubbles visible inside the cast both capture and add complexity to the play of light and recount the essential and paradoxical nature of glass; its liquidity. Together, such qualities help to account for the strong, dignified but somehow modest or at least restrained presence of this work. It inhabits space confidently but not dogmatically. The qualities of Robinson’s practice afford a work such as Te Rito (Cactus Pod Bowl) an elegant gravitas that complements the natural form that inspired it. In the past decade, Robinson has been honoured for her achievements with a life time achievement award from the American Glass Society (2006), a New Zealand Laureate Award (2004) and in 2001 she was made an Officer of the New Zealand Order of Merit. Peter Shand

IMPORTANT WORKS OF ART

514 Philip Trusttum No.26, Hedge oil on board title inscribed verso 1360mm x 1210mm Provenance: Purchased at New Vision Gallery from the exhibition The Artistâ&#x20AC;&#x2122;s Garden, 1973

$10,000 - $15,000

515 Pat Hanly Inside the Garden 26 watercolour and crayon on paper title inscribed, signed and dated â&#x20AC;&#x2DC;69 and inscribed 26 550mm x 545mm

$20,000 - $30,000

516 Ralph Hotere Te Whiti Series acrylic, silver ink pen and varnish on paper title inscribed, signed and dated ‘72 and inscribed From John White’s ‘The Ancient History of the Maori his Myths and Trad.’ Vol II, p 32. Note: accompanied by Gregory O’Brien and Lara Strongman Parihaka: The Art of Passive Resistance, (Victoria University Press 2001) 555mm x 410mm

$20,000 - $30,000 The Te Whiti Series was produced at the bequest of James Mack on the occasion of the exhibition Taranaki Saw it All, shown at the Waikato Art Museum and the Taranaki Museum in 1973. These works feature texts taken from the ancient Maori story included in The Ancient History of the Maori, His

Mythology and Traditions Vol II, written in 1887 by John White. Two fishermen, Pungarehu and Koko-muka-hau-nei, are blown off course, their waka eventually being washed up on land belonging to a tribe to whom fire was unknown. Building a fire and cooking whale meat caused exclamations of wonder. The smell of the fire brought forth a chant which is the title and inscription of the painting; Whispering ghosts of the west, Who bought you here to our land? Stand up and depart whispering ghosts of the west, Who bought you here to our land? Stand up and depart. The bilingual text floats above the horizon line, reminiscent of an illuminated manuscript. Hotere’s use of a classical Maori source rekindles an old myth for a new audience. It has been suggested that the work was formerly in the collection of Olivia Spencer Bower, who, with her friend Doris Lusk, visited the exhibition. Both artists purchased a work from the series. Emma Fox

IMPORTANT WORKS OF ART

517 Brent Wong Cloud Island acrylic on board signed and dated â&#x20AC;&#x2DC;99; title inscribed, signed and dated 1999 verso 390mm x 558mm

$30,000 - $40,000

518 Michael Illingworth A Tree I Know Near Matauri Bay oil on canvas title inscribed, signed and dated â&#x20AC;&#x2DC;72 verso 510mm x 670mm

$45,000 - $65,000

IMPORTANT WORKS OF ART

Don Binney 519 Don Binney Fat Bird oil on board signed and dated 1965; title inscribed, signed and dated 1965 verso 590mm x 695mm Provenance: Gifted to the present owner by the artist in 1965

$70,000 - $90,000

Don Binney established his reputation in the mid-1960s with paintings of New Zealand birds set against the landscape. Fat Bird, is a characteristic example of his early paintings of the Miromiro or North Island male tomtit. Buller in his Birds of New Zealand points out that ‘The strongly contrasted plumage of the male bird renders it a conspicuous object; but the female owing to her sombre colours and less obtrusive habits, is rarely seen.’ He adds: ‘Its usual attitude is with wings slightly lowered and tail perfectly erect, almost at a right angle with the body.’ Binney, however, shows the bird in flight, not perching, and its tail is swept back behind it while its wings appear to flap as it moves from left to right of the spectator as if passing by. The effect of flight is helped by the close viewpoint and the cropping of its tail by the picture frame. The bird’s beak is open as if it is uttering its cry, described as ‘a prolonged trilling note, very sweet and plaintive.’ Binney has observed the bird accurately in keeping with his ornithological interests and his concern for his subjects and their endangered habitat. But his reductive treatment of the forms of the Miromiro and the landscape is far removed from the highly descriptive illustrations by Keulemans for Buller’s lavish publication. Instead Binney’s sharp outlines register the patterns of the bird’s plumage while the strong tonal contrast enhances its striking appearance. The handling of the black areas where the paint is thick and striated causes a shimmer suggestive of light on plumage. His simplified landscape, recalling McCahon, conveys the essence of the country rather than its specific flora. As usual with Binney, the bird, small in real life, is monumentalised compared with the landscape below, a disjuncture caused by looking at birds through powerful binoculars, effectively magnifying them and distancing them from the background. The painted effect is to take the subject far from the commonplace into a new reality where the bird takes on symbolic meaning. The 1964 catalogue issued by the Ikon Gallery where the Fat Bird paintings were first shown commented that ‘Don Binney’s paintings are indigenous to this country. They do not pretend, in their frequent use of land and bird forms to stress an obvious symbolism of New Zealand – they are not self-consciously ‘New Zealand’ in a literary sense. They are images, directly stated, of forms familiar to and closely observed by the artist as ingredients of an intimate environment.’ Whether intentionally or not, Binney’s paintings entered into the nationalist debate about New Zealand art in the mid-1960s, and then as now have strong appeal for anyone seeking imagery that evokes the distinctive ecology of this country. Michael Dunn

IMPORTANT WORKS OF ART

520 Gavin Hurley Young Donald 2004 oil on hessian title inscribed, signed with the artistâ&#x20AC;&#x2122;s initials GJH and dated â&#x20AC;&#x2DC;04 verso Exhibited: Mixed Up Childhood, Auckland Art Gallery (2005) Illustrated: Janita Craw & Robert Leonard, Mixed-up Childhood (Auckland Art Gallery, Toi o Tamaki 2005) 1400mm x 1000mm

$15,000 - $20,000

521 Tony de Lautour Powder Land 2005 No.1 oil on canvas title inscribed, signed and dated 2005 verso 1010mm x 1010mm

$15,000 - $20,000

522 Tony de Lautour $ oil on canvas signed and dated 2002 1010mm x 1010mm

$25,000 - $35,000

IMPORTANT WORKS OF ART

523 Gretchen Albrecht Nocturne (The Still Point of the Turning World) acrylic and oil on oval shaped canvas title inscribed, signed and dated â&#x20AC;&#x2DC;93 verso 2420mm x 1550mm

$30,000 - $40,000

524 Shane Cotton Blue Madonna oil on canvas title inscribed, signed with the artistâ&#x20AC;&#x2122;s initials SC and dated 03; title inscribed, signed and dated 2003 verso 1400mm x 1400mm

$55,000 - $75,000

IMPORTANT WORKS OF ART

Tony Fomison 525 Tony Fomison Portrait of a Cicus Clown oil on hessian on dart board title inscribed verso 460mm diameter

$45,000 - $65,000

Portrait of a Circus Clown uses the tondo or circular format associated especially with European religious art and in particular with Renaissance and Baroque paintings of the Holy Family and the Head of Christ. Fomison, who was well versed in European art, here uses the tondo for a secular subject, the head of a circus clown painted in sanguine on a grey ground. Caravaggio had used the tondo for his depiction of the severed head of Medusa, a work which provided a prototype for Fomison. Perhaps ironically, when we look at the back of Fomison’s painting we find that the support for his canvas is a dart board. Behind the comic mask Fomison’s clown is a sad and isolated figure. The artist often identified with outcasts of society, the downtrodden and the mentally ill. Typically, rather than simply recording the subject’s features there is a strong psychological dimension to his portraits. The rough surface of jute gives a textural interest to the otherwise smooth paint and adds a sympathetic earthiness to his image. Fomison showed some portraits of clowns at the Denis Cohn Gallery in 1980 and this undated work may well have been one of them. Michael Dunn

IMPORTANT WORKS OF ART

Richard Killeen 526 Richard Killeen Looking is Not Seeing No.3 alkyd on 14 aluminium pieces title inscribed, signed and dated 3. â&#x20AC;&#x2DC;85; title inscribed, signed and dated March 1985 on each panel verso 840mm x 590mm approximately per panel, 3000mm x 2500mm approximately overall

$50,000 - $70,000

Killeenâ&#x20AC;&#x2122;s later cut-outs, of which Looking is Not Seeing, No.3 is a typical example, are more complex and have more individual pieces than his earlier ones. By the mid-1980s the pieces have become composites, made up of several different images which may or may not relate to the cut-out shape that contains them. Indeed the silhouette of each piece no longer tells us its contents. For example, in this work one single piece shows a small landscape with volcanic hills, a cloud above attached to the hills and an ocean below with swimming whales and fish, none cut out in silhouette. The piece becomes a small painting on an aluminium support. The cut-outs are no longer spray painted in one colour to give an abstract unifying effect to the pieces, but are now hand-painted. This makes possible gesture and illusionistic effects of light and shade that had been eliminated in the earlier series. Also, titles no longer precisely name the subjects contained in the cut outs. In his cut-outs Killeen helped move painting away from traditional categories such as landscape, still-life or portraiture. Today, over twenty years on, these works retain their fresh, colourful qualities and the experience of looking at them remains a puzzling and pleasant exercise. Michael Dunn

IMPORTANT WORKS OF ART

Bill Hammond 527 Bill Hammond Containers synthetic polymer paint on canvas title inscribed, signed and dated 1998 1060mm x 1440mm Exhibited: Hokey Pokey, Peter McLeavey Gallery, Wellington, 1998

$240,000 - $280,000

One of the things we can be sure of with Bill Hammond’s bird people is that they represent beings outside of our control; one suspects the artist remains in continual thrall to his avian hierophants because he can’t control or predict them either. The two central actors in this richly theatrical painting disport themselves like fashionable and superior observers of their local habitat; a shared baton links them in their choreography of critique like the haughty Goncourt brothers, dandies of disdain in the parks and boulevards of 19th century Paris. But with their book and handgun, a partnership in mannered crime perhaps allies Hammond’s duo with those amoral stylists and demoniacally inventive villains Messrs Croup and Vandemar, in Neil Gaiman’s TV drama “Neverwhere”. Hammond’s self-important bird-lords are like knowing and powerful opportunists who rise to the top, bearing all the pirated trappings of a moribund order, in a time of extensive cultural and economic collapse. They could be just nouveaux riches self-appointed cultural commentators, but they could be as dangerous as Russian mafia surrounded with ostentatious signs of power in their theatre of material excess. As with many of Hammond’s large-scale forest and bird society nightmare paintings, its apocalyptic twilight mingles anxiety and beauty; the iridescent pigment, in tandem with the intensity of all the elaborated graphic details, act as mood accelerants towards a state of mania. Poses are extreme, artifice intoxicates, decay is opulent. A debonair pipe smoker perches on a classical balustrade, like an Evelyn Waugh figure lost in the syrup of impotent memories; a sleek black bird sits astride a barrel and cargo crate as if newly arrived on a foreign shore, ship-wrecked perhaps, with boxes of plundered exotica on return from some wasted New World. A solitary thinker-bird finds private solace in a bottle, squatting like a survivor on a twist of land that remains just visible above the golden flood. As weird, tall trees and ferns sprout from the top of a monolithic industrial building block, promising some uncanny re-run of the rank profusion and ecological richness of an ancient Carboniferous period, silhouette heads grow out of the dark soil at the building’s base and slip up the sides like shadows from the basement, all the more menacing because of the stupidity of their profiles. Just as things sprout from the mute modernist building on the left, the second large container, the storage cabinet on the other side of the painting, is host to disturbing generative activities. While open drawers reveal globular forms that drip and roll in their tray like eyeballs, a row of translucent eggs bide their time like the pods that Dr Miles Bennell finds in his trunk in the 1956 classic “Invasion of the Body Snatchers”. On top of the cabinet an imperious bird-dog feeds tiny Romulus and Remus creaturelings and invests in a future empire of beautiful mutants. Allan Smith

IMPORTANT WORKS OF ART

Ralph Hotere 528 Ralph Hotere A Black Union Jack A Celebration Work for 1990 enamel on burnished baby iron title inscribed, signed and dated ‘89; title inscribed, signed and dated Port Chalmers 89/90 and inscribed A celebration for 1990? verso 1325mm x 1235mm

$150,000 - $200,000

The Union Jack has appeared often in Hotere’s work. Here it is defined in a simple graphic format. The name Union Jack is thought to have evolved from the term ‘jack’ which denotes a small national flag traditionally flown at the bow of a warship. Whether or not this is in fact the derivation is unclear – in naval terms, however, and for Hotere, it is a name and an image that is associated with conflict and war. This is the context in which Hotere has consistently used it. If we look back 26 years, for example, to the first Sangro paintings and to Winter Landscape, Sangro River from 1963 (a work now held in the collection of the Dunedin Public Art Gallery) there is the same segmentation of the canvas into the pattern of the British flag. The Sangro works are a lament for Hotere’s brother who was killed in action in World War II and is buried at the Sangro River War Cemetery in Italy. They are works full of anger at the stupidity of war – a war fought by New Zealanders under British command. More recently in the Jerusalem series of 2002-4 Hotere uses the Union Jack collaged into the form of a Star of David. Two of the works in this series are titled This is a Double Union Jack and another This might be a Double Cross Jack. These are images in which the Union Jack evokes the history of Palestine as a British Mandate territory prior to the formation of Israel in 1948. Embedded within the scrawled lettering is the sense of betrayal and desperation felt by those subjected to the ensuing Israeli/Palestinian conflict. It is the same sense of betrayal that Hotere evokes with the burnt and abraded image of the Union Jack in this 1989/90 A Black Union Jack. The divisions in the upper two quadrants of Hotere’s A Black Union Jack are an inscription of the capital letters NZ with the letters marked out in reverse in the lower half (in the lithographs, that form part of this extended series, the formation of the letters are more pronounced). The earlier Black Union Jack works were a protest against the 1981 tour of New Zealand by the South African rugby team. Hotere was a strong supporter of the anti-apartheid movement. He once stated in an interview that he had taken part in every march in Dunedin opposing the Springbok tour. For someone who has always closely followed rugby this reflected a deep political commitment. This particular work is part of the Baby Iron series, which revisited previous themes explored in earlier work. On the back of the image, in Hotere’s handwriting, is the inscription a celebration work for 1990? This was the year South Africa’s then president F. W. de Klerk announced the government’s intention to abolish apartheid and the impending release of Nelson Mandela after 27 years of imprisonment. At the time it was produced, in late 1989 through early 1990, Hotere’s inscription with a question mark denoted both hope and uncertainty about the fulfilment of de Klerk’s promises. The addition of the qualifier ‘black’ to the title A Black Union Jack plays on multiple meanings: the black of mourning, the black which is this country’s national colour, the black of skin, and the black that is part of the name of our national rugby team. Perhaps the most pronounced of these references for Hotere is the black of mourning. This was made clearer a few years later in 1985 with the Black Rainbow series in which the arcing banner of a black rainbow forms an elegy for the sinking of the Greenpeace vessel the Rainbow Warrior. In other work in the Black Union Jack series Hotere makes it apparent that the word ‘union’ is used in a pejorative sense and is also a reference to the New Zealand Rugby Football Union. In one work he includes the inscription dedicated to the NZRFU and in another To the people of Soweto with love from the NZRFU. In the contemporary art of the 1960s, when Hotere first used the illustrative format of a Union Jack in his Sangro work, the inclusion of a flag inevitably drew comparisons with the Pop Art flag-paintings of the American artist Jasper Johns. For Hotere though the flag is loaded with political content and meaning in a way that Johns’ particular brand of Pop Art never allowed. Where Pop Art often played on irony Hotere’s flags, in contrast, are direct political statements. Kriselle Baker

IMPORTANT WORKS OF ART

Gordon Walters 529 Gordon Walters Rauponga No.1 acrylic on canvas signed and dated ‘85 verso 920mm x 685mm

$80,000 - $120,000

The art of Gordon Walters is subtle and seamless. Few other New Zealand artists have so fluidly combined local emblems with a knowledge of international modernist abstraction. This is true of Walters’ well-known koru paintings. It is equally true of this painting, also one of a series based on duplication of a single, economical motif. For many New Zealand artists working during the mid-late twentieth century, modernism was a challenge. When avant-garde, often abstract, forms and styles were handed down from overseas, they had to be adjusted to fit local concerns and personal preoccupations. Frequently the fit was not good. The modified modernism that resulted could be awkward and clunky. Walters, on the other hand, developed highly resolved pictorial formats remarkably swiftly and incisively. In both the koru and rauponga paintings, this process involved the simplification of motifs found in Maori art – in kowhaiwhai and carving – to geometric components that proved flexible and open to virtually endless variation. The rauponga motif, derived from the ridged lines of Maori carving, has its origins in Walters’ work in paintings from 1970, like Black and Red and Hautana (Auckland Art Gallery). There, it appears in a system of alternating horizontal bands like those in the koru paintings, but instead of some of the bands terminating in, or being interrupted by, a circle or ‘bulb’, they simply curve up or down like hockey sticks, intersecting with the next band of the same colour. In Rauponga No.1, similar round-ended bands are arranged vertically in pairs, one of each pair curving to the right at the bottom and the other curving left at the top. Between each pair of uprights is enclosed a distinctive, vaguely paddle-like shape. The top and bottom are the same but inverted, and the shape stamps itself out in two pale colours across the picture plane. In this picture, the quiet tonality imparts a gentle lyricism that is characteristic of the artist, as is the precision of technique. Walters was a perfectionist, taking great pains in the execution of meticulously worked-out compositions (this may explain why he did not produce a vast body of work, with examples of paintings on canvas appearing relatively rarely on the market). Walters effectively conceals the evidence of the work’s creation. There is no parading of ‘artistic temperament’ or ego, but rather, as Francis Pound has described it, a ‘complete modesty and circumspection of mark’.1 Edward Hanfling

1. Francis Pound, ‘A Prodigious Reserve: Walters’ Fifties Gouaches’, in Edward Hanfling & Francis Pound, Gordon Walters/Milan Mrkusich: Works from the 1950s, Auckland: Sue Crockford Gallery, 2000, p. 20.

IMPORTANT WORKS OF ART

Pat Hanly 530 Pat Hanly Hope Vessel Approaching Fire oil on board signed and dated 1985; title inscribed, signed and dated 1985 verso 790mm x 890mm

$70,000 - $90,000

The mid 1980s was a period of significant political, social and economic change in New Zealand. One issue that grew to enjoy a hitherto unprecedented level of consensus was our anti-nuclear stance. Whereas the preceding years had been characterised by various forms of civil protest on this and other contentious issues, the declaration of the country as nuclear free in 1987 became a matter of national pride and collective agreement after a decade of social division. Galvanised perhaps by the DGSE bombing of the Greenpeace vessel Rainbow Warrior and the death of Fernando Pereira on July 10 1985, the notion of the South Pacific “David” standing firm against the “Goliath” of its allies the Western nuclear powers took popular hold. Such a level of national unity marked a shift from the fraught response earlier to visits of military vessels such as HMS Invincible or Regent or the USS Pintato, Queenfish, Texas or Truxton. A pacifist, Pat Hanly was active in the Peace Movement for many years, including as a founding member of VAANA (Visual Artists Against Nuclear Arms). Coincident with this was his revisiting of his first major series, the Fire works produced in London in 1959 and 1960. The Fire This Time series executed between 1984 and 1986 can be seen as having a direct and polemical message and intent. This is especially true of those undertaken following the bombing at Auckland’s Marsden Wharf. Hope Vessel Approaching Fire is one of those post-Rainbow Warrior works. While it is an overtly political painting and a call to action, it is important to register that the fundamental attitude Hanly promotes is that of hope. The clear white-sailed yacht pushes forward into a firey conflagration as it sails out of a deep green field emblazoned with the Southern Cross. As the spray from its bow reaches the serpentine vertical of the fire there is a deliberate tension and sense of anxiety derived from the potential for calamity. Yet, as the title reiterates, there is also a profound sense of the possibility of positive outcomes founded on hope: “David” may vanquish “Goliath”; hope may quench the fire. To this end, it is a remarkably optimistic painting at the same time that it responds to a deplorable incident and grave and terrible threat. In a very real way, this optimism in the face of the most unimaginable horror is reflective of the climate of unity, defiance and hope that came to characterise the national psyche with respect to the nuclear free issue. As Hanly commented to dealer Rodney Kirk Smith: “We are looking toward a Pacific free of nuclear fire, the holocaust – which was what the first Fire series was really about – just that.”1 The joyous declaration of Hanly’s VAANA mural on the Karangahape Road reservoir No nuclear fire for Amber is treated more allegorically than in this painting but the underpinning and defining quality of hope is similarly assured. Peter Shand

1. “The Barry Lett Gallery and RKS Art: Two Decades: A Conversation with Pat Hanly,” Art New Zealand 35 (Winter 1985), pages 50-53; page 51.

IMPORTANT WORKS OF ART

Colin McCahon 531 Colin McCahon If you can afford a psychiatrist... (‘Try having a bonfire’ Peter Hooper) charcoal on wallpaper stock title inscribed, signed and dated Aug 26 ‘69 and inscribed ‘Try having a bonfire’ Peter Hooper 1500mm x 540mm Reference: Colin McCahon database www.mccahon.co.nz Record Number: cm001573

$120,000 - $160,000

From late August and throughout September 1969 McCahon worked on a large series of ‘written’ paintings and drawings now called the scrolls. The present example, dated August 26, 1969, is one of several painted that day. The artist used words from the poetry of Peter Hooper (1919-91), a West Coast poet, writer and teacher, who was a friend of John Caselberg and had sent McCahon a book of Hooper’s poems. McCahon wrote to Caselberg: ‘I have just written to Peter Hooper thanking him for the poems & now to you for the book. I am delighted, pleased, impressed and so on & have painted one for Peter himself (I hope it won’t terrify Peter when he gets it.) … the book arrived just when I needed it.’ Like others in the series, this example is executed on plain paper, part of several trial rolls of wallpaper supplied by his brother in law. McCahon cut the rolls into lengths of about 170mm high and inscribed on them words taken either from Hooper or Caselberg or from the New English Bible. This work is written rather than painted in lines of verse that run down the page from top to bottom. There is minimal embellishment of the text by McCahon, though elsewhere in the scrolls he ordered and composed the verses visually with paint and colour. Designed to be hung on the wall, the work retains the feel of a scroll manuscript that would work quite well if it were unrolled and read line by line, rather than seen all at once. The spare means used in its execution reflects its written message with the emphasis on values of economy and moderation as a means to salvation. Significantly, the large painting Can You Hear Me St Francis, also using Peter Hooper’s poetry, evokes the popular Italian saint whose poverty was legendary and symbolised by his ragged and patched habit, now a revered relic at Assisi. In an exhibition at Barry Lett Galleries in October 1969, McCahon’s unframed scrolls were hung edge to edge giving the works a raw directness not possible with conventional mounting and framing. Indicative of the speed and unrevised nature of the scrolls was the large number – seventy-two in total – that had been created in a short space of time. Seen together, they created a textdominated environment with barely any additional imagery. By any standards the scrolls are powerful works that seem as radical today as when first exhibited nearly forty years ago. Michael Dunn

IMPORTANT WORKS OF ART

532 Pat Hanly New Order oil on canvas on board title inscribed, signed and dated â&#x20AC;&#x2DC;63 730mm x 595mm

$40,000 - $50,000

100

533 Chen The Spirit of the Green hand welded marine grade stainless steel in three sections comprising an amorphus form and two spheres, each supported by a stained square section timber base 2800mm x 3000mm x 1000mm approximately

$50,000 - $70,000

Chen’s unusual, often organically formed sculptures have been shown in the Netherlands, Japan, Australia, Singapore, Spain, Germany and America. The artist is of Chinese and Japanese descent and has committed himself to the medium of stainless steel for what now comprises 25 years. His pieces are created primarily for outdoor environments and revolve around the notion of Shibumi, as Chen remarks: “Translated, Shibumi is something so correct that it does not need to be bold, so poignant or does not have to be pretty nor true, it does not have to be real. Shibumi is understanding rather than knowledge. In a man, it is authority without domination.” Chen, 2008

IMPORTANT WORKS OF ART

101

534 John Reynolds Phantasmagoria: Garden for the Blind 1990 oil stick, metallic oil stick and graphite on paper title inscribed, signed and dated 1990 and inscribed from Manâ&#x20AC;&#x2122;s blood-sodden heart are sprung those branches of the night and day - Yeats 2500mm x 650mm

$8,000 - $12,000

102

535 Leon Van den Eijkel Reflective Cubes 003, 2004 reflective vinyl on three ACM substrate cubes, 2 pack acrylic lacquer 600mm x 600mm x 600mm each; 1800mm x 600mm overall

$15,000 - $20,000

536 Ralph Hotere Drawing for Requiem Series watercolour and ink on paper title inscribed, signed and dated Port Chalmers â&#x20AC;&#x2DC;74 505mm x 690mm

$30,000 - $40,000

IMPORTANT WORKS OF ART

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537 Pat Hanly Maungawhau and Park oil on canvas on board signed and dated â&#x20AC;&#x2DC;83; title inscribed, signed and dated â&#x20AC;&#x2DC;83 and inscribed Classic No18 verso 800mm x 810mm Provenance: Collection of the Art Appreciation Society

$45,000 - $55,000

104

538 Colin McCahon Kaipara Flat water based crayon and acrylic on paper title inscribed, signed and dated â&#x20AC;&#x2DC;71 1025mm x 707mm

$100,000 - $150,000

IMPORTANT WORKS OF ART

105

Philip Clairmont 539 Philip Clairmont Amorphic Sink Head and Grate oil on unstretched canvas title inscribed, signed and dated July ‘76 1580mm x 835mm

$40,000 - $50,000

One of the major figures of New Zealand painting of the 1970s, Philip Clairmont’s work can be too-easily summarised under the broad banner “expressionist.” There’s a risk in such a simplistic naming that the visible elements of an expressionistic mode or style (the gestural mark, the exuberant palette, the contortions of draughting) may be treated as the summary of his understanding of painting as a medium and of his contribution to New Zealand art. To do so would be to underestimate both that understanding and contribution. It is true that there is a responsiveness to expressionist painting of the late nineteenth and early twentieth century in particular. Artists such as Vincent van Gogh and Max Beckmann are significant progenitors of Clairmont’s painting, especially with respect to their domesticallyfocused content made over through the vigour and energy of their approach. In this way, he is a painter with an interest in and attachment to realism. The objects of his compositions (the sink in this work) are recognisable – transformed, but recognisable. That interplay between the known, common-place object and its reworking by the artist, his employment of compositional elasticity, strong colour and, at times, anarchic detail challenge the work’s viewers to understand the domestic setting anew. These are not contorted forms or exaggerated colours for their own sakes but means of affording new ways of seeing. The phantasmagoric or transformative character of the paintings subverts a strict realism but offers in its stead different insights into the object. For Clairmont this project recognised the possibility that the object had a life of its own, an essence that he was attempting to express by changing and transforming its shapes. This is important for his painting in a number of ways. It reflects the transformative capacity of painting as a medium – it’s ability to reconfigure reality and demand that we pay attention to what is represented so as to understand it in a different way than in ordinary life. It also gives insight into his process, his belief that painting ought to be a struggle inasmuch it is a practice that for him was to attempt a break-though. As a result, painting also involves what he termed “a derangement of the senses, and a bombardment of the senses,” by which means he is able to challenge how we might be accustomed or conditioned to particular ways of seeing or particular styles. For him “[the] act of remaking or transforming an object is magic. Paint has a life of its own if you’re open to it.” 1 The amorphous quality of the object’s rendering noted in this painting’s title is a means of suggesting the transformative possibilities of both of the object itself and its painted double. In addition to the visual and interpretive possibilities open to the viewer, there is an inference of the sink as a double for the artist himself. The grinning, tiki-like face in the mirror shows the angled almond-shaped eyes and high-boned face that was his signatory self-portrait style. Indeed, this relationship was made explicit in a woodcut of the same subject from 1978 with the name inscribed on the frame. This inference offers a further layer of the transformative possibilities of his work as revealing or exposing his essential artistic concerns. Of a related work, Sink No 2, Clarimont wrote: SINK (title to latest sink painting) 1976 A sink is more significant … Than my palette. A sink is filled with more meaning … than all my acquired knowledge. A sink will often see the beginning of … many works My sink is experiences in my colours Thoughts and is a mute voyeur … My sink is at times – the beginning (the sink Does not love) me2

Peter Shand 1. “Philip Clairmont Paints a Triptych,” Art New Zealand 11, Spring 1978, pages 38-41, page 41 2. Philip Clairmont, “SINK,” 1976; quoted in Philip Clairmont, catalogue to the exhibition of the same name at the Sargent Gallery, Wanganui, 1987, p. 43.

106

IMPORTANT WORKS OF ART

107

540 Frances Hodgkins The River Tone, Somerset watercolour on paper signed 365mm x 470mm

$30,000 - $40,000

108

541 Frances Hodgkins Still Life gouache inscribed By Frances Hodgkins. Demonstration given before a small class of senior pupils at Manchester High School for Girls November 1922. Given by HR & DJS 1931 verso 295mm x 345mm Provenance: From the Helen Ritchie Collection Note: Accompanied by original exhibition catalogue

$20,000 - $30,000

IMPORTANT WORKS OF ART

109

542 Fatu Feu’u Alof4 acrylic, dye, pastel and varnish on unstretched canvas title inscribed, signed and dated ‘99 1640mm x 1730mm Provenance: Collection of the Art Appreciation Society

$10,000 - $15,000

543 Stanley Palmer Islands of the Gulf oil on linen on board signed and dated ‘03 595mm x 970mm Provenance: Collection of the Art Appreciation Society

$10,000 - $15,000

110

544 Bill Hammond Judder Bars, Murals and Love oil on canvas title inscribed, signed and dated 1986 500mm x 600mm

$35,000 - $45,000

545 Ralph Hotere Pine pastel, acrylic, graphite and ink on paper signed and dated â&#x20AC;&#x2DC;73 700mm x 500mm Provenance: Collection of the Art Appreciation Society

$10,000 - $15,000

IMPORTANT WORKS OF ART

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546 Gretchen Albrecht Maze acrylic on canvas signed and dated ‘84 verso; title inscribed, signed and dated 1984 on original artist’s label affixed verso 1250mm x 2500mm Provenance: Collection of the Art Appreciation Society

$15,000 - $20,000

547 Ralph Hotere Song of Solomon mixed media and collage on paper title inscribed and dated Feb ‘91 620mm x 490mm

$15,000 - $20,000

548 Robin Kahukiwa Hongi acrylic on two canvas panels title inscribed 1825mm x 1013mm each, 1825mm x 2026mm overall Provenance: Collection of the Art Appreciation Society

$15,000 - $20,000

112

549 Tony Lane Jewels Constellations gold and silver leaf, oil paint and gouache on board title inscribed, signed and dated 1992 verso and inscribed Medium: gold and silver leaf, oil paint and gouache on gesso panel verso 280mm x 790mm

$7,000 - $9,000

550 Rosalie Gascoigne Across Town colour screenprint 85/99 signed 305mm x 560mm

$8,000 - $10,000

551 Gretchen Albrecht Night Lake watercolour and ink wash on paper collage title inscribed, signed and dated â&#x20AC;&#x2DC;89 1450mm x 2250mm

$12,000 - $18,000

IMPORTANT WORKS OF ART

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552 Bill Hammond Green Egg oil on ostrich egg title inscribed, signed and dated 2007 andtitle inscribed and signed on originalpresentation box 120mm x 100mm x 100mm

$10,000 - $15,000

553 Colin McCahon Brooch silver plated copper artistâ&#x20AC;&#x2122;s signature etched verso 30mm x 35mm x 2mm Provenance: Gifted to the present ownerâ&#x20AC;&#x2122;s late wife by McCahon during the 1960s

$1,500 - $2,500

554 Colin McCahon Pendant brass and copper 45mm x 35mm x 3mm Provenance: Gifted to the present ownerâ&#x20AC;&#x2122;s late wife by McCahon during the 1960s

$1,500 - $2,500

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555 Robin Kahukiwa Conception oil on unstretched linen signed and dated ‘97 1085mm x 1510mm Provenance: Collection of the Art Appreciation Society

$12,000 - $18,000

556 Garth Tapper Peter Reid in Manet’s Cafe oil on canvas signed and dated ‘86; title inscribed and signed verso 475mm x 575mm Provenance: Collection of the Art Appreciation Society

$8,000 - $12,000

IMPORTANT WORKS OF ART

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557

559

558

557 Nigel Brown Portrait 1971 oil on board signed and dated â&#x20AC;&#x2DC;71 580mm x 610mm

$8,000 - $12,000 558 Louise Henderson Mother and Child felt tip pen, pastel and paper collage signed and dated 1975; original Charlotte H Galleries stamp applied verso 270mm x 205mm Provenance: purchased by the present owner from the artist in 1990

$3,000 - $4,000

559 Peter McIntyre Rangitikei & Mt Ruapehu watercolour on paper signed 715mm x 520mm

$10,000 - $15,000

116

560

561

560 Tony Lane

562

Pendant oil and gold leaf on gesso panel signed with the artist’s initials TL and dated 11.97; title inscribed, signed and dated 1997 verso 400mm x 580mm

$7,000 - $9,000

561 Rosella Namok Houses around Lockhart acrylic on canvas signed and dated ‘04; inscribed RN290105 verso 1265mm x 630mm

$3,500 - $4,500

562 James Ross Chasm, Figure, Pool oil on eight marine plywood and cedar panels title inscribed, signed and dated May - July ‘86 verso 2560mm x 1470mm

$10,000 - $15,000

IMPORTANT WORKS OF ART

117

563

566

564

565

563 Richard McWhannell Self Portrait c.1996 oil on canvas title inscribed, signed and dated c.1996 verso 605mm x 450mm Provenance: Collection of the Art Appreciation Society

$5,000 - $7,000 564 Peter Siddell North Beach tempera on canvas signed and dated 1999; title and artist inscribed and dated 1999 on original printed artistâ&#x20AC;&#x2122;s label affixed verso 300mm x 225mm Provenance: Collection of the Art Appreciation Society

$3,500 - $4,500 565 John Weeks Head tempera on paper 250mm x 170mm Provenance: Collection of the Art Appreciation Society

$2,000 - $3,000 566 J S Parker Plain Song - The Easter Painting oil on canvas signed and dated â&#x20AC;&#x2DC;97; title inscribed verso 1520mm x 1520mm

$10,000 - $15,000

118

567 Sydney Lough Thompson Peasant Milking oil on canvas signed 360mm x 430mm

$20,000 - $30,000 568 Peter McIntyre New Zealand Soldiers Left Behind in Crete charcoal on paper inscribed Crete 520mm x 635mm Illustrated: Peter McIntyre: War Artist (AH & AW Reed, Wellington 1981), pg. 97

$3,500 - $5,500 569 Peter McIntyre Wreck of the Italian Cruiser charcoal on paper 520mm x 635mm Illustrated: Peter McIntyre: War Artist (AH & AW Reed, Wellington 1981), pg. 122

$3,500 - $5,500

IMPORTANT WORKS OF ART

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570 Gretchen Albrecht

570

Hemisphere watercolour on paper signed and dated 1984 580mm x 755mm

$5,000 - $7,000

571 Jacqueline Fraser Nerve Agent Sarin oil pastel on upholstery fabric title inscribed, signed and dated 22.11.2002 300mm x 300mm

$1,500 - $2,500

572 Leila Ataya Checkmate Black Cup acrylic on board with velvet trim signed and dated 2003 300mm x 300mm Provenance: Collection of the Art Appreciation Society

$500 - $1,000

571

120

572

573 John Reynolds

573

574

575

576

Blue on Blue oil paint marker and acrylic enamel on canvas title inscribed, signed and dated 2003 verso 505mm x 405mm

$3,500 - $4,500

574 John Reynolds Shock & Awe oil paint marker and acrylic enamel on canvas title inscribed, signed and dated 2003 verso 505mm x 405mm

$3,500 - $4,500

575 John Reynolds Soft Target oil paint marker and acrylic enamel on canvas title inscribed, signed and dated 2003 verso 505mm x 405mm

$3,500 - $4,500

576 John Reynolds Study for Desert Road oil paint marker and acrylic enamel on canvas title inscribed, signed and dated 2003 verso 505mm x 405mm

$3,500 - $4,500

IMPORTANT WORKS OF ART

121

577 Chris Mules Slice tasmanian ash veneer over pine frame with lacquer finish 460mm x 1240mm x 320mm

$3,000 - $5,000

578 Elizabeth Rees Form Enlargement acrylic on two canvas panels signed and dated â&#x20AC;&#x2DC;95; title inscribed verso 2440mm x 1570mm

$6,500 - $8,500

579 Richard Lewer

580 J S Parker

Untitled

Plain Song

mixed media on aluminium signed 1140mm x 1140mm

oil on canvas title inscribed, signed and dated â&#x20AC;&#x2DC;90; inscribed To John Parker 7 Old Renwick Road verso 1820mm x 1210mm

$5,000 - $7,000

$7,000 - $10,000 122

581

582

581 Peter James Smith

583

Terrain oil paint and oil pastel on canvas title inscribed, signed and dated 2001; title inscribed, signed and dated 2001 and inscribed 142001 verso 1220mm x 915mm

$9,000 - $12,000

582 Robert Ellis Te Ipumataaho acrylic on canvas title inscribed, signed and dated 2005; title inscribed, signed and dated Oct ‘05 verso 1010mm x 710mm

$8,000 - $10,000

583 Jacqueline Fahey The Football Practice from the Down in Grey Lynn Park Series oil on canvas signed and dated 2001; title inscribed, signed and dated 2002-1 and inscribed First time exhibited after my Show last year “Down in Grey Lynn Park” series verso 1210mm x 605mm Provenance: Collection of the Art Appreciation Society

$6,000 - $8,000

IMPORTANT WORKS OF ART

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584

586

585

584 Charles Blomfield Mt Cook from the Hooker Glacier oil on canvas title inscribed verso 445mm x 595mm Provenance: Purchased from Webbâ&#x20AC;&#x2122;s, March 1994

$7,000 - $10,000

585 Ross Ritchie Tanker #2 oil and oil stick on canvas title inscribed, signed and dated â&#x20AC;&#x2DC;04; title inscribed and dated 2004 on original Milford Galleries label affixed verso 610mm x 760mm Provenance: Collection of the Art Appreciation Society

$4,500 - $5,500

586 Peter McIntyre Still Life with Cyclamens oil on board signed 390mm x 340mm Provenance: Collection of the Art Appreciation Society

$4,000 - $6,000

124

587

588

587 Patrick Hayman

589

Moses and the Burning Bush oil on board title inscribed, signed and dated 1966 verso, title and artist inscribed and dated 1966 on original John Leech Gallery label affixed verso 410mm x 510mm

$6,000 - $8,000

588 Simon McIntyre Dry Dock III oil on canvas signed; title inscribed, signed and dated â&#x20AC;&#x2DC;87 and inscribed oil on canvas verso 1405mm x 1805mm Provenance: Collection of the Art Appreciation Society

$7,000 - $10,000

589 Greer Twiss Owl bronze sculpture with wooden base 245mm x 100mm x 70mm Provenance: Collection of the Art Appreciation Society

$2,000 - $3,000

IMPORTANT WORKS OF ART

125

590

592

591

591 Lily Laita Knowledge Led Economy acrylic and varnish on three canvas panels title inscribed 345mm x 270mm each Provenance: Collection of the Art Appreciation Society

$1,300 - $1,800

590 Carole Shepheard Mezza Voce - Bell Ringing in an Empty Sky acrylic and enamel on paper title inscribed and dated 1997 on original label affixed verso 300mm x 770mm Provenance: Collection of the Art Appreciation Society

$1,500 - $2,500

593

592 Anna Palmer Awana Great Barrier Island chalk pastel on paper signed and dated â&#x20AC;&#x2DC;98 275mm x 375mm Provenance: Collection of the Art Appreciation Society

$200 - $400

593 Jeff Thomson Woven woven corrugated iron strips 480mm x 970mm x 460mm Provenance: Collection of the Art Appreciation Society

$1,500 - $2,000

126

594

595

594 Nanette Lela’ulu

596

Figure in a Purple Robe woven flax and acrylic on canvas signed and dated ‘96 verso 1210mm x 910mm Provenance: Collection of the Art Appreciation Society

$1,000 - $2,000

595 Nanette Lela’ulu Church at Awhitu acrylic on canvas signed and dated 2004 verso 1225mm x 965mm Provenance: Collection of the Art Appreciation Society

$2,500 - $3,500

596 Emily Karaka Untitled oil on unstretched hessian canvas signed and dated ‘91 verso 925mm x 1530mm Provenance: Collection of the Art Appreciation Society

$1,500 - $2,500

IMPORTANT WORKS OF ART

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PRICES REALISED * Under Negotiation

SALE 295 ANTIQUES & DECORATIVE ARTS, A2 ART: 15 & 24 MAY 2008

LOT

380

2,100

121

200

400

122

350

130

6,600

126

201

2,000

200

126A

202

1,500

200

100

127

203

100

130

204

725

135

110

300

137

160

139

200

1,200

140

250

141

140

675

143

160

1,400

180

128

LOT

199

100

307

1,400

200

450

309

1,950

380

400

447

260

383

2,500

448

500

310 312

800

385

4,000

449

550

2,000

386

700

452

2,400

317

275

350

390

1,500

453

1,100

100

318

4,000

394

1,300

454

100

205 206

800

320

1,300

395

600

455

220

1,200

321

700

397

1,100

458

400

208

200

100

322

3,800

398

350

459

1,300

209

100

600

325

750

400

250

100 100

210

250

326

1,600

402

2,750

212

240

328

260

403

144

550

120

213

329

240

404

700

400

145

214

450

330

180

405

150

82 85

146

215

260

331

280

407

160

147

216

200

332

850

408

2,200

152

300

217

300

333

2,700

409

1,800

170

153

950

218

700

334

700

410

3,200

LOT

$ 6,400

LOT

160

156

200

219

700

335

1,000

411

250

4,000

100

157

300

220

100

336

1,900

412

500

600

120

158

120

221

400

337

1,200

413

350

275

250

160

222

400

340

800

414

500

200

164

223

225

342

900

416

200

120

165

224

600

343

3,700

417

400

100

166

226

2,000

345

600

418

500

168

228

3,400

346

1,350

419

3,600

100

169

230

350

348

850

420

1,200

210

102

400

170

120

232

1,100

349

900

421

100

103

240

177

1,300

233

370

350

500

422

400

110

104

100

178

600

235

351

800

425

1,700

210

105

280

179

2,700

237

220

354

100

426

400

120

106

650

182

250

238

525

356

700

427

400

107

120

183

250

241

362

2,250

430

100

108

260

187

800

242

260

363

4,000

431

1,000

625

109

100

188

1,900

243

365

5,200

432

400

110

200

189

1,700

244

120

367

2,500

433

400

111

160

190

300

245

369

4,250

434

500

112

191

900

246

370

3,500

436

200

113

192

450

249

330

371

450

437

200

100

114

170

193

400

250

380

372

900

438

300

200

116

280

194

1,800

301

2,700

375

3,000

441

400

117

300

196

1,500

303

2,000

376

1,500

442

1,000

3,000

118

400

197

1,100

304

1,000

377

300

445

100

119

750

198

800

305

2,000

379

4,700

446

300

CATALOGUE SUBSCRIPTION FORM EIGHT CATALOGUES INCLUDING: Modern, Contemporary and Historical Paintings, Prints, Photography and Sculpture. Fine Jewellery and Watches. Antiques, Decorative and Applied Arts including 20th Century Design, New Zealand History and New Zealand Pottery.

NEW ZEALAND UNITED KINGDOM / EUROPE

$120

AUSTRALIA / PACIFIC

$220

$350

USA / ASIA / OTHER

$328

INCLUDE FINE WINE CATALOGUE AT NO EXTRA COST

YES / NO (please circle option)

All international delivery is by First Class Airmail - New Zealand Post Door-to-door courier available. Please enquire for specific charges.

Name: _____________________________________________________________________________________________ Email: ______________________________________________________________________________________________ Address: ____________________________________________________________________________________________ PH Work: ______________________________________ PH Home: ____________________________________________ PH Mobile: _____________________________________ Fax: ________________________________________________ Specific areas of collecting interest: ______________________________________________________________________ ____________________________________________________________________________________________________

Payment by Cheque Amount of cheque enclosed: _______________________________________________________________ Payment by Credit Card

Payment by On-line Deposit

Credit Card: Amex / Visa / Bankcard / Mastercard / Diners (please circle option)

Bank:

Card Number: Expiry Date: All information provided will be regarded as confidential

WESTPAC, 79 QUEEN ST, AUCKLAND

Name:

PETER WEBB GALLERIES LTD

Account No:

03-0104-0448184-00

Particulars:

SUBSCRIPTION

Code:

YOUR SURNAME

BANK ACCOUNT DETAILS PAYMENT BY DEPOSIT Important: Fax this form to Webb’s: +64 9 524 7048 so payment can be conﬁrmed and purchases released. BUYER NAME: ........................................................... BUYER NUMBER: ................................................................ SALE NUMBER:.......................................................... Balance owing for purchase/s: NZ *Please include a sale number and buyer number as reference for on direct credits to enable us to dispatch your items efﬁciently.

BANK ACCOUNT DETAILS: BANK: WESTPAC 79 QUEEN ST AUCKLAND NAME: PETER WEBB GALLERIES LTD ACCOUNT NUMBER: 03-0104-0448184-03 FOR INTERNATIONAL DEPOSITS SWIFT CODE: WPACNZ2W Amount transferred (including freight if applicable): NZ DATE TRANSFERRED: ............................................... SIGNED: .............................................................................. CONFIDENTIALITY: The information contained in this facsimile is legally privileged and/or conﬁdential. If you are not the addressee listed below you are notiﬁed that except as authorised agent to the addressee any use disclosure copying or distribution of any of the contents of this facsimile by you is prohibited.

CATALOGUE INFORMATION

129

BIDDING SLIP FOR ABSENTEE BIDDERS ON LOTS IN SALE 296 - FINE JEWELLERY & WATCHES, ANTIQUES & DECORATIVE ARTS AND IMPORTANT WORKS OF ART: 25 - 30 JUNE 2008 Please bid on my behalf at the above sale for the following lots up to prices recorded below. These bids are to be executed as cheaply as is permitted by other bids or reserves if any. * 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 Works of Art and Fine Jewellery & Watches sale a buyers premium of twelve and a half percent (12.5%) and in the Antiques & Decorative Arts sale a buyers premium of fifteen percent (15%) will be added to the hammer price and that G.S.T 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

MR/MRS/MS

HOME PHONE

BID*

INITIALS

BUSINESS PHONE

MOBILE

SURNAME/COMPANY

FACSIMILIE

EMAIL ADDRESS

POSTAL ADDRESS

CONTACT NAME

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 upmost to carry out bidding instructions for absentee bidders. It will not be responsible however if circumstances prevent it doing so.

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

130

SIGNED &

DATED

CONDITIONS OF SALE FOR BUYERS 1. BIDDING: The highest bidder shall be the purchaser subject to the auctioneer having the right to refuse the bid of any person. Should any dispute arise as to the bidding the lot in dispute will be immediately put up for sale again at the preceding bid or the auctioneer may declare the purchaser which declaration shall be conclusive. No person shall advance less at a bid than the sum nominated by the auctioneer and no bid may be retracted. 2. RESERVES. All lots are sold subject to the right of the seller or his agent to impose a reserve. 3. REGISTRATION. Purchasers shall complete a bidding card before the sale giving their own correct name address and telephone number. It is accepted by bidders that the supply of false information on a bidding card shall be interpreted as deliberate fraud. 4. BUYERS’ PREMIUM. The purchaser accepts that in addition to the hammer or selling price Webb’s will apply a buyer’s premium of 12.5% of the hammer price (unless otherwise stated) together with GST on such premium, which combined sum shall be the total purchase price. 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 (cashiers) cheque or Eftpos. Personal and private bank cheques will be accepted but must be cleared before delivery of goods will be given. Credit cards are not accepted. 6. LOTS SOLD AS VIEWED. All lots are sold as viewed and with all errors to description faults and imperfections whether visible or not. Neither Webb’s nor its vendor are responsible for errors of description or for the genuineness or authenticity of any lot or for any fault or defect in it and make no warranty whatever. Buyers proceed upon their own judgement. Buyers shall be deemed to have inspected the lots or to have made enquiries to their complete satisfaction prior to sale and by the act of bidding shall be deemed to be satisfied with the lots in all respects.

remedies: a. To issue proceeding against the purchaser for damages for breach of contract. b. To rescind the sale of that or any other lot sold to the purchaser at the same or any other auction. c. To resell the lot by public or private sale. Any deficiency resulting from such resale after giving credit to the purchaser for any part payment together with all costs incurred in connection with the lot shall be paid to Webb’s by the purchaser. Any surplus over the proceeds of sale shall belong to the seller and in this condition the expression “proceeds of sale” shall have the same meaning in relation to a sale by private treaty as it has in relation to a sale by auction. d. To store the lot whether at Webb’s own premises or elsewhere at the sole expense of the purchaser and to release the lot only after the purchase price has been paid in full plus the accrued cost of removal storage and all other costs connected to the lot. e. To charge interest on the purchase price at a rate 2% above Webb’s bankers’ then current rate for commercial overdraft facilities to the extent that the price or any part of it remains unpaid for more than seven days from the date of the sale. f. To retain possession of that or any other lot purchased by the purchaser at that or any other auction and to release the same only after payment of money due. g. To apply the proceeds of sale of any lot then or subsequently due to the purchaser towards settlement of money due to Webb’s or it’s vendor. Webb’s shall be entitled to a possessory lien on any property of the purchaser for any purpose while any money remains unpaid under this contract. h. To apply any payment made by the purchaser to Webb’s towards any money owing to Webb’s in respect of any thing whatsoever irrespective of any directive given in respect of or restriction placed upon such payment by the purchaser whether expressed or implied. i. Title and right of disposal of the goods shall not pass to the purchaser until payment has been made in full by cleared funds. Where any lot purchased in held by Webb’s pending i. clearance of funds by the purchaser or ii. completion of payment after receipt of a deposit the lot will be held by Webb’s as bailee for the vendor risk and title passing to the purchaser immediately upon notification of clearance of funds or upon completion of purchase. In the event that a lot is lost stolen damaged or destroyed before title is transferred to the purchaser the purchaser shall be entitled to a refund of all monies paid to Webb’s in respect of that lot but shall not be entitled to any compensation for any consequent losses howsoever arising.

BANK ACCOUNT DETAILS PAYMENT BY DEPOSIT 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.

Important: Fax this form to Webb’s: +64 9 524 7048 so payment can be confirmed and purchases released. 8. COLLECTION. Purchases are to be taken away at the buyer’s expense

11. BIDDERS DEEMED PRINCIPALS. All bidders shall be held personally both is not done Webb’s will not be responsible if the lot is lost stolen damaged telephone”and absentee bids”. Any person wishing to bid as agent for or destroyed. a third party must obtain written authority to do so from Webb’s prior to SALE NUMBER: ..................................................................... Balance owing for purchase/s: NZ Any items not collected within seven days of the auction may be subject to bidding. a storage and insurance fee. A receipted invoice must be produced prior *Please include a sale us”to dispatch your items efficiently. to delivery of any lot.number and buyer number as reference for on direct credits to enable12. SUBJECT BIDS” Where the highest bid is below the reserve and the auctioneer declares a 9. LICENCES. BuyersDETAILS: who purchase an item which falls79within the STsale to be “subjectNAME: to vendor’s consent” or words to that effect the highest BANK ACCOUNT BANK: WESTPAC QUEEN AUCKLAND PETER WEBB GALLERIES LTD provisions of the Antiquities Act 1975 or the Arms Act 1958 cannot take bid remains binding upon the bidder until the vendor accepts or rejects it. ACCOUNT NUMBER: 03-0104-0448184-00 FOR INTERNATIONAL DEPOSITS SWIFT CODE: WPACNZ2W possession of that item until they have shown to Webb’s a license under If the bid is accepted there is a contractual obligation upon the bidder to the appropriate Act. pay for the lot. immediatelyNAME: after the........................................................................ sale except where a cheque remains uncleared. IfBUYER this and solely liable for all obligations arising from any bid including BUYER NUMBER: ............................................................................

Amount transferred (including freight if applicable): NZ

10. FAILURE TO MAKE PAYMENT. If a purchaser fails either to pay for or 13. SALES POST AUCTION OR BY PRIVATE TREATY take away any lot Webb’s shall without further notice to the purchaser at its The.............................................................................................. above conditions shall apply to all buyers of goods from Webb’s DATE TRANSFERRED:......................................................... SIGNED: absolute discretion and without prejudice to any other rights or remedies irrespective of the circumstances under wheich the sale is negotiated. it may have be entitled to exercise one or more of the following rights or

CATALOGUE INFORMATION

131

INDEX OF ARTISTS Albrecht, Gretchen Ataya, Leila

523, 546, 551, 570 572

Laita, Lily Lane, Tony

549, 560

Lela’ulu, Nanette

594, 595

Beadle, Paul

505

Binney, Don

519

Blomfield, Charles

584

McCahon, Colin

Brown, Nigel

557

McIntyre, Peter

Lewer, Richard

McIntyre, Simon

579 511, 531, 538, 553, 554 559, 568, 569, 586 588

Chen

533

McWhannell, Richard

Clairmont, Philip

539

Mules, Chris

577

Cotton, Shane

524 Namok, Rosella

561

Palmer, Stanley

507, 508, 543

de Lautour, Tony Ellis, Robert Fahey, Jacqueline Feu’u, Fatu

503, 563

521, 522 582

Palmer, Anna Parker, J S

592 566, 580

583 509, 542

Rees, Elizabeth

578

Fomison, Tony

525

Reynolds, John

534, 573, 574, 575, 576

Fraser, Jacqueline

571

Ritchie, Ross

Frizzell, Dick

501

Robinson, Ann

Gascoigne, Rosalie Hammond, Bill Hanly, Pat

527, 544, 552 510, 515, 530, 532, 537 587

Henderson, Louise

558

Hodgkins, Frances

540, 541

Hotere, Ralph

516, 528, 536, 545, 547

Hurley, Gavin

520

Kahukiwa, Robin Karaka, Emily Killeen, Richard

585 506, 513

Ross, James

562

Shepheard, Carole

590

Siddell, Peter

564

Smith, Peter James

581

550

Hayman, Patrick

Illingworth, Michael

132

591

Tapper, Garth Thompson, Sydney Lough Thomson, Jeff

502, 556 567 504, 593

Trusttum, Philip

514

Twiss, Greer

589

Van den Eijkel, Leon

535

Walters, Gordon

529

Weeks, John

565

Wong, Brent

517

518 548, 555 596 512, 526

ANNA BIBBY GALLERY 226 Jervois Road. Herne Bay Auckland. New Zealand T + 64 9 360 1151 E annabibby@xtra.co.nz www.annabibbygallery.com

TONY LANE

29 JULY – 16 AUGUST 2008 PREVIEW TUESDAY 29 JULY 5.30 - 7.30PM WINTER LECTURE SERIES PROF. PETER SIMPSON WEDNESDAY 13 AUGUST 6PM

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