New Zealand’s Premier Auction House 18 Manukau Road PO Box 99 251 Newmarket, Auckland 1149 New Zealand P +649 524 6804 F +649 524 7048 auctions@webbs.co.nz www.webbs.co.nz
IMPORTANT WORKS OF ART / PHOTOGRAPHY 21 & 23 JULY 2009
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1.COLIN McCAHON Black White French Bay. Realised $185,350 – April ‘09 2. A Magnificent Necklace Set with Marquise Cut Fancy Yellow Diamonds Together with White Diamonds. Realised $39,920 - March ‘09 3.BILL HAMMOND Limbo Bay 6. Realised $76,990 – April ’09 4. An Exceptional Emerald and Diamond Ring. Realised $26,230 – April ’09 5. SERAPHINE PICK We Are Looking For the Girl in This Picture. Realised $17,530 – May ’09 6. ARTIST UNKNOWN Steam Ship “Tekapo”. Realised $1,460 – May ’09 7. A Ring Set with a Solitaire Old Cut Diamond of 5.90ct. Realised $44,410 – April ’09 8. REUBEN PATERSON I Think I am Vain. Realised $11,690 May ’09 9. A 19th Century Monumental Hunting Table or Sideboard in Mahogany. Realised $6,430 – April ’09 10. 1931 AJS S3 Motorcycle. Realised $64,280 – March ‘09 11. JOHN MIDDLETON MURRY The Letters of Katherine Mansfield. Realised $14,100 – June ’09 12. JOHN HAWKESWORTH An Account of the voyages undertaken by the order of His Present Majesty for making discoveries in the southern hemisphere. Realised $4,400 – June ‘09 13. A medal presented to Malcolm Ross by His Excellency the Governor, Lord Ranfurly. Realised $6,930 – June ‘09 14. 1936 Burt Munro/Duncan Meikle Special Velocette Drag Bike. Realised $82,980 – March ’09 15. A Queen Anne Period Single Drop-Leaf Rectangular Table. Realised $3,800 – May ‘09 16. COLIN McCAHON Waterfall. Realised $79,840 – May ’09 17. 1928 Norton CS1 Motorcycle. Realised $45,480 – March ‘09 18. The Kia Tupato, the Official Organ of the Nineteenth Reinforcement. Realised $540 – June ‘09 19. PAUL HARTIGAN Revolution Five (Dashperion). Realised $9,000 – May ’09 20. An Old Wood Carved Cigar Store Indian Maiden Figure. Realised $5,840 – May ’09 21. A Dr Christopher Dresser Design Claret Jug. Realised $1,590 – April ’09 22. Domaine De La Romanée-Conti, Realised $10,750 - June 2009 23. COLIN McCAHON Northland. Realised $85,500 – April ’09 24. HANS J WEGNER FOR CARL HANSEN White Oak CH 27 Dining Table and ten CH24 Wishbone Chairs. Realised $22,210 – May ’09 25. A Magnificent Gold Presentation Sword. Realised $43,340 – April ’09 26. A Loose Modern Brilliant Cut Diamond of 3.43ct. Realised $96,540 – April ’09 27. George III Sterling Silver Entrée Dish by Benj. & Jas. Smith. Realised $3,420 – April ’09 28. An Important Pendeloque Cut Diamond of 5.713ct. Realised $175,310 – April ’09 29. A George I Walnut Fall Front Bureau. Realised $10,500 – May ’09 Prices include Buyer’s Premium and GST on the premium, rounded to the nearest ten dollars. IN FOCUS
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SEPT 21 - 24 Contact: NEIL CAMPBELL +64 9 529 5603 +64 21 875 966 ncampbell@webbs.co.nz JAMES HOGAN +64 21 510 477 jhogan@webbs.co.nz
oriental and asian works of art important netsuke okimono and decorative ivory carving from the collections of PETER m. downey and james barnes Extending our September sales programme into the realm of Japanese master works, the Peter M. Downey Collection celebrates centuries of Japanese applied arts which emphasise both the visual and sensuous impact of the object. Included in the collection are exquisite examples of mid-Edo period Tsuba, delicate glass and lacquer snuff bottles, fine Satsuma pottery and 17th to 19th-century porcelain, as well as an extensive collection of superior Netsuke and a selection of fine cloisonnĂŠ pieces. Complementing this section, the James Barnes Collection is a tightly focused offering of finely carved ivory figures and related Chinese applied arts from 18th-20th Century.
CLOISonnĂŠ CHARGER 12th-CENTURY warrior (detail) 6
THE FRANCES RYMAN COLLECTION 12th–17th Century Artifacts of Aotearoa
SEPT 21 Contact: NEIL CAMPBELL +64 9 529 5603 +64 21 875 966 ncampbell@webbs.co.nz JAMES HOGAN +64 9 524 6804 +64 21 510 477 jhogan@webbs.co.nz
Working in consultation with Te Papa Tongarewa and Steve Austin, Director of Marlborough Museum, Webb’s is honoured to be offering The Frances Ryman Collection which represents one of the most significant archaeological assemblages of 12th to 17th century Mãori artifacts to be seen in living memory. Providing a unique insight into Aotearoa’s earliest settled history, the collection holds examples of supreme craftsmanship, including one of 14 known Rei Puta, an extremely rare and unusual soapstone amulet and other highly crafted artifacts. Aspects of this important assemblage are documented in Barry Brailsford’s influential 1981 publication The Tattooed Land. Also included are beautiful Mãori artifacts created in the 18th, 19th and 20th centuries including significant works by known carvers such as Piwiki Horohau, Ngati Tarawhai, Jacob William Heberley (Hakopa Heperi) and Pinemine Taipa. Also to be offered is a significant selection of New Zealand folk art from practitioners such as Captain Gilbert Small and Jane Brenkley. The Jane Brenkley Collection includes a range of signature works including a large carved book containing over 200 unique watercolours. Also represented in the sale are fine examples of decorative arts from Fiji, Tonga, Cook Islands, Niue and Rapanui and selected Aboriginal works. Further entries are now invited.
MAORI 12th–14th-CENTURY AMULET IN ABSTRACT HUMAN FORM
IN FOCUS
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IN FOCUS This catalogue includes a strong offering of major works together with a survey of photographic practice by New Zealand’s leading documentary and fine art photographers. Great examples of modern and contemporary art sit in this catalogue alongside photographic works that reflect the history of the medium in New Zealand from its origins to the present day. Concurrently on view, will be an antique sale and an exceptional sale of fine jewellery, celebrating the 20th anniversary of the association between Webb’s and Christopher Devereaux. As we have talked with buyers and vendors over recent weeks and considered the results of the previous round of art sales, ours and others, it has become clear that demand remains firm for the right work, by the right artist. Collectors continue to make distinct value judgments based on rarity, quality, freshness to the market and condition. There is a range of works in this catalogue which can clearly be described as ‘great’ or ‘important’ works of art within New Zealand’s fine art history. These terms are thrown about loosely but certainly apply to the work of three very different, New Zealand painters who are represented in this catalogue: Don Binney, Pat Hanly and Tony Fomison. Delivering a potent environmental message, Binney’s 1965 masterpiece, Kotare over Hikurangi (lot 16), has already attracted great attention. Works on board such as this one with a monumental bird form arching above a highly stylised landscape, are rarely offered. This painting has been part of a substantial private Auckland collection for nearly three decades and is in impeccable condition. Hanly’s monumental Vacation (lot 21, measuring a substantial 1700mm x 2400mm) was a personal commission carried out in 1985. Illustrating Hanly’s concerns with nuclear testing in our region and the political maelstrom that followed the French bombing of the Rainbow Warrior, this work is dotted with Hanly’s most powerful motifs. As such, the two multicoloured figures with pencil thin outlines, the dove and
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the triangular abbreviation of a yacht or ‘hope vessel’ combined with the unique scale of the work makes Vacation one of the most impressive and joyous works by the artist in existence. By comparison, Tony Fomison’s #139 (lot 17) exudes a powerful and mysterious mana. It is part of an important period of work and features an over-sized allegorical Polynesian head which is seen looming before a darkened horizon. Worked on for over a year, #139 is referenced in the artist’s working journal as being completed after ‘an incredible number of faces had traipsed through it’. Relating strongly to The Handing On which currently holds the record price for Fomison’s work on the secondary market at $171,000 (Webb’s, April 2007), #139 has been repatriated recently after being in Canada for the past 34 years. Discussing recent economic events with Peter Webb, whose market experience reaches back to the beginning of New Zealand’s contemporary art scene, I am immediately reminded that cycles are at the essence of any market activity. Certainly the broader economic landscape has shifted, in a very real and fundamental sense, yet confidence in the value of New Zealand art remains firm, centred on long-term appreciation and recognition of a work’s intrinsic value. Peter Webb reminds me that this is by no means a new phenomenon and, in fact, art’s intrinsic value remains constant through good times and bad. I would like to thank those who have welcomed us into their homes over the last few months and to congratulate the Art Department for once again orchestrating a wonderful sale of fine works. We look forward to sharing these works with you over the viewing and at our opening on Thursday 16 July at 5.30pm. Neil Campbell Managing Director
important works of art TUES 21 JUL 2009 - 6.30pm Viewing
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EVENING VIEWING 5.30PM – 7.30PM 9.00AM 9.00AM 11.00AM 11.00AM 9.00AM 9.00AM
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BUYER’S PREMIUM A buyer’s premium of 12.5% will be charged on all items in the Important Works of Art section of this catalogue. GST 12.5% is payable on the buyer’s premium only. Illustrated Left: Lot 41 SEUNG YUL OH, Untitled (detail)
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Peter Stichbury Untitled
acrylic, 23 carat gold leaf gesso on lawn bowl, signed and dated ‘07 110mm x 110mm x 115mm
$6,000 - $9,000
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Stephen Bambury China XIV
23k gold and resin on aluminium on wood panel, inscribed 12 02 11; title inscribed, signed and dated 2002 verso 170mm x 340mm
$5,000 - $7,000
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Heather Straka Expatriate Lot 2
oil on canvas, title inscribed, signed and dated 2004 verso 300mm x 260mm
$4,000 - $6,000
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Colin McCahon
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Colin McCahon Small Landscape
polyvinyl acetate on hardboard, signed and dated ‘66; title inscribed, signed and dated ‘66 verso 315mm x 315mm Provenance: Private Collection, Waikato. Purchased: Bonython Gallery Sydney c.1968
$40,000 - $60,000
From 1964 to 1966, McCahon was involved in what was to be his largest public commission for the Sisters of Our Lady of the Missions, in Remuera. The commission took the form of designing and painting the clerestory windows in the new convent chapel and a site-specific painting for the choir balcony, a long narrow work entitled The Way of the Cross. In that same year, he was also undertaking a brief for the University of Otago’s new library. This Waterfalls mural, along with the church commission, represents an extraordinarily busy and creative period in McCahon’s career. Subsequently, the major work Fourteen Stations of the Cross, was “…one of the first major paintings directly attributed to the convent commission experience”. It is delightful, therefore, to see this small intimate landscape come out of such a public period. McCahon painted only a handful of Small Landscape paintings while regathering strength during his labours on the convent commission. Many were small in size, three featuring the triangular compositional element in the top right-hand corner as a symbol of God. In the Catholic faith, the triangle represents the three-fold mission of Jesus Christ, the Father, the Son and the Holy Spirit. The triangle is a universal symbol of strength, each side supported by two others. Pared back and simplistic, it is a moody and atmospheric depiction of a generalised landscape. We can see connections to McCahon’s earlier works, such as the Gates and Northland Panels: concern with man’s fall and his resurrection, our insignificance in the face of greater spiritual issues, and the sublime nature of many of his landscape elements. The important feature of these 1960s works was that the landscape was employed for its symbolic content: light cutting through darkness, curved hill motifs and waterfalls. Delineated by colour and brush stroke, Small Landscape is a remarkably expressive and powerful painting. Emma Fox M. Bloem and M. Browne, Colin McCahon - A Question of Faith, Stedelijk Museum Amsterdam/Craig Potton Publishing, 2002, p.206
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Paul Dibble
The Big Screen - Model bronze, signed and dated ‘97 230mm x 200mm x 125mm Illustrated: Fran Dibble, Paul Dibble, David Bateman 2001, p.105 Exhibited: Brooke Gifford, Christchurch 1997
$10,000 - $15,000
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Paul Dibble
Body Architecture Study 1 bronze, 1/3, signed and dated 1998 655mm x 180mm x 150mm
$13,000 - $16,000
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Emily Wolfe
Untitled Screen oil on three fold screen, double sided Exhibited: Screen Show, Vavasour Godkin 1998 1700mm x 1170mm
$18,000 - $25,000
Emily Wolfe’s still life paintings often represent delicate, sensitive responses to the world, invoking memories or thoughts of moments in time. Wolfe’s precise interpretations of the essence of life through painting are represented in her elegantly refined work on a screen: Untitled. Here in this Untitled Screen, the luscious layers of paint form a skin over the support, creating a spatial interplay in which broken shards of pottery sit on pictorial shelves. The illusion of a deep cupboard space is formed, in which the broken remnants remain, forgotten, or placed to reminisce about good times shared. The essence of this work evokes things forgotten, intricately recording what may normally be discarded. The versatility of the screen offers a functional quality as it can be experienced from multiple viewpoints; this is heightened through Wolfe’s clever use of the shelves as levels in the composition. The screen is a device that appears often in contemporary practice. Here Wolfe uses its physicality and vertical form to denote an interior folding space. In placing the broken objects within a painterly void, Wolfe draws on the optical illusionist painterly technique of trompe-l’œil, a baroque practice in which painters attempt to form highly realistic-looking paintings on two-dimensional surfaces. Wolfe in turn has created a kind of parody in Untitled Screen making a twodimensional painting look three-dimensional on a three-dimensional surface. Though undated, this work is likely to have been painted in 1998 and exhibited in Screens at Vavasour Godkin Gallery in Auckland, the same year. Wolfe departed for London in 1998, where she is still based, to undertake a Master of Fine Art at the coveted Slade School of Fine Art. She has developed her fine, whimsical interior studies to broad acclaim internationally and continues to hold regular exhibitions in New Zealand. Jessica Pearless
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John Pule
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John Pule 4 Mahalo
acrylic on unstretched canvas, title inscribed and signed verso Provenance: Purchased New Works Gallery, Wellington 1993 2010mm x 1700mm
$35,000 - $45,000
Born in Niue, John Pule immigrated to Auckland from the small Pacific nation at the age of two in 1964. He is a self-taught artist and his earlier works were largely figurative and word based. It was not until his first trip back to Niue, that he began to collect visual inspiration from the Pacific and develop works such as 4 Mahalo, which have become his most celebrated body of work. The composition and style of 4 Mahalo draw from the Pacific tradition of tapa cloth or hiapo. In replacing the naturally dyed barkcloth for a canvas, Pule has given a revered ancient craft its place as a credible art medium. Basic geometric and linear patterns give the work an instant likeness to tapa cloth and its geographic origin. The grid-like compositional framework, also adopted from the tapa tradition, lends itself to a narrative reading which presents each isolated motif and scene as part of a collective whole. History and mythology are of special interest to Pule and in 4 Mahalo he uses a blend of traditional motifs and heightened symbolic scenes to illustrate a personal response to the Pacific’s past. A sense of anguish and helplessness is created through the mythical rendition of a lizard held by its tail in a bird’s beak. A large ominous bird-like figure pierces through the predominately dark left-hand side of the canvas and appears to be in the process of engulfing, or to have the ability to engulf, the images, objects and creatures below. Three figurative panels are dispersed amongst the typical tapa patterns and mythological animals. The largest and most central, a group crowded around a recumbent figure, is a variant panel seen in other similar works by Pule. A church steeple peeks over the horizon line under the dominant sun, pointed at by one of the crowd. Another variant frame from other works shows two fishermen who also stand in front of a church tower which has almost faded into the distance. However, the meanings of these panels and their religious content are left ambiguous in that both hope and despair can be read from them. It is through this ambiguity that, despite the strong Pacific influence in the style and subject of 4 Mahalo, Pule is able to draw out an emotive response from viewers from any cultural background. Sarah Theobald
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Peter Stichbury 18
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Peter Stichbury Kirsten
acrylic on linen, title inscribed, signed and dated 1999 verso 910mm x 910mm
$25,000 - $35,000
Peter Stichbury’s fascination – not to say preoccupation – with perfection is clear. From the first, his work has been characterised by a remarkable smoothness and exactness of execution, facilitated by the acrylic paints he frequently employs. Stichbury’s interest in the French academician Jean Auguste Dominique Ingres will come as no surprise to those familiar with the work of the two artists. In addition to an exquisite precision and care of technique, Ingres’ oeuvre demonstrates a preference for flawless skin, sensual glossiness and exaggeration of features entirely in sympathy with Stichbury’s style. Like Ingres, Stichbury takes idealisation to the extreme, creating likenesses that stretch credibility and comfort. His portraits suggest the surrealism of the airbrushed photograph, the dis-ease of the high-fashion creature. Stichbury’s achievement is to simultaneously celebrate and question the immaculate. Dating from 1999, Kirsten is an early work by Stichbury, exuding little of the whimsy identifiable in later portraits. The features of the subject are sharply demarcated; her face is enlarged, skewed and made convex as if seen through a peephole. She pushes her way past the picture plane, exceeds the limits of her canvas; she dominates us. And yet, for all her ostensible self-possession, she remains vulnerable, subject as an Ingres odalisque to our examination and judgement, honed by so much practice in a world that compulsively looks and talks. Stichbury and Kirsten both present us with a challenge. Will we appreciate the grace, the peculiar pathos? Or will we see those watery bulging eyes, snigger, sneer and avert our own? Francis McWhannelL
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Dick Frizzell
Self Portrait with Camera. Detail from Good Value
enamel on board, title inscribed, signed and dated 15/12/81 430mm x 395mm
$10,000 - $15,000
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Michael Parekowhai
Jim McMurtry (Maquette) 2002 foam, resin and acrylic 200mm x 710mm x 410mm Note: full scale version realised in 2004
Full scale version exhibited: Gwangju Biennale, Korea 2004; Zacheta National Gallery, Warsaw 2006; Contemporary Art Centre, Vilnius 2006; Reboot, The Jim Barr and Mary Barr Collection, Christchurch Art Gallery 2007; Maori Hall, Michael Lett Project 2008; Power Plant, Toronto 2009; Plastic Maori – A Tradition of Innovation, TheNewDowse, Lower Hutt 2009 Provenance: Purchased Melbourne Art Fair, 2004
$12,000 - $18,000
Originally conceived for a commission that never eventuated, Jim McMurtry is one half of the cutsie Disney-like pair of bunnies that were destined to evolve into five-metre monsters frolicking in Christchurch’s Cathedral Square. His other half, Cosmo McMurtry, is in the collection of Jim Barr and Mary Barr. A playful and witty depiction of an animal widely deemed to be vermin, Jim McMurtry has large eyes, cute whiskers and non-threatening pose, which speak more of Bambi than of Watership Down, but then our relationship to small furry animals and the environment will always be contentious. Introduced by the colonists, rabbits were declared noxious pests in New Zealand in the 1880s. Parekowhai’s stylised rabbits explore the impact of colonialism on Maori and the issue of how people have transformed the land. Controversial public outrage that something described as flippant could grace the most important and formal centre of conservative Christchurch, meant the works were never completed to scale for the site they were intended to grace. With the help of the Gwangju Biennale, Parekowhai has gone on to make inflatable versions of the bunnies in woven nylon substrate, blown up like a child’s bouncy castle. One or the other of them has since graced the foyers of galleries worldwide, their air compressors humming happily and delighting the child in all of us. While their high kitsch wins popular appeal, the appearance of both bunnies is more benevolence than malevolence. Jim, of course, is poleaxed, his little mouth agape, somewhere between sleep and death, and we still wait to see him and Cosmo shown together as was always intended. Emma Fox
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Terry Stringer Five Senses
bronze, signed and dated ’90 stamped with artist’s stamp and numbered 597 285mm x 110mm x 80mm
$2,000 - $3,000
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Guy Ngan 21
cast aluminium, title inscribed, signed and dated 1975 160mm x 220mm x 100mm
$4,000 - $5,000
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Guy Ngan Untitled
steel on timber base, stamped Guy Ngan 16/1975 450mm x 48mm x 84mm excluding base
$5,000 - $7,000
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Tony Fomison
Nightmare Over the Wall (#72) oil on hessian, signed and inscribed 255mm x 395mm
$25,000 - $35,000
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Don Binney
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Don Binney
Kotare Over Hikurangi oil on board, signed and dated 1965 1220mm x 910mm Provenance: Private Collection, Auckland Purchased: R.K.S Gallery, Auckland, 1981. Accompanied by original purchase receipt
$150,000 - $250,000
Don Binney’s ‘bird paintings’ have taken on a life similar to that of his beloved subject. Regularly spotted through most of the 1960s, these lyrical paintings embodied the aspirations of a selfconsciously ‘New Zealand’ tradition intent on nurturing and preserving the local. A shift in critical tides saw the bird paintings drop out of sight and even out of Binney’s practice. But these paintings have returned from the brink of extinction on the back of yet another critical reassessment and the new light cast by contemporary concerns around environmentalism and conservation. Binney’s bird paintings are back in full flight, in both their classic forms and a fantastic new species.
Kotare over Hikurangi is characteristic of Binney’s mid-1960s work. The large bird form hovers in the flat background space of the sky, distinct from, but connected to, the earth via the abstracted landscape that jags towards it. A scene of natural harmony and wonder, it is unburdened by the signs of civilisation that sometimes creep into Binney’s work. A sense of movement and even the shimmering of light on feathers are suggested through the textural play between the flat background space and the heavily worked oil paint in parts of the bird’s body. The distinctive black outline that gives Binney’s work its bold graphic quality holds all of these elements in tension. The kotare flitters through many of Binney’s paintings. Return visitors to Binney’s world may also recognise this distinctive landform from the earlier bird-less painting Northern Journey 1964 in the Rutherford Trust Collection. As he does with his bird subjects, Binney pays close attention to the shapes, moods and powers of the land. It’s part of an holistic approach to representing nature that saw Binney match birds to habitats and insist that he paints ‘environments’ rather than ‘landscapes’. It’s easy to be seduced by Binney’s capturing of the graceful movement of the kotare, or his accuracy in rendering its form and markings – from the pointed black bill to the deep green/blue tinge of the head and collar. His ornithological interest is palpable, but it is Binney as modernist painter that really allows this bird to soar. Kotare over Hikurangi showcases the range of pictorial strategies Binney developed for channelling the energies and forces of nature through the act of painting. His reverence for nature is always matched with a thorough understanding of modern painting and art history. Aaron Lister
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Tony Fomison
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Tony Fomison #139
oil on jute canvas, title inscribed 1220mm x 910mm Reference: The Tony Fomison Painting Log book in the Tony Fomison Studio Papers, E.H. McCormick Research Library, Auckland Art Gallery Toi o Ta¯maki, Gift of Mary Fomison, 2009
26 August 1976, Large, frontal foreshortened Polynesian face on round topped canvas Although the face kept right throughout the frontal foreshortened aspect of #122 [Isn’t my turn? 1976], it lost its forbidding type of forms & at this stage I attempted to gain for it realism by using photos in my “Foreshortened Face” folder; but the painting resented this intrusion, and rejected them; it was only then, 1 August 1976, that I was able to finish the painting of the lamp black, after an incredible number of faces had traipsed through it. Provenance: Private Collection Canada, Purchased: Barry Lett Gallery, Auckland, c.1976
$100,000 - $150,000
Though this painting is not dated, Tony Fomison’s own serial number #139 groups it with work made in 1976 and first exhibited at Barry Lett Gallery, Auckland, then owned by Rodney Kirk Smith. The large Polynesian head looming against a sombre ocean and dimly lit horizon was a theme in several of Fomison’s paintings of this period, when he was living in Gunson Street, Ponsonby, and remembering the South Island of his childhood. Fomison met Colin McCahon after moving from Christchurch to Auckland in 1973, and the simple horizon lines, muted lighting and dark palette resemble similar effects in paintings by McCahon from the early 1970s, such as A Piece of Muriwai Canvas (1973) or Walk. Beach Walk (1973). However, the allegorical head, which is also a personified headland, is very much Fomison’s own invention, though it may have some relation to the abstract geological forms in McCahon’s Necessary Protection landscapes from this time. Early versions of this head appeared as dark charcoal drawings on paper in the early 1960s, for example Takaumu, named after a significant Ngãti Tahu kaumatua. The heads painted at Gunson Street around 1976, however, were not named but had allegorical titles such as Ah South Island, Your Music Remembers Me (#125), Let Each Decide, Yes Let Each Decide (#119), and The HandingOn (#128) (sold Webb’s, April 2007). In the latter, and in the untitled #135, the meanings of this head and of its relationship to the early Takaumu drawing are spelled out. A small, youthful head is held protectively in the outstretched palm, like a rocky cave, of the large figure in The Handing-On; in #135, a small figure crouches like a supplicant or acolyte before the large head recessed in the cave-like form of a headland. Though these heads may not literally refer to the person of Takaumu, they do seem to represent ancestral wisdom embodied in the land. And clearly, this wisdom is being passed on to a younger person – perhaps to Fomison himself. A probable location for these wise heads is revealed in a small circular painting mounted in a breadboard surround, Lake Waiwera in the Eeling Time (#149), 1977, in which the familiar head is painted against a background of eeling channels. During his high-school years in Christchurch, Fomison had developed a relationship with the place and with Ngãti Tahu whãnui of Lake Waiwera and Birdlings Flat. This is where he began to educate his interest in taha Mãori and the identity politics that would compel him, in February 1990, to join the protests at Waitangi. While there, he suffered from ill health and died, aged 51 years. Ian Wedde
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Colin McCahon
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Colin McCahon
Truth From The King Country: Load Bearing Structures, Series 2 acrylic on canvasboard 278mm x 356mm title inscribed, signed with artist’s initials CMcC and dated ‘78-79; title inscribed verso Provenance: Peter McLeavey Gallery; Private Collection, Sydney Illustrated: M. Bloem and M. Browne, Colin McCahon - A Question of Faith, Stedelijk Museum Amsterdam/Craig Potton Publishing, 2002, p.229
$65,000 - $85,000
In 1978, at the height of his career, Colin McCahon was shaken by a series of ignorant attacks on his work and artistic integrity after the New Zealand Government presented his large Victory Over Death 2 to the Australian Government. The media storm that followed, the likes of which we have never seen before in this country, was unprecedented. After this negative critique, McCahon took refuge in his studio, producing a substantial set of small paintings called Truth from the King Country: Load Bearing Structures.
“The title instantly locates the image in the central North Island. For New Zealanders familiar with the main Auckland-Wellington railway line, the King Country is renowned for the Mangaweka Viaduct, which straddles one of the several deep river gorges that cut through the area. Thus McCahon’s double metaphor – the ‘T’ as both Tau Cross and struts and girders – was instantly recognisable. In some of the images, the structure seems light and insubstantial – reliant more on faith than construction – whilst in others it stands solid, steadfast in the landscape.”1 In each work, a lone T stands centre stage in the foreground of the landscape. McCahon has made subtle variations for each canvas, from the tonal range, through to the varying placement and thickness of the T. The metaphoric meaning of the T within the series has a multitude of interpretations relating to McCahon’s ongoing spiritual journey. Used previously in variant forms as a Tau cross, an unconventional crucifix, it relates to the title and to the correlation of finding a ‘Truth’ within the landscape. Emma Fox 1
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M. Bloem and M. Browne, Colin McCahon - A Question of Faith, Stedelijk Museum Amsterdam/Craig Potton Publishing, 2002, p.229
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Michael Smither 30
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Michael Smither Harry Pregnant
oil on board, signed 770mm x 770mm Exhibited: Michael Smither, Domestic Paintings, Peter McLeavey Gallery, 1973 Purchased: from the aforementioned exhibition
$50,000 - $70,000
Michael Smither married poet Elizabeth (Elsie) Harrington in 1963. Both Elsie and her brother Keith were called Harry: Elsie because she disliked her given name and Keith because it was the style of the day to call boys by their surnames. It was not until after she became a published poet that she changed her name by deed poll to Elizabeth. This painting of Harry was worked on over all three of her pregnancies: in 1964 (Thomas), 1967 (Sarah) and 1970 (Joseph). The Domestic paintings by Smither are amongst his most intimate and acclaimed works. Not only are they deeply personal and autobiographical, but Smither’s explorations of familial relationships resonate with the viewer. This work employs the characteristics of formal portraiture, with the severe side profile and acidic colouring silhouetted against a plain black background. Nothing is allowed to distract us from the intensity of the sitter and the artist’s relationship with her during that time. Emma Fox
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Ian Scott
20
Ian Scott
Red Head on Blue oil on hardboard, signed and dated 1968 1360mm x 1360mm
$25,000 - $30,000
Standing against a solid block of piercing blue, Ian Scott’s figure appears as poised and unruffled as are her flawless skin, high cheekbones and impeccably manicured eyebrows. Abruptly cropped just below the neck, the figure is pushed into the spectator’s space, demanding active participation from the viewer. Further heightening this sense of engagement is the direct stare of the figure, which obviates her from becoming a passive object, offered up for the spectator’s perusal. The work is conceived in the bust-length format with the sitter turned only slightly to the right and the finesse of the artist and the attention of the viewer have been concentrated into the face and hair of the figure. The smooth, invisible brush strokes dull the sense of individuality and replace it with an element of the mass-produced and of digital manipulation, plastic surgery and hyperperfection. This facet of the surreal and generic is heightened by Scott’s use of a reduced palette with predominantly warm tones ironically imbuing the sitter with a quality of liveliness, robust health and good cheer. The bright red lips, strong nose, clear blue eyes and immaculately quaffed auburn hair combine to produce an arresting image. Produced in the late 1960s, the majority of Scott’s portraits from this period feature ‘girlies’, figures taken from men’s magazines which he transcribed onto the fine art canvas, while ensuring that their pop culture origins remained wholly obvious (refer lot 38). While bared breasts or bottoms graced these canvases, the present portrait offers a much more subdued critique of the cultural obsession with perfect female beauty. Jemma Field
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I M P O R TA N T W O R K S O F A R T
33
PAT HANLY
21
PAT HANLY Vacation
enamel on board, signed and dated 1985 1700mm x 2400mm Provenance: Private Collection, Auckland. Comissioned by current owners, 1985
$120,000 - $180,000
A private commission completed in 1985, Hanly’s monumental work Vacation was completed in the months after the sinking of the Rainbow Warrior. This event fuelled even further his passionate demands to ensure the Pacific had a Nuclear Free future. As much as Vacation depicts a very personal perspective of Hanly’s practice, Vacation must also be considered in light of his work with VAANA (Visual Artists Against Nuclear Arms) and the large scale public murals he executed during this dynamic period. An early advocator of ‘think global act local’, Hanly’s paintings deal with key global issues, whilst also exploring the effects of these problems on individuals. In doing so, he created a family of figures, referring to them as if they were a couple that he knew personally. This couple, often accompanied by a child, feature repeatedly throughout Hanly’s work and make an appearance in Vacation. Unusually however, the two figures - man standing and woman seated - are separated by a brilliant, clear expanse of white, through which the ‘hope vessel’ sails. This space bring to mind a distinctly South Pacific phrase ‘va’ meaning the inbetweeness or space that connects people. Bright and free with finely orchestrated colour and line, Vacation boasts some of Hanly’s most recognisable emblems that featured predominantly in both earlier and later works. The winged dove, the triangular hope vessel or ark and the abstracted figures work as a personalised short-hand, expressing both his antinuclear sentiment and the importance of the family. As a domestic mural, the large scale of Vacation is unprecedented in Hanly’s oeuvre. The piece functions as a mini-manifesto visually expressing his political and social viewpoints, his environmental beliefs and his artistic language during the mid 1980s. Alongside the potent themes addressed in Vacation, lies a virtuoso handling of paint and colour. The vibrant shades of blue, yellow, green and orange have been masterfully offset against one another to achieve an energetic and harmonious scene. Moreover, Hanly’s idiosyncratic wielding of the brush gives the work an additional level of enticement. The immediately apparent flurries of paint are juxtaposed with an intimacy that is seen in the handling of the figures, which highlights and underscores the compositional balance of the work. NEIL CAMPBELL
34
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35
22
Tony Fomison
Titokowaru, te Ngata O te manu oil on jute canvas on tin tray, title inscribed, signed and dated October 1984 on artist’s label verso 240mm diameter Provenance: Purchased Barry Lett Galleries, Auckland, 1985
$10,000 - $15,000
36
A chief of Ngati Ruahine tribe of South Taranaki, Titokowaru (d.1888) was prominent as a prophet and priest. He was responsible for organising a campaign against Government forces by gathering picked fighting men around him from neighbouring tribes. A most skilful warrior, he was second only to Te Kooti in guerilla warfare and trained his men in bush fighting, surprise attacks on small military posts, ambushing, and enticing untrained white troops into unfamiliar terrain. An Encyclopedia of New Zealand. http://www.teara.govt.nz
23
Colin McCahon Waterfall
polyvinyl acetate on board, signed and dated ‘64 verso 300mm x 300mm Reference: Colin McCahon database www.mccahon.co.nz Record Number: cm000175
$50,000 - $60,000
I M P O R TA N T W O R K S O F A R T
37
Colin McCahon
24
Colin McCahon Pangatotara 2
oil on board, signed and dated ‘43, title inscribed and dated verso 496mm x 386mm Provenance: Private Collection Auckland, passed by descent from artist to the present owner Exhibited: The Group Exhibition, Ballantyne’s Gallery, Christchurch 1943; A Survey Exhibition Auckland City Art Gallery March - April 1972; Robbert McDougall Art Gallery, Christchurch 30 May - 16 June 1972; Manawatu Art Gallery, Palmerston North; Govett Brewster Art Gallery, New Plymouth
Gates and Journeys: Auckland City Art Gallery 11 Nov 1988 - 26 February 1989; National Art Gallery 6 April - 18 June 1989; Dunedin Public Art Gallery 6 July - 17 September 1989; Robert McDougall Annex Gallery, Christchurch 2 October - 10 December 1989 Reference: Colin McCahon database www.mccahon.co.nz Record Number: cm000636 Note: Pangatotara 1 is held in The Fletcher Trust Collection
$120,000 - $180,000
The fragmented forms and sharp lines of Pangatotara Landscape 2 clearly indicate the influence of artists such as Cézanne on Colin McCahon. The work was made in the summer of 1943 during which time McCahon and his new wife Anne harvested tobacco together in Pangatotara. The painting shows McCahon’s keen interest in, and knowledge of, Cubism, through his experimentation with the representation of forms. This is McCahon’s early modernist approach to landscape prior to the signs and symbols for which he is most readily recognised today. As the eye darts between the jagged lines of the hills, trees and road, the mind is comforted by a certain level of harmony created by its composition and earthy palette of colours. The Pangatotara landscapes are an amalgamation of experimental forms and tradition that present to the viewer, as Tony Green discusses in the catalogue for the 1988 Gates and Journeys exhibition, ‘a new yet familiar view of nature’. Rather than simply emulating the Cubist style of seeking out new realities through experimenting with form and perspective, McCahon was driven to unearth timeless truths. McCahon’s interest in revealing the innate qualities of the land led to the blending of this modern technique and a more traditional approach to landscape. Not all elements of Cubism are adopted in Pangatotara; although McCahon uses simplified forms and bold lines, a specific perspective is maintained and the gradual tonal changes of colour pull the painting back into a space that sits between the traditional landscape canon and a fully realised Cubist work. This choice of maintaining some elements of nature’s reality, the single perspective and natural tones, show his intention did not lie in creating a new reality, but to use a new technique to serve his own artistic aim. While stripping down nature’s forms into geometric shapes and lines, McCahon utilises the compositional formula of the 17th-century landscape painter Claude Lorrain which gave the French artist’s works a feeling of a pleasant yet natural balance. Sarah Theobald
38
I M P O R TA N T W O R K S O F A R T
39
Charles FREDERICK Goldie 40
25
Charles FREDERICK Goldie
A Happy Thought, Te Aitu te Irikau, A Noted Arawa Chieftainess oil on canvas, signed and dated 1922; title inscribed on stretcher; title inscribed on original artist’s label affixed verso 265mm x 210mm Provenance: Private Collection Lower North Island, purchased by the present owner 1978 Exhibited: Auckland City Art Gallery 1929 – 1944; Wairarapa Art Exhibition, September 1962 Illustrated: Evening Post, 2 September 1961; Wairarapa Art Exhibition, September 1962 (Cover) Alister Taylor and Jan Glen CF Goldie 1870 – 1947 His Life and Painting, 1977 p.262
$170,000 - $220,000
Te Aitu te Irikau, an Arawa Chieftainess, first appeared in 1911, and she was painted around eight times by Charles Frederick Goldie through until 1922. Other variants of this painting include Reverie – Te Aitu Te Irikau (an Arawa Chieftainess), shown at the Auckland Society of Arts exhibition in 1919, and A Woman of High Lineage, which was sold through Peter Webb Galleries in 1976. Goldie is well known for his technical virtuosity and his considerable painterly skills have been brought to bear here in Te Aitu te Irikau. As with many of Goldie’s portraits, our knowledge of the painter has outstripped that of the sitter. Goldie names the sitter, but has also applied a title intended to convey the sentiment: A Happy Thought. References to Te Aitu te Irikau are scant though she was obviously a noted Chieftainess. As represented by her distinctive moko kauae, the thrummed cloak, the shark’s tooth earring, the hei tiki and the huia feather are all traditional symbols of status. Historically, portraiture has memorialised the rich and powerful, the famous and the infamous. Portraits act as a physical record of a life, and stand as both ethnological and historical documents. They tell us not only about the sitter, but also about the painter and the conventions of the society in which the works were conceived. These images of elderly Maori, have been criticised as being overly sentimental representations of a dying race. The subjects were deliberately depicted as being part of a society that was winding down into old age, infirmity and death. Their downturned faces, half-closed eyes, softly wrinkled faces and grey hair, created an overall impression of gentle decline. While we now know this to be a romantic fabrication, the very uniqueness of early Maori has ensured the paintings remain as important today as they were in Goldie’s lifetime.Emma Fox
I M P O R TA N T W O R K S O F A R T
41
26
27
Joanna Braithwaite
Brendan Wilkinson
oil on canvas, title inscribed signed and dated 2004 verso.
oil and collage on canvas
1100mm x 1200mm
Exhibited: Unlimited 28 June - 21 July 2007 Ivan Anthony, Auckland
Bird of Prey
Exhibited: Little Wonders, Brooke Gifford Gallery, Christchurch, 2004 Illustrated: A Second Noah’s Ark, Art News Summer, 2004 p.58
$14,000 - $18,000
42
The Test
2000mm x 2130mm
$17,000 - $22,000
The best-known works by Brendan Wilkinson throw us into sci-fi observation with his miniature depictions of things gone wrong. The viewers are scaled up as ecological giants, American gods and purveyors of their own oblivion. The immediate effect is one of paranoia and unavoidable fate. Placing us as the observers/makers, Wilkinson’s models suggest that ultimately we are part of, but have little control over, ‘the result’ and that really our responsibilities have ceased to be of consequence once the model is brought into existence. At the same time, Wilkinson’s work delivers slight paranoia (are we looking at ‘the plan’ and/or the depiction of ‘the plan’ executed?), such is the nature of his models. In The Test there is a reversal of scale; we are immediately ‘zoomed in’. Losing the comfort of distance, we are placed a little too close to the phantasm of The Test and its living dead. Contrasting this, the lush spring, datura-draped garden entwines X-rayed characters playing out their own survival scene. We sight signals that the work may even be evolving into reality as decaying cicadas emerge from the canvas: a food source perhaps. What is certain is that an ecological shift has occurred as birds and insects and camouflaged rodents emerge from every inch of the canvas. Familiar signs of economic decay rest in the foreground: vines pulling a rotting car back into the dirt, a man bent on bringing fire, the first innovation, into productivity and, all the while, skeletal shadows creep across the characters’ extremities. In the distance, we spot winged feeders peering downward towards the vital and evercomposting world. Ultimately it is difficult to gauge whether the characters are arriving into or departing from The Test. Neil Campbell
I M P O R TA N T W O R K S O F A R T
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44
28
29
Ralph Hotere
Richard Killeen
watercolour and acrylic on paper, title inscribed, signed and dated 1976
alkyd on 14 aluminium pieces, title inscribed, signed and dated 3.‘85; title inscribed, signed and dated March 1985 on each panel verso
Song Cycle
1020mm x 690mm
$55,000 - $65,000
Looking is Not Seeing No.3
840mm x 590mm approximately per panel, 3000mm x 2500mm approximately overall Provenance: Private Collection Auckland
$30,000 - $40,000 I M P O R TA N T W O R K S O F A R T
45
Pat Hanly
30
Pat Hanly
Two Tamarillo’s oil on canvas, signed and dated ‘68 1060mm x 935mm Reference: Russell Haley, Hanly: A New Zealand Artist, Hodder & Stoughton: 1989
$70,000 - $90,000
In an exhibition catalogue for his show ‘Inside’ the Garden at the Barry Lett Galleries in 1969 Pat Hanly quotes the English poet William Blake who once wrote the lines:
The Universe in a grain of sand and eternity in a flower Though Blake’s words reflect upon the discoveries of his own age, wonders made apparent to the human eye through telescopes and microscopes, Hanly uses them to evoke a similarly resounding disruption of his own world-view that was to affect much of his painting in the late 1960’s and one that is strongly apparent in Two Tamarillos. As Blake’s world was revealed to him as expanding universally out beyond the human body and inversely minutely within it, Hanly was to discover that the Universe itself – comprised of sand, flowers and many other things besides was in fact subject to certain properties of physics. The laws of molecular biology that reveal that solid matter is not in fact static but instead that minute particles are constantly in motion was to significantly alter Hanly’s world view. In his diary the artist wrote ‘everything living is full of colour activity of molecular happening and now I will make works on this new-found basis. Energy colours…stationary nudes, eggs, seed…I paint now perhaps to render my philosophical response.’1 It led him to paint both figure and ground in brightly lit crystals of colour that were also in keeping with the vibe of the late 1960’s and 70’s. Looking at Two Tamarillos with its vigorous colours and minutely dotted atoms of paint, one can’t help but think Hanly was perhaps under the influence. In the documentary Pacific Ikon produced in 1998, Hanly spoke freely of the spirit of the age and his own participation in it. This was a time when many people’s life experiences were engendered physically and so-called experimental thinking was often drug-induced. Similarly with the social influences of the sexual revolution Hanly began to express a more cosmic view of physical love as a kind of electrical energy, conveyed in works like Ecstasy Condition: Passion, 1975 In which whip-like filigrees of paint become evocative of neurons and axons. Biological metaphors also abound in Two Tamarillos whose oval shapes signal eggs and sperm, the essence of life’s beginnings. When Hanly was later to paint his wife Gil’s garden in all its unrestrained splendour, it is the garden as a source of life and energy that his work captures. Colours jostle against each other like the fragments of everyday matter and are constrained only by their object boundaries. Indeed in Two Tamarillos the objects seem to hover like alien spacecraft above a densely populated ground, their boundaries marked by dark shadows. Despite their apparent two-dimensionality the fruit seem to teem with an energy that is enervated in colour which is laid on the canvas as if the artist were physically evincing organic chemistry. The two tamarillos are seen from the inside out, demonstrating Hanly’s premise that even ‘in the most humble and ordinary object can be found the most remarkable visual adventure.’2. PENNIE HUNT 1. Pat Hanly Russell Haley, Hanly: A New Zealand Artist, Hodder & Stoughton: 1989, p.156 2. Pat Hanly in ‘Inside’ the Garden exhibition catalogue, 5-16 May 1969
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Colin McCahon
31
Colin McCahon French Bay
watercolour and gouache on paper, title inscribed, signed and dated 15.11.55 555mm x 755mm Illustrated: Peter Simpson, Colin McCahon The Titirangi Years, 1953 -1959 Auckland University Press 2007 p.104. Reference: Colin McCahon database www.mccahon. co.nz Reference number cm001138
$120,000 - $150,000
On 28 November 1955 Colin McCahon wrote to Ron O’Reilly, a lifelong friend and supporter, about his current painting projects which included “A new Manukau series – with landscape boats bathers & seagulls – all very gay & summertime looking & painted in squares etc all parallel to the sides of the picture. A suggestion from Mondrian as a possible way of removing tragedy from representation. … as last year as in the ‘Manukau’ & the earlier still ‘Towards Auckland’ I found a grid of diagonals helped hold the image on the paper & freed the imagination to let the image expand – so with the new horizontal & vertical grid & hope to get to some revelation of happiness.” At this time McCahon had been living in Auckland for over two years (he arrived in June 1953), and had been focussing in his painting intensively on what he called the “domestic environment” of Titirangi and French Bay where he had bought a small house among the kauri sloping down to the Manukau Harbour. The two earlier series he mentions in the letter – Manukau and Towards Auckland – were among his first attempts to depict his new environment of bush and water, so different from the South Island landscapes he had previously painted. The diagonal grid he refers to owes much to his study of Cubism and his efforts to go beyond a merely “descriptive” approach to landscape. Now at the end of 1955 a new impetus manifested itself in the replacement of the diagonals with a vertical and horizontal grid owing much to the example of the great Dutch Modernist Piet Mondrian. McCahon’s interest in Mondrian in the 1960s (as in the famous homage Here I give thanks to Mondrian, 1961) is well-known but not this earlier manifestation of his engagement. Dates on the French Bay series of watercolours to which this work belongs enable the evolution of the series to be precisely plotted. One painting is dated 14 November, a second (the one being auctioned) 15 November, a third on 16 November, a fourth on 24 November; others followed in December. In general, the earliest examples are the most “descriptive” (in McCahon’s term), in the sense that, as in the present example, birds in the sky, boats on the water, and bathers in the sea or on the beach (as in the description in McCahon’s letter) are clearly identifiable. In later examples this is less so and abstract blocks of colour predominate. There is even (coincidentally) a description in the journal of Charles Brasch – another key friend and supporter – for 13 November (the day before McCahon began the series) of the very scene depicted. Brasch wrote: “Spent today with the McCahons at Titirangi; we sat on the beach before lunch while the children bathed, then all afternoon till dusk on their terrace platform that seems suspended amidst the forest”. The idyllic mood of Brasch’s account matches the sunny and benign atmosphere of this delightful painting, a “revelation of happiness” rare in the painter’s generally sombre output. Peter Simpson
48
I M P O R TA N T W O R K S O F A R T
49
Michael Smither 50
32
Michael Smither
Elizabeth in Blue Chair oil on board, signed with artist’s intials MDS and dated ‘72 1227mm x 894mm Provenance: From the Estate of Nancy Martin, Wellington. Illustrated: Trish Gribben, Michael Smither: Painter Ron Sang Publications, 2004 p.141 Exhibited: Anxious Images: Aspects of Recent New Zealand Art, Auckland Art Gallery 1989. Illustrated: In the catalogue for the aforementioned exhibition, p.66 Reference: ibid., p.67
$80,000 - $120,000
In his classic study of the nude in art Sir Kenneth Clark made a distinction between the naked and the nude – a distinction much contested but useful for approaching Michael Smither’s painting of his former wife Elizabeth in a Blue Armchair. Clark wrote: ‘to be naked is to be deprived of our clothes and the word implies some of the embarrassment which most of us feel in that condition. The word nude, on the other hand carries, in educated usage, no uncomfortable overtone. The vague image that it projects into the mind is not of a huddled and defenceless body but of a balanced, prosperous and confident body: the body reformed.’ The idealised nude in art was a creation of the artist not a rendering of a particular person and seems to have originated in 5th century Greece where it became associated with classical sculptures of gods and goddesses like Apollo and Venus. Smither’s painting, like most Anglo-Saxon works, fits more into Clark’s naked rather than nude category and displays Elizabeth Smither somewhat defensively staring out at the viewer. Smither has not tried to make her appear glamorous. Both her features and figure are individual and belong to a person not a type. Clark has noted astutely that ‘the nude is not the subject of art, but a form of art.’ By contrast, Elizabeth is most definitely a subject, one chosen by the artist from his domestic surroundings as were his children and the everyday still-life objects found in the house. Here the blue armchair has a powerful presence and identity that is as individual as the naked figure. They belong together. Like other paintings by Smither, this work has a startling clarity and is lit with a strong light from the viewer’s right. It allows us to trace the forms and contours of her figure with the greatest of ease. Unsurprisingly there are few New Zealand precedents for this portrait where the sitter is shown stark naked. Only Rita Angus, a painter Smither admires, comes close in several drawings in which she traced the lines and forms of her naked body with comparable tenacity and gave to them both a portrait-like individuality. But they are smaller and more intimate than Smither’s painting. In English art Stanley Spencer comes to mind as an earlier exponent of this kind of merciless realism. Smither made more than one version of this portrait – another smaller variant is in the Sarjeant Gallery, Wanganui. Commenting on posing for the portraits in 2002, Elizabeth Smither recalled feeling that because she was not a model she felt stiff rather than languid and passive. The cropped head and close-up positioning of her figure increase our feeling of discomfort, as if we are intruders upon a private scene that is not staged for our presence. Her direct gaze, however, returns ours and denies any sense of voyeurism and hierarchy between viewer and subject. Elizabeth in a Blue Armchair is a memorable and distinctive image of the kind that has established Smither as one of the most important painters of his generation. MICHAEL DUNN
I M P O R TA N T W O R K S O F A R T
51
Stephen Bambury
33
Stephen Bambury
Letters to Paul XIV - Postmarked Hanoi ‘02 resin and acrylic on two wooden panels, title inscribed, signed and dated 2001-2002 verso 1900mm x 1990mm Provenance: Commissioned by current owner 2001
$35,000 - $45,000
The title of this painting continues Stephen Bambury’s long policy of neither confirm nor deny. Just who Paul is, is ambiguous – the apostle perhaps? Cezanne even? This beautiful work, Letters to Paul XIV - Postmarked Hanoi ‘02, takes the material culture of resin and acrylic paint: these are materials he more familiarly applies to aluminium panels but here Bambury works across two wooden sections of differing scale. Together they form an approximate square that is partially framed and divided by his consciously destabilised geometry. The proportion or relative weight of the cross form is considerably attenuated in many of the Letters to Paul paintings – stretched and thinned out across the edges of the painting more akin to the sliding grid of a camera viewfinder. Here, particularly, this geometry/form is buried within the body of thick resin and pigment with its close colour values of the resin and more discreet weight of the pigment. As in much of Bambury’s work, there are implications of landscape, of a kind of plastic topography arising out of the dense viscous nature of the acrylic polymer under-painting. The resin has a ‘last light of day’ quality with traces of light and warmth pooling in the quiet undulations of the surface. This painting especially carries a strong organic richness to it – there’s less of the acidity and rawness of his industrial pigments and, in many ways, this painting points towards the feel of the rusted surfaces that characterise much of his recent painting. In a sense these paintings belong more perhaps to the tradition of Arte Povera than they do to that of abstraction. This is certainly the case in a New Zealand context where Mrkusich and Walters et al. have been more focused on finish and a tighter formalist language. Emma Fox
52
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53
34
Nigel Brown Table Series
oil on board, signed and dated 75-76; title inscribed, signed and dated ‘75 verso 1185mm x 800mm Provenance: Purchased by the present owner from The Prospect Collection sold at Webbs 24 March 1987.
$15,000 - $20,000 54
35
Colin McCahon Hillside
polyvinyl acetate on board 400mm x 325mm Provenance: Purchased Barry Lett Galleries, Auckland, 1972; Private Collection Auckland
$40,000 - $50,000
I M P O R TA N T W O R K S O F A R T
55
Gordon Walters
36
Gordon Walters Untitled
acrylic on canvas, 1982 740mm x 910mm Exhibited: Gordon Walters, New Paintings and Works on Paper, July 9 - August 3, Artis Gallery, Auckland 1986 (see installation shot below)
$65,000 - $85,000
Gordon Walters is heralded as New Zealand’s foremost pioneer of geometric abstraction, and his work has attracted an almost cult following over the decades. Early on in his career, however, Walters’ work was met with harsh criticism due to the contemporary fashion for landscape painting. Leaving for Europe in 1950, Walters was able to view firsthand the work of pivotal abstractionists such as Mondrian, who undoubtedly influenced Walters and strengthened his resolve. Shortly after his return to New Zealand in 1953, Walters embarked on his seminal koru series, which preoccupied him until his death in 1995. Geometric stylisations of the Maori koru motif, Walters’ koru paintings have become a pattern not only of the artist but, arguably, also of New Zealand. Celebrated for his dedication to pure abstraction, Walters consistently aimed to distil and purify his compositions, seeking to harmonise chromatic opposites in order to produce what he called “a state of rest”. The present work is a prime illustration of these aspirations, showcasing Walters’ talent for reduction, refinement and simplification. Consisting of two rectangular panels and four central stripes transcribed in four colours, this Untitled work from 1982 exudes a mesmeric calm. Executed in a characteristically monochromatic palette, the two planes of pale grey in Untitled are masterfully offset against one another to provide an overall soothing presence. Despite the pervasive feeling of tranquillity, however, Untitled concurrently possesses a facet of dynamism provided by the tripartite bands of inky black. The varying width of the vertical striations and the addition of a small slither of white in the centre of the canvas serve to activate and demarcate the surrounding grey fields. The surface of the canvas, as is expected of Walters, is altogether enchanting in its immaculate flawlessness. Any evidence of the artist’s hand has been eliminated leaving the spectator to marvel at the smooth polished finish of the canvas. In conjunction with the surface allure, the somewhat modest dimensions of Untitled offer an intimacy that is nothing short of desirable. Jemma Field
Artis Gallery, Gordon Walters, New Paintings and Works on Paper, 1986; lot 36 hanging centre.
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Colin McCahon
37
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 Provenance: Private collection, Auckland
$70,000 - $90,000
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 170 mm 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 text-dominated 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
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Ian Scott
38
Ian Scott
Model Series No. 17 (Girl with Mondrian) acrylic on canvas, title inscribed, signed and dated 2001 verso 1730mm x 2135mm Exhibited: Prospect, City Gallery, Wellington 30 May - 22 August 2004
$18,000 - $25,000
Clad scantily in lacy lingerie, the women in Ian Scott’s Model series paintings pose provocatively next to famous modernist paintings as if they are selling us cars in a showroom. Hung against a bland brick wall, which could be a lounge room in a suburban housing development, the paintings are iconic - from the geometric abstraction of Kasimir Malevich to a funky ‘dot’ painting by British art star Damien Hirst. The women, copied directly from Playboy, arrange themselves before us with alluring glances and blatantly sexual poses. Scott’s paintings make no distinction between these two very different examples of contemporary western iconography (western art heroes and Playboy magazine). We might earnestly conclude that Scott is comparing the objectification of the model to the object nature of a work of art, both commodified for consumption in the marketplace. At the same time, the playfulness of the juxtaposition shows a sense of gleeful humour as the artist prods at the boundaries of acceptable taste. The trajectory of Ian Scott’s career spans his early days as one of New Zealand’s few Pop artists, his renowned geometric abstraction of the 1970s and, since the 80s, his interest in postmodernism and appropriation. Throughout these changes his paintings have always been stamped with a celebratory recognition of the ordinary and the banal, as well as a wilful pleasure in the ridiculous.Emma Bugden Text courtesy of the author and City Gallery Wellington. Written for Telecom Prospect 2004: New Art New Zealand website http://www.telecomprospect2004.org.nz/artist/scottian.asp’
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I M P O R TA N T W O R K S O F A R T
61
39
Bill Hammond Bird Study
acrylic on paper, signed and dated 2004 770mm x 580mm
$30,000 - $35,000
62
40
Tony de Lautour Poison Dream oil on canvas, signed and dated 1994; title inscribed, signed and dated 1994 verso; original Claybrook Gallery label affixed verso 1000mm x 1280mm
$15,000 - $20,000
41
Seung Yul oh Untitled acrylic on wood, signed verso 1190mm x 760mm
$4,000 - $6,000
I M P O R TA N T W O R K S O F A R T
63
42
Richard Killeen
Destruction of the Circle acrylic and collage on shaped wood support, title inscribed, signed and dated December 13 1999 1800mm x 2300mm
$20,000 - $30,000
64
43
Milan Mrkusich
Painting Indigo 1969 acrylic on canvas, title inscribed, signed and dated ‘69 verso 770mm x 915mm
$25,000 - $35,000
44
Tony de Lautour Display
oil on canvas, signed and dated 2004 800mm x 1200mm
$14,000 - $18,000
I M P O R TA N T W O R K S O F A R T
65
45
Julia Morison Ampersand
oil paint and varnish on mdf, title inscribed, signed and dated 1999 verso 2200mm x 1200mm Provenance: Purchased by present owner from Jensen, Auckland, 2001
$35,000 - $45,000
Julia Morison exhibited the first seven Ampersand works at Jensen Gallery in 1999. Seven concentric ovals hung vertically, their central oval depicting the ampersand symbol ‘&’. However, two later works, of which this is one, were devoid of the ampersand symbol. Her technique of combining oil paint, enamel and crackle varnish, disturbed and distressed by water, creates surfaces variously described as bone or ivory. Together with the sensual form of these ellipses, one thinks of Victorian corsetry or hooped undergarments. Morison’s work from the middle 1980s and throughout the following decade developed a hybrid alphabet of symbols and images which found its first, more elemental incarnation in the epic Vademecum (in the collection of Te Papa Tongarewa). This exploration of the alchemic compounds that provide the structural material ladder is expressed in the Kabala and indeed in medieval alchemy. In 1997, Morison, in collaboration in Martin Grant, made a set of wildly elegant theatrical dresses. Material Evidence: 100 Headless Woman was shown at the GovettBrewster, New Plymouth, and City Gallery, Wellington. Each dress attended in colour and symbol to ten materials including gold, silver, lead, excrement, blood, pearl and clay. In Ampersand, Morison gives us not the dresses but perhaps the architecture of the dress. Laid flat upon the wall, these beautifully shaped forms radiate out like ripples. There is a subtle optical vibration which is more apparent if the work is installed horizontally, as is also possible. Though Ampersand falls outside of the direct alchemic investigations that framed the ten major projects from the mid ’80s to the ’90s, the works are nonetheless informed by Morison’s strong material and design sense and her use of a repetitive form and structure hinting at its own apparently symbolic language. Emma Fox
66
46
John Walsh
A Little Visual Adjustment oil on board, title inscribed, signed and dated 2004 verso 890mm x 1190mm
$18,000 - $24,000
47
Shane Cotton Anahera
oil on canvas, title inscribed, signed and dated 1998 – 1999 505mm x 610mm
$30,000 - $40,000
I M P O R TA N T W O R K S O F A R T
67
48
Allen Maddox Untitled
mixed media diptych on paper 760mm x 1150mm
$9,000 - $12,000
49
Julia Morison Amalgame 12
ash clay, wood and glass, title inscribed, signed and dated 1991 verso 310mm x 270mm x 50mm (Closed) 310mm x 545mm x 25mm (Open) Exhibited: The Crypt, Cadran Solaire Chapelle de Hotel Doeu Troyes, France 1991 Illustrated: Elizabeth Knox, Julia Morison, Jonathan Jensen Gallery 1993, unpaginated
$6,000 - $8,000
68
50
51
52
Mike Petre
Simon Kaan
Chris Booth
oil on canvas, signed verso
oil on metal wok, signed verso
1220mm x 1217mm
400mm diameter
bronze and slate, title inscribed, signed on work and base, dated 1990
$12,000 - $18,000
$5,000 - $7,000
190mm x 255mm x 100mm
Field Study 101
Untitled
Rainbow Warrior Memorial
$6,000 - $9,000
I M P O R TA N T W O R K S O F A R T
69
53
54
Simon Kaan
Seraphine Pick
acrylic on board, signed and dated 2003
acrylic on six canvas panels, signed and dated ‘98 on three panels; title inscribed, signed and dated 1998 verso
Untitled
1215mm x 1585mm Provenance: From the collection of Canterbury Society of Arts Inc
$18.000 - $24,000
70
Some Sensation
175mm x 115mm each panel
$10,000 - $12,000
55
Alvin Pankhurst Rough Crossing
oil on canvas, signed and dated 2006 1200mm x 1530mm
$8,000 - $12,000
Described as realist and surrealist, Alvin Pankhurst has a career that has spanned some four decades. Highlights of this career include winning the prestigious Benson & Hedges Art Award in 1974 and having his work selected for the Royal Academy of London’s Summer Exhibition of 2001. Maybe Tomorrow, the surrealist, hyperreal depiction of the interior of a room in a dingy Wellington villa, is now in the collection of the Dunedin Public Art Gallery. It remains, alongside works by Brent Wong, one of the strongest examples of surrealism by a New Zealand painter. International judge James W. Foster said at the time: “Maybe Tomorrow is a tour de force in its immaculate technique, exquisitely detailed composition, eerie colour and compelling sense of time and place.” Thirty years have passed since then and Pankhurst has continued his unique vision. Rough Crossing depicts Gillespies Beach on the windswept West Coast with its crashing surf and piles of debris thrown up by the massive tides. Amidst the chaos of nature floats an ornately carved fire surround and mantle; on the foreshore are the delicate remains of crockery, still remarkably intact given the conditions. These items are so bizarre in this context, they compel the viewer to muse on how they got there: what great tragedy has befallen a vessel somewhere out to sea and has carried these items to shore? The fantastical impossibility of the image is something that Pankhurst has returned to again and again. Emma Fox.
I M P O R TA N T W O R K S O F A R T
71
56
Stephen Bambury
The Object is Dematerialised acrylic and rust on two aluminium panels, title inscribed, signed and dated 2001 verso 390mm x 780mm
$12,000 - $16,000
57
Paul Dibble
The Hot Breath of the Interior cast bronze, date 1996 480mm x 470mm x 280mm Illustrated: Fran Dibble, Paul Dibble, David Bateman 2001 p.116
$16,000 - $20,000
72
58
Russell Clark
Sculptural Maquette c.1958 and Four Sketches plaster, metal and timber Maquette: 300mm x 470mm x 150mm Four sketches: I. pencil on paper, 440mm x 340mm II. ink on paper 310mm x 510mm III. pencil on paper 530mm x 350mm IV. pencil on paper 330mm x 540mm
$7,000 - $9,000
I.
II.
IV.
III.
Executed as a Maquette for a public sculpture commission at Canterbury University in Christchurch, this work was never realised at full scale. Four working drawings, including the artist’s impression of the work in situ, are included with the Maquette, offering a unique view into Russell Clark’s intensive working process. There is a strong interest in Maori design and culture which is reflected in much of his work. He shared a similar approach to that of British sculptor Henry Moore, whose works had been seen in Auckland in 1957. Both were interested in the art of so-called primitive cultures and the abstracting of natural organic forms. The working drawings for the Maquette show that Clark toyed with the possibility of including several reclining figures, strikingly similar to many of Moore’s reclining figures series, although those in the final piece are more suggestive of the Shelter Drawing figures. The rounded arches of the structure and the many doorways which weave through it call to mind the intriguing Turkish cave cities of Cappadocia. The negative spaces created by these doors and the standing figures, and the contrast between their black shroud-like drapery and the smooth cream walls, are dramatic with the figures at either end appearing to stand guard, as mascots or figureheads on the prow of a ship. Text courtesy of John Leech Gallery, Aucland
I M P O R TA N T W O R K S O F A R T
73
74
59
Allen Maddox Untitled
oil on canvas, signed with initials and dated 8.88 verso 910mm x 910mm
$12,000 - $18,000 60
Billy Apple Cut
lithograph 14/25, signed and dated ‘64 590mm x 770mm
$10,000 - $15,000 61
Michael Hight
Cemetery Road, Mt Biggs oil on canvas, title inscribed, signed and dated ‘05 613mm x 1117mm
$15,000 - $20,000 62
Joanna Braithwaite Swan Woman
oil on canvas, signed verso 1373mm x 1220mm
$12,000 - $18,000
I M P O R TA N T W O R K S O F A R T
75
63
Tony Fomison Winters Walk
oil on cardboard, title inscribed, signed and dated 1987 verso 460mm x 380mm
$35,000 - $45,000
76
64
Ralph Hotere SANGRO
watercolour, title inscribed, signed and dated August ‘78; and inscribed Crouched in Scented Herbs on the Hill, a Rosary of Olive Trees Landscape of Windswept Manuka 445mm x 320mm
$10,000 - $15,000
I M P O R TA N T W O R K S O F A R T
77
65
Rita Angus Buss Farm
watercolour, signed 295mm x 190mm Note: Rita Angus holidayed at Buss Farm, Canterbury in 1929 with her friend and flatmate Fanny Buss. This work was a gift from the artist and passed by descent to the current vendor.
$8,000 - $12,000
78
66
Russell Clark
Conversation in Noumea 1948 oil on canvasboard, signed; orginal label affixed verso and inscribed COCA Centre of Contemporary Art‘ 1948-49 Number:4 465mm x 620mm Provenance: Collection of Canterbury Society of Arts Inc
$25,000 - $35,000
67
Frances Hodgkins Still Life
gouache on paper, inscribed Demonstration given before a small class of senior pupils at Manchester High School for Girls November 1922. Given by HR and DTS 1931 on verso by Frances Hodgkins 295mm x 345mm
$15,000 - $18,000
I M P O R TA N T W O R K S O F A R T
79
68
Denys Watkins
Internal Combustion oil on linen, title inscribed, signed and dated 1996 verso 1230mm x 1220mm Exhibited: Jensen Gallery, Wellington, 1996
$8,000 - $12,000
80
69
70
71
Barry Brickell
Tony de Lautour
Bronwynne Cornish
terracotta,signed with artists stamp, c.1970
acrylic on flocked, readymade banner, title inscribed, signed with artist’s initials TDL and dated 2002
red and white saggar fired earthenware, title inscribed, signed and dated 2005 and inscribed Mosquito
830mm x 330mm
325mm x 215mm x 115mm
$1,500 - $2,000
$500 - $700
Spiral Form,
775mm x 200mm diameter
$3,000 - $4,000
Falling Star
Corrugated Temple Miss Horridus
72
Bronwynne Cornish Still Life After Hodgkins
earthenware with white slips, signed and dated 2002 on each piece dimensions variable Exhibited: Allude, A tribute and response to the achievements of Frances Hodgkins. Auckland Art Gallery Toi O Tamaki, 11 May – 7 July, 2002. Note: This work was exhibited alongside Frances Hodgkins Woman Sewing, pencil on paper 295mm x 403mm. From the collection of Auckland Art Gallery Toi O Tamaki, Gift of the Friends of the Auckland Art Gallery in appreciation of Jocelyn Lowe’s service to the Society 1999
$2,000 - $3,000
I M P O R TA N T W O R K S O F A R T
81
82
73
Elizabeth Rees Brothers
oil on canvas, signed verso 508mm x 1673mm
$7,000 - $9,000
74
Sydney Lough Thompson Market Day, Concarneau
oil on board, title inscribed on original Ritches Fine Arts Label affixed verso 310mm x 370mm
$8,000 - $12,000
75
Peter James Smith
Rivers of the Great Southern Land oil on linen, title inscribed signed and dated 2006 309mm x 1677mm x 38mm
$9,000 - $12,000
76
Margaret Stoddart Graham Valley, Akaroa
watercolour, signed; title inscribed and orginal H.Fisher and Sons Gallery Label affixed verso 430mm x 475mm
$10,000 - $15,000
I M P O R TA N T W O R K S O F A R T
83
84
PHOTOGRAphy THURS 23 JUL 2009 - 6.30pm Viewing
Thurs
16
Jul
Thurs Fri Sat Sun Mon Tues Wed Thurs
16 17 18 19 20 21 22 23
Jul Jul Jul Jul Jul Jul Jul Jul
EVENING VIEWING 5.30PM – 7.30PM 9.00AM 9.00AM 11.00AM 11.00AM 9.00AM 9.00AM 9.00AM 9.00AM
– 7.30PM – 5.30PM – 3.00PM – 3.00pm – 5.30PM – 5.30PM – 5.30PM – 12.00PM
BUYER’S PREMIUM A buyer’s premium of 15% will be charged on all items in the Photography section of this catalogue. GST 12.5% is payable on the buyer’s premium only. Illustrated Left: Lot 817 peter peryer, Three Sisters (detail)
PHOTOGRAPHY
85
800
800
801
Peter Peryer
Laurence Aberhart
Westhaven, Auckland vintage gelatin silver print, title inscribed, signed and dated 22/3/89 verso 470mm x 470mm Illustrated: Gregory Burke and Peter Weiermair, Second Nature, Peter Peryer, Photographer, New Zealand, City Gallery, Wellington 1995 p.93
$4,000 - $6,000 802
Robin Morrison
vintage gelatin silver print, title inscribed, signed and dated 3 February 1986 verso 190mm x 235mm Illustrated: Aberhart, Victoria University Press 2007, Pl. 212
$4,000 - $6,000
803
Anne Noble
D. Dodds & Son, The Family Butcher, Kaitangata, Otago
Untitled - from the series ‘Nighthawk,’ 1982
modern, unique handprinted cibachrome, original Auckland Museum label affixed verso. cat no.131, printed 1997
vintage gelatin silver print, title inscribed, signed and dated 1996 verso
255mm x 385mm
Note: A photograph from this edition is held by Te Papa Tongarewa, Wellington
Exhibited: Robin Morrison, Photographer Auckland War Memorial Museum 28 February - 13 April 1997
$1,000 - $1,500
86
A Distant View of Taranaki from the Mouth of the Wanganui River
155mm x 155mm
$2,000 - $3,000
801
802
803
PHOTOGRAPHY
87
804 804
Richard Maloy Black Bag
c type colour photograph, 1/3, title inscribed, signed and dated 2007 verso 585mm x 475mm
$1,500 - $2,000 805
Peter Peryer Wattle 1987
gelatin silver print 140mm x 90mm Illustrated: Gregory Burke and Peter Weiermair, Second Nature, Peter Peryer, Photographer, New Zealand, City Gallery Wellington 1995 p.57
$1,000 - $2,000 806
Ryuzo Nishida Crazy for You
digital colour photograph 1200mm x 920mm
$700 - $900
805
88
806
807
Ans Westra
Religious Group, Waitangi vintage gelatin silver print, signed 305mm x 265mm
$2,000 - $3,000
PHOTOGRAPHY
89
808
809
Bill Culbert
Bill Culbert
vintage gelatin silver print
vintage gelatin silver print
405mm x 405mm
405mm x 405mm
Exhibited: Bonbonnes, Roslyn Oxley9, Sydney 2002
Exhibited: Bonbonnes, Roslyn Oxley9, Sydney 2002
$2,800 - $3,500
$2,800 - $3,500
810
811
Bill Culbert
Bill Culbert
vintage gelatin silver print
vintage gelatin silver print
405mm x 405mm
405mm x 405mm
Exhibited: Bonbonnes, Roslyn Oxley9, Sydney 2002
Exhibited: Bonbonnes, Roslyn Oxley9, Sydney 2002
$2,800 - $3,500
$2,800 - $3,500
Bonbonne (Extra Fort Plastic, Full)
Bonbonne (Plaited Grass Cane Handle I)
90
Bonbonne (Wire, String on Wood)
Bonbonne (Plastic and Straw Inside)
812
813
Marti Friedlander
Ans Westra
vintage gelatin silver print, stamped Copyright: Photo Marti Friedlander, 9 Masons Ave, Herne Bay verso
vintage gelatin silver print
Ralph Hotere, 1981
Portrait of Maori Woman with Moko 240mm x 185mm
$2,000 - $3,000
200mm x 195mm Note: A photgraph from this series appears in Ron Sang, Hotere , 2008 p.24
$2,800 - $3,500
814
Marti Friedlander
Smoko’, Sheep Shearing, South Island vintage gelatin silver print, stamped Copyright: Photo Marti Friedlander, 9 Masons Ave, Herne Bay verso 360mm x 270mm Illustrated: Ron Brownson, Are You Looking For Us? We Are Here, Marti Friedlander Photographs, Godwit Press in association with Auckland Art Gallery Toi o Tamaki, Auckland 2001; Marti Friedlander and James McNeish, Larks in a Paradise, Collins, 1974 p.48
$2,800 - $3,500
PHOTOGRAPHY
91
815
816
815
Laurence Aberhart
Landscape Near Mohaka vintage selenium toned gelatin silver print 193mm x 242mm
$2,000 - $3,000 816
Yuk King Tan Center
digital photograph print, 1/5, title inscribed and signed verso 280mm x 370mm
$1,000 - $1,500 817
Peter Peryer Three Sisters
vintage gelatin silver print 445mm x 290mm 817
Note: A photograph from this edition is held in the Auckland Art Gallery Toi O Tamaki Collection
$4,000 - $5,000
92
818
Bill Culbert Sunset II
vintage c type print 1470mm x 990mm Exhibited: Sue Crockford Gallery, Auckland, 1992
$12,000 - $16,000
PHOTOGRAPHY
93
819
Elizabeth Pulman
819
Tawhiao - Maori King
gelatin silver print, inscribed ‘44 140mm x 95mm Reference: A carte de visite of this photograph is held in the Auckland Art Gallery Toi O Tamaki. Illustrated: David Eggleton, Into the Light, A History of New Zealand Photography, Craig Potton Publishing, Nelson 2006 p.17; John Turner and William Main, New Zealand Photography from the 1840s to the present, first published Photoforum Inc, 1993 p.12
$800 - $1,000 820
Photographer Unknown In the style of alfrEd h burton Maori Man with Patu gelatin silver print 205mm x 150mm
$500 - $800 821
Josiah Martin
Two Wahine in Cloaks gelatin silver print, signed with studio blind stamp 170mm x 145mm
$500 - $700 820
94
821
822
822
Burton Bros
Ti Eke - Wanganui River - King Country gelatin silver print, title inscribed, signed and inscibed 3547 140mm x 195mm
$600 - $900
823
824
823
824
Photographer Unknown
JOSIAH MARTIN
Iwi Portrait
Te Taupua and Rotorua Natives
gelatin silver print
gelatin silver print
140mm x 185mm
135mm x 195mm
Note: A photograph from this edition is held in the Auckland Museum
$400 - $600
$400 - $600
PHOTOGRAPHY
95
825
825
Fiona Pardington Hei Tiki
gelatin silver print, title inscribed and signed verso 595mm x 485mm
$3,500 - $4,500 826
Neil Pardington Pink Mattress
c type print, 7/10 500mm x 700mm
$3,000 - $5,000 827
Ava Seymour Mummy ist Tot
unique colour photograph, title inscribed, signed and dated ‘93 290mm x 395mm
$3,000 - $5,000
826
96
827
828
829
Christine Webster and Douglas Wright
Ans Westra Kiwi
The Drowning
c type print, 6/6, signed 2004 (printed 2008)
three cibachrome photographs, from the Circus of Angels series
1470mm x 1240mm
910mm x 1170mm; 725mm x 1170mm; 725mm x 1170mm Exhibited: Christine Webster and Douglas Wright, Circus of Angels, Sargeant Gallery Wanganui, 1997
Exhibited: Toyland, FHE Galleries, March 2008 and Suite Gallery, Wellington, July 2000
$3,000 - $5,000
$4,000 - $6,000
PHOTOGRAPHY
97
830
833
830 831
Ava Seymour
Yellow Oval Room colour photograph, 2/5, title inscribed, signed and dated ‘94 560mm x 755mm
$2,500 - $3,000 831
John B. Turner La Patisserie
gelatin silver print, title inscribed, signed and dated 1972 and inscribed Printed by Paul McCredie 1978 verso 290mm x 365mm
$400 - $600 832
Peter Peryer Michael 832
gelatin silver print, 175mm x 125mm Note: A similar image of Michael appeared in the December 1975 / January 1976 issue of Photoforum. A photograph from this edition is held in the Auckland Art Gallery Toi O Tamaki Collection
$800 - $1,200 833
Mark L. Watts Tsukareta - Tired
archival inkjet print on rag paper, 1/5, signed 890mm x 670mm
$800 - $1,000
98
834
835
837
834
Robin Morrison
Christina and Bert Lewis and His Brothers, Shack and Bob. Deborah Bay, Otago. 1979 modern handprinted cibachrome, original Auckland Museum label inscribed cat no.88 printed 1997 affixed verso 255mm x 390mm Illustrated: Robin Morrison ‘The South Island of New Zealand From the Road’, 1981, pl.87 Exhibited: Robin Morrison, Photographer Auckland War Memorial Museum 28 February - 13 April 1997
$1,000 - $1,500 836
835
Robin Morrison Boy with Iceblock
vintage gelatin silver print 155mm x 240mm
$600 - $900 836
Theo Schoon Boiling Mud 1
vintage colour photograph c.1967 455mm x 455mm
$2,000 - $3,000 837
Theo Schoon Boiling Mud II
vintage colour photograph c.1967 455mm x 455mm
$2,000 - $3,000
PHOTOGRAPHY
99
838
838 839
Di ffrench
The Useful Idiot and Arnolfini’s Hat cibachrome 505mm x 930mm Illustrated: David Eggleton, Into the Light; A History of New Zealand Photography, Craig Potton Publishing 2006 p155 Exhibited: Di ffrench, Light and Illusion, Christchurch Art Gallery Te Puna O Waiwetu 2001; Di ffrench: Activating Ideas, A Survey of Selected Works 1977 - 1997 Illustrated: on the cover of the aforementioned exhibition catalogue. Note: A photograph from this edition is held in the Auckland Art Gallery Toi o Tamaki and Christchurch Art Gallery Te Puna o Waiwetu collections.
$2,000 - $3,000 840
839
Paul Hartigan
Portrait of Sandra Newton at my flat, 163 Park Road, Grafton, Auckland vintage gelatin silver print, title inscribed, signed and dated 1976 125mm x 200mm
$1,800 - $2,500 840
Paul Hartigan
Portrait of the Dewar’s Drum Major cibachrome, title inscribed, signed and dated 1990 verso; inscribed Dewar’s Neon Sign originally atop the New Market Hotel Auckland - often commonly referred to as the “wanking Scotsman” - sign removed from Hotel site, August 1985 verso 390mm x 480mm
$2,500 - $3,500
100
841
Inez van Lamsweedre and Vinoodh Matadin Well Basically - Zonna and Kim c type print, 1/10, signed on artist’s label verso Provenance: purchased from Matthew Marks Gallery, New York 1050mm x 1430mm
$25,000 - $35,000
Repeatedly producing work that questions the common acceptance of plastic surgery and the desire for the perfect ‘unnatural’ and ultimately useless exterior body, the Dutch duo Inez van Lamsweerde and Vinoodh Matadin occupy the diverse worlds of high fashion and high art photography. Rising to fame in the early 1990s with the installation of a controversial outsized photograph in Amsterdam’s botanical gardens, the pair has since worked for an impressive array of high fashion labels and magazines that reads like a veritable ‘who’s who’ of global fashionistas. Willowy models alternately glisten or smoulder in images conceived for the likes of Gucci, Yves Saint Laurent, Calvin Klein, Vivienne Westwood, Louis Vuitton and Balenciaga, to name but a few. Their art photography (and to some extent their fashion photography), which professes a desire to expose the different realities that exist simultaneously, often consists of smooth, silky hyperrealist imagery. Obvious digital manipulation is used to highlight the modern world’s obsession with creating the ideal, flawless body, which aside from aesthetics is of no use. Their work is represented by some of the most prestigious international galleries including Matthew Marks in New York and White Cube in London, and recent major exhibitions have been mounted at the Deichtorhallen in Hamburg, Doug Lawing Gallery in Houston, Air de Paris, the National Gallery of Iceland and Rudiger Schottle in Munich. Jemma Field
PHOTOGRAPHY
101
842
844
843
844
842
844
ArTHUR JAMES iles
Photographer Unknown
Taketake - Wanganui Chief with moko, hei tiki, tooth and ribbon earring
Maori Male Portrait
gelatin silver print, inscribed 37
gelatin silver print, inscribed ‘36
160mm x 125mm
200mm x 145mm
$400 - $600
$800 - $1,000 843
845
Photographer Unknown
Photographer Unknown
gelatin silver print
gelatin silver print
170mm x 130mm
175mm x 125mm
$500 - $700
$300 - $500
Maori Elder
102
Rapera in Cloak with Peacock Feathers
846
847
850
848
851
849
852
853
846
849
852
William Beattie & Co.
Photographer Unknown
Photographer Unknown
gelatin silver print, title inscribed
gelatin silver print
Cloaked Wahine with Hei Tiki and Carved Paddle
A Maori Chief Defying the Enemy
Young Maori Man in Cloak
gelatin silver print
80mm x 65mm
85mm x 50mm
80mm x 65mm
$200 - $250
$100 - $150
850
853
William Beattie
Photographer Unknown
gelatin silver print, title inscribed and signed
gelatin silver print
80mm x 65mm
125mm x 80mm
$200 - $250
$500 - $800
$200 - $300 847
William Beattie and Sanderson
In the Kitchen, Chiefs Hiding Place, Whakarewarewa
gelatin silver print, title inscibed, signed and dated 14.3.98 80mm x 65mm
$200 - $300 848
William Beattie and Sanderson Maori Mother and Pickaninny (sic), Whakarewarewa
gelatin silver print, title inscribed, signed and dated 14.3.98
Guides Maggie and Warbrick at Sophia’s Whare
Young Maori Wahine with Two White Feathers
851
William Beattie and Sanderson Maori Cooking Operations, Whakarewarewa
gelatin silver print, title inscibed and signed 80mm x 65mm
$200 - $300
80mm x 65mm
$200 - $250 PHOTOGRAPHY
103
854
Ross T. Smith
The Stations of the Cross fourteen c type colour photographs, artist’s proofs ed.2, title inscribed, signed and dated 2000 each verso 600mm x 750mm each; overall 600mm x 10500mm
$15,000 - $20,000 The Pilgrim’s Road-Maps Ross T. Smith’s Stations of the Cross should be seen as contemplations of the human condition rather than of supernatural compassion, without negating that approach. Initially it is Everyman’s Via Dolorosa but, on reflection, it is transcended to a Via Authentica.1 The viewer recalls the scenes of Christ’s passion rendered by Duccio, Grünewald or Dürer. Equally remembered is the tradition of the medieval allegory of man’s journey through life. But this series has a particular echo in our antipodean cul-de-sac. Two earlier sets of panels by local artists come to mind: McCahon’s On the Road, 1976 and Hotere’s Song of Solomon, 1991. Is Smith’s work merely a reprise of others’ ideas? The parallels with McCahon are easily spotted - (a) giving a New Zealand setting to familiar stories and (b) the search for a spiritual component in any meaningful rationale for existence. Fourteen is common to both: in pairs of seven panels by McCahon, and separately by Hotere. But Smith goes further than either artist. On the Road belongs to a phase of that artist’s use of signs in everyday life, while the Song of Solomon is a juxtaposition of the raucous clamour of war and the soothing whisperings of personal emotion. Smith relates his panels directly to human experience. The connection with religious iconography is the use of white for the spiritual and yellow for the physical planes. On six occasions they combine, but are alone for the rest, four each. The viewer need not correlate the panels with the conventional Stations. There are times when such identification may be made, e.g. I, III and IX. The colour inversions in I (the statement of mortality) and XII (the seeming conclusiveness of mortality) may foster musing, as also the other inversions (V and XI) may encourage reflexion on the actions of reluctant fellow-travellers and those
104
of impassive agents of Fate. Further scope for contemplation is provided by the cracks in the spirit for two Falls (III and IX), yet the most interesting may be XIV which, at a distance on an overcast day seems to have an underlying slender sliver of paling yellow. The relative terminations of the colours would then take on an enigmatic significance. Should the final images be interpreted in the context of John of the Cross’ “dark night of the soul”? Or is Smith recalling Ian Wedde’s “black sound of the world” Off/Of, a poem of 1975? (The poem was dedicated to Hotere.) Much of the impact and appeal of these Stations will derive from the personal insights and responses of the individual viewer, not only to each panel but also to the series as a unity. For many the Stations will appear a sharp twist in artistic manner. Smith’s incursion into minimal abstraction does represent an ambitious redirection in size and evocation. Yet it retains links with his previous output. From studies of the person’s vulnerability in his environment, Smith has shifted his considerations to the element of endurance in man’s nature. The prosaic road markings in these photographic images proclaim just as powerfully “the majesty of human suffering” as did de Vigny in his poem.2 Therein lies the strength of Smith’s presentation. His instrument is not the brush of a painter who can invent possibilities; the camera records what is there already. The unadorned reality of this feature (a marked road) of the world we live in is indeed an image of the mortal condition we share. J. J. Benefield (PhD) 2001 1
The coinage, charged with existentialism, is my contribution to the corpus of Dog Latin.
2
The Shepherd’s Hut by Alfred de Vigny, 1844.
855
855
Ross T. Smith
Untitled: Still Life selenium and tea toned gelatin silver print, 2/5 250mm x 205mm Exhibited: Ross T. Smith Linger, Lopdell House Gallery, Auckland 29 May - 12 July 2009
$1,250 - $1,750 856
Ross T. Smith
Your Mouth is Stained with Sun fuji colour photographic print, 1/10, title inscribed, signed and dated 2000 on original artist’s label affixed verso 1150mm x 1430mm
$2,000 - $2,500 857
Ross T. Smith Kare Kare
selenium and tea toned gelatin silver print, 2/5 250mm x 205mm Exhibited: Ross T. Smith Linger, Lopdell House Gallery, 29 May - 12 July 2009
$1,500 - $2,000 856 857
PHOTOGRAPHY
105
858
Mac Miller Watch
gelatin silver print, inscribed Photograph by Mac Miller Hamilton, New Zealand 81969 Watch on orginal artist stamp verso 185mm x 120mm
$250 - $300 859
Gary Baigent
Christian Spiritualist gelatin silver print, inscribed Gary Baigent‘ Christian Spiritualist’ Newton, 1970. printed c1973. (Not in artists hand) verso 410mm x 305mm Illustrated: Three New Zealand Photographers, Auckland City Art Gallery. Feb 1973, plate number 22
$500 - $700 860
858
859
Veronique Cornille
Cup of Tea with Hone Tuwhare, Hotel South Otago 2005 black and white photograph printed on Hahnemuhle fine art photo rag pearl paper (320gsm), 1/5, signed and dated 2005; title inscribed verso 300 x 200mm Note: the work is intended to be included in a forthcoming publication “NEW ZEALANDERS, Our Place” by Veronique Cornille
$600 - $800 861
Fiona Pardington Anthirium
gelatin silver print, title inscribed, signed and dated 1993 300mm x 225mm
$2,500 - $3,500 862
Veronique Cornille
Hone Tuwhare stirs Tea, Hotel South Otago 2005
860
861
black and white photograph printed on Hahnemuhle fine art photo rag pearl paper (320gsm), 1/5, signed and dated 2005; title inscribed verso 200 x 300mm Note: the work is intended to be included in a forthcoming publication “NEW ZEALANDERS, Our Place” by Veronique Cornille
$600 - $800 863
Theo Schoon
Sulphur and Calcified Deposits colour photograph 190mm x 192mm
$1,000 - $1,500 106
862
863
864
865
Eric Taylor
Gil Hanly
Epson colour print
colour photograph, 2004
400mm x 600mm
265mm x 390mm
$1,000 - $1,500
$400 - $500
866
867
Glen Jowitt
ronnie van hout
Castle Hill
Diocesan Girls Kapa Haka Group; Maori and Pacific Island Cultural Festival, Manukau Sports Bowl Auckland 2001
Foreshore Hikoi Bastion Point
Nude in a Landscape digital photograph 2/15, title inscribed, signed and dated 1998 verso
cibachrome, 2/2, (printed 2002)
340mm x 500mm
320mm x 460mm
$3,000 - $4,000
Illustrated: Glenn Jowitt, Feasts and Festivals; a Celebration of Pacific Island Culture in New Zealand, New Holland Publishing, 2002 p.117
$2,000 - $3,000
PHOTOGRAPHY
107
868
An Album of Late 19th Century New Zealand Photographs
by various photographers, including Burton Bros, Hart, Campbell & Co, James Ring, Elizabeth Pulman, James Bragge and Charles S Spencer. 32 leaves, 123 black and white/sepia toned photographs Black buckram album. Page edges gilt. Boards marked, bumped and worn. Pages warped with age, browning and brittle, but still handsome. Photographs pasted to pages. Fading and slight surface wear to some photographs. Mostly good, strong images. A remarkable collection. Burton Bros photos include iconic images of Riverton, Queenstown, Lake Wakatipu, Dart River, Lyttelton and Christchurch. One shot of boys playing football at the ‘Normal School, Christchurch’. Hart, Campbell & Co photos include images of Dee Street (Invercargill), Wakatipu, Arrowtown, Milford Sound. Ring photos include images of South Island/West Coast roadways for which Ring was renowned – Arthurs Pass, Otira Gorge, Porters Pass Summit, Buller Gorge. Also images of coaches and buildings, the Grey River and Greymouth, Dillman Town, and one of the Union Steam Ship Company’s Omapere. Pulman photos include portraits of Tawhiao, Guide Sophia and other Maori subjects. Bragge photos include rare views of Wellington and the Wairarapa, among which are four splendid large format images (225 x 300mm) of the wilds of ‘Forty Mile Bush’ (see: Main, Bragge’s Wellington and the Wairarapa). Spencer photos include views of Rotomahana and the Pink and White Terraces, one featuring William and Anstis Snow (see: Keam, Dissolving Dream). Various unattributed photographs including images of the North Island Thermal Region (Ohinemutu, Whakarewarewa, Rotokakahi), South Island landscapes and buildings, and one of early Mount Eden. General condition of album and photographs good. 365 x 290mm
$4,000 -$6,000
108
869
870 869
Elizabeth pulman attributed Ngapera Taiawa
gelatin silver print, inscribed 144 135mm x 95mm
$400 - $600
870
Photographer Unknown Maori Chief
gelatin silver print 125mm x 80mm
$500 - $800 871 871
872
Photographer Unknown Maori Wahine with Moko
gelatin silver print, inscibed 35 140mm x 95mm
$300 - $500 872
Photographer Unknown Maori Elder
gelatin silver print 140mm x 95mm
$300 - $500 873
Photographer Unknown Maori Elder with Feather Clock
gelatin silver print 120mm x 75mm 873
874
$300 - $500
874
Photographer Unknown
Ihaka Whanga, Chief of the Nagti Kahungunu 1808 - 1875 gelatin silver print 125mm x 90mm Note: This was the photograph used by Gottfried Lindauer to paint Ihaka Whanga. Illustrated: Gottfried Lindauer, Maori Paintings, A.H. & A.W. Reed 1905 p.97
$300 - $500
PHOTOGRAPHY
109
875
875
Glen Jowitt
Wesley College Student, Maori and Pacific Island Cultural Festival 1993. Nga Tapuwae College, Auckland cibachrome, 3/3, (printed 1993) 260mm x 350mm
$2,000 - $3,000 876
Anne Noble
Puahou
gelatin silver print 425mm x 645mm
$3,000 - $5,000 877
876
Clive Stone
Talk of the Town gelatin silver print, title inscribed, signed and dated 1978 and inscribed Copyright Clive Stone CR Stone 6.4.78. on original artist label affixed verso 200mm x 200mm
$300 - $500 878
Steven Ball
“Freak�, Milan Tattoo Convention archival ink jet print, 1/50, title inscribed, signed and dated 2006 255mm x 185mm Exhibited: Fresh 08, Fresh Gallery, Otara, 2008 877
$400 - $600
878
879
Gil Hanly
Foreshore Hikoi Harbour Bridge colour photograph, 2004 265mm x 390mm
$400 - $500 880
Theo Schoon
Mud Pool with Face 879
gelatin silver print 880
200mm x 150mm
$800 - $1,200
110
881
Steven Ball
Tavita Before and After two archival inkjet prints, title inscribed, signed and dated 2007 670mm x 900mm each Exhibited: Tangata O Le Moana, Te Papa Tongarewa, October 2009. Funky Razors, St Paul St Gallery, Auckland 3 May - 8 June 2007
$1,500 - $2,500 882
881
Fiona Pardington One Night of Love gelatin silver print 156mm x 165mm
$1,000 - $1,500 883
Fiona Pardington One Night of Love gelatin silver print 165mm x 160mm
$1,000 - $1,500 884
Robyn Hoonhout I AM INVISIBLE 882
883
colour photograph, 2/10, signed 600mm x 400mm
$300 - $500 885
Andy Morley Hall
Old Bond Street, London, England gelatin silver print, title inscribed and dated 2001 verso 143mm x 215mm
$300 - $500 886 885
Lynn Clayton The Office
giclee, 2/5, title inscribed and dated 2007; artist label affixed verso 200mm x 300mm
$450 - $650
884
886
PHOTOGRAPHY
111
887
887
Eric Taylor
Port Waikato Cliff Face Epson colour print 380mm x 1140mm
$1,800 - $2,200 888
Milton H. Greene Marilyn Monroe
colour photograph, signed with photographers stamp, Reprinted with Permission verso 250mm x 210mm 888
889
890
$600 - $900 889
Helmut Newton Nastassja Kinski, Hollywood black and white photograph, signed and dated 1983 with artists stamp verso 270mm x 195mm
$700 - $900 890
Photographer Unknown The Curl
unique gelatin silver print hand coloured in oil colours, signed with artist stamp, dated and original Real Pictures Gallery label affixed verso 275mm x 140mm
$500 - $700
891 Patricia Piccinini Waiting for Jennifer c type photograph 27/60, signed and dated 2000 800mm x 800mm
$5,500 - $6,500 891 112
892
Sante D’orazio
Christy Turlington
black and white photograph, signed with photographers stamp, dated 1993 and inscribed Tur/16411 verso 210mm x 270mm
$700 - $900
893
Muir and Moodie
Timaru Looking South gelatin silver print, signed and dated 20.4.04 and inscribed 83. Series A 160mm x 430mm
$300 - $400
PHOTOGRAPHY
113
894
895
896
George Chance
George Chance
George Chance
gelatin silver print mounted on card, title inscribed and signed; original artists stamp affixed and inscribed 6718 verso
gelatin silver print mounted on card, title inscribed and signed; original artists stamp affixed and inscribed 6719 verso
gelatin silver print mounted on card, title inscribed and signed; original artists stamp affixed and inscribed 6720 verso
253mm x 298mm
255mm x 300mm
250mm x 300mm
$150 - $250
$150 - $250
$150 - $250
897
898
899
George Chance
George Chance
George Chance
gelatin silver print mounted on card, title inscribed and signed; original artists stamp affixed and inscribed 6716 verso
gelatin silver print mounted on card, title inscribed and signed; original artists stamp affixed and inscribed 6717 verso
253mm x 300mm
250mm x 300mm
gelatin silver print mounted on card, title inscribed and signed; original artists stamp affixed and inscribed 6715 verso
$150 - $250
$150 - $250
258mm x 301mm
Beech Trees - Wakatipu - N.Z
Hollyford River - New Zealand
Lake Wanaka - New Zealand
Maitai Valley - Nelson - New Zealand
Ruakawa Falls - Near Wanganui - N.Z
Summer Day - South Canterbury - New Zealand
$150 - $250
114
900
901
903
902
904
905
906
900
903
905
Bill Mori
Herbert Deverill
Burton Bros
c type hand printed photograph, 5/25, signed and dated 2007
gelatin silver print
Waterfall Series: Australia
475mm x 330mm
$300 - $500 901
William Tyree
Parapara Sluicing Company gelatin silver print, contact reprinted from original 10 x 8� negative, signed and inscribed Parapara Sluicing Company Tyree Photo 10148
Log Flume Construction 256mm x 357mm
$300 - $400 904
Burton Bros and Muir and Moodie
Auckland From Wharf and Dunedin from the South
939 Pink Terrace together with 1310 Pink Terrace, Queens Hospital together with, Honolulu together with Untitled four gelatin silver prints mounted on card, titles inscribed and signed on three works
$200 - $300 906
Burton Bros
2656 Panco Panco Harbour, Samoa together with 2645 Samona House Apia together with B365 Yosemite Falls together with Untitled
205mm x 255mm
gelatin silver print, inscribed 936 Auckland from Wharf, 5936 Burton Bros Protected Aug 21.99 and inscribed 1642 Dunedin from South Muir and Moodie, Dunedin NZ Protected
$100 - $200
140mm x 195mm
four gelatin silver prints mounted on card, titles inscribed and signed on three works
$300 - $400
$200 - $300
902
Herbert Deverill Central Otago
gelatin silver print, signed with photographers stamp on orginal mount 270mm x 360mm
$300 - $400
PHOTOGRAPHY
115
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% in the Important Works of Art and Fine Jewellery & Watches sales and a buyer’s premium of 15% on the hammer price in the Photography and Antiques & Decorative Arts sales (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. 7. Webb’s Act as Agents. They have full discretion to conduct all aspects of the sale and to withdraw any lot from the sale without giving any reason. 8. Collection. Purchases are to be taken away at the buyer’s expense immediately after the sale except where a cheque remains uncleared. If this is not done Webb’s will not be responsible if the lot is lost, stolen, damaged or destroyed. Any items not collected within seven days of the auction may be subject to a storage and insurance fee. A receipted invoice must be produced prior to delivery of any lot. 9. Licences. Buyers who purchase an item which falls within the provisions of the Protected Objects Act 1975 or the Arms Act 1958 cannot take possession of that item until they have shown to Webb’s a license under the appropriate Act. 10. Failure to make Payment. If a purchaser fails either to pay for or take away any lot, Webb’s shall without further notice to the purchaser at its absolute discretion and without prejudice to any other rights or remedies it may have, be entitled to exercise one or more of the following rights or remedies: a. To issue proceeding against the purchaser for damages for breach of contract. b. To rescind the sale of that or any other lot sold to the purchaser at the same or any other auction.
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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 is held by Webb’s pending i. clearance of funds by the purchaser or ii. completion of payment after receipt of a deposit the lot will be held by Webb’s as bailee for the vendor risk and title passing to the purchaser immediately upon notification of clearance of funds or upon completion of purchase. In the event that a lot is lost, stolen, damaged or destroyed before title is transferred to the purchaser the purchaser shall be entitled to a refund of all monies paid to Webb’s in respect of that lot but shall not be entitled to any compensation for any consequent losses howsoever arising. 11. Bidders deemed Principals. All bidders shall be held personally and solely liable for all obligations arising from any bid including both telephone”and absentee bids”. Any person wishing to bid as agent for a third party must obtain written authority to do so from Webb’s prior to bidding. 12.”Subject Bids” Where the highest bid is below the reserve and the auctioneer declares a sale to be “subject to vendor’s consent” or words to that effect the highest bid remains binding upon the bidder until the vendor accepts or rejects it. If the bid is accepted there is a contractual obligation upon the bidder to pay for the lot. 13. SALES POST AUCTION OR BY PRIVATE TREATY The above conditions shall apply to all buyers of goods from Webb’s irrespective of the circumstances under which the sale is negotiated. 14. conditions of Items: the condition of the items are not detailed in this catalogue. Buyers must satisfy themselves as to the condition of lots they bid on and should refer clause six. Webb’s are pleased to provide intending buyers with condition reports on any lots.
A guide for buyers Webb’s have set out the following information for the benefit of first time buyers and those who are unfamiliar with auction procedures. Important note: Please refer to full conditions of sale for buyers printed in the reverse of this catalogue and displayed in the saleroom. Registration: All intending buyers must complete a bidding form available from the reception desk Buying at Auction 1. Floor Bidders Ensure that you have registered and obtained a buyer number before bidding on the lot or lots you have chosen Be aware that a buyer’s premium of 12.5%+GST on the premium or 15%+GST is payable by all buyers in addition to the hammer price. Please make sure that you are aware of the amount of the buyer’s premium. Make your bids clear preferably by holding up your buyer number card. If you make a mistake e.g. the auctioneer takes a bid from you at a higher level than you had intended or you realise that you had bid on the wrong lot call out to the auctioneer immediately so that the bidding can be adjusted. Waiting until after the hammer falls is too late. If your bid is the highest and the lot is knocked down to you then you have entered a binding obligation to pay for that lot. 2. Sales Subject to Vendor’s Consent Where your bid is the highest but still below the reserve the Auctioneer may declare you to be the “buyer subject to Vendor’s consent”. This means that your bid is held as binding and will be communicated to the Vendor at the earliest opportunity. If the vendor accepts then there is a contractual obligation for you to pay for the lot. If the vendor does not accept you are released from any obligation however you will have first right to negotiate with the vendor through Webb’s until an agreement is reached and Webb’s will not present other offers to the vendor until your negotiations are ended. 3. Absentee Bids Webb’s will endeavour to ensure that your bidding instructions are executed but accept no responsibility or liability for failure to do so. Lots will be bought as favourably as is allowed by bidding in the sale room and any reserve imposed by the vendor. Please note that Webb’s cannot guarantee that another bidder will not be successful at your limit if in the course of competitive bidding someone else bids your limit first. Absentee bids are accepted by written instruction which can be sent by fax (e-mailed absentee bids are not accepted) up to l hour before the commencement of the sale. Absentee bids will be executed on the following basis: If your bid limit is equal to or above a reserve the Auctioneer may open the bidding at reserve on your behalf and will bid thereafter only in response to competition for the lot.If your bid limit is below a reserve the Auctioneer may open the bidding at your limit and if there are no further bids in the room may sell to you “subject to vendor’s consent”. In the absence of a reserve the Auctioneer may exercise your bid in advance of any opening bid or may open the bidding on your behalf at the Auctioneers estimate at the Auctioneer’s sole discretion.
Telephone Bids The same conditions as above apply to telephone bidders. Webb’s will telephone the number you have given several minutes before the lot you have request comes up for sale. If your phone is engaged or we are unable to make contact the auction will proceed without your bidding.
A guide for buyers
Our staff will ask you to hold when we have made contact. They will then tell you that your lot is about to come up. The bids will be relayed to you and you can enter the bidding at any time by making your call. Please note that the bidding at many auctions can be fast and furious. The auctioneer will not favour a phone bidder over and above buyers who are attending the auction by giving them more time to bid. You will need to establish your limit and make sure that you bid clearly and promptly. Telephone bids are only accepted for catalogued sales and on items with estimates over 500. Pre-Sale Estimates Estimates printed in the catalogue or given verbally are intended as a guide only and can be subject to revision nearer to the time of a sale. Webb’s staff are available during pre-sale viewing times and by appointment to assist prospective bidders with estimates and any aspect of the auction procedure. Condition Reports Webb’s staff will provide condition reports for out of Auckland buyers. However please note that no 6 in the Conditions of Sale for Buyers will still apply despite the obtaining of a condition report. Payment Payment for all items purchased is due on the day of sale immediately following completion of the sale. If full payment cannot be made on the day of sale a deposit of 10% of the total sum due must be made on the day of sale and the balance must be paid within 5 working days. Payment is by cash bank cheque or Eftpos. Cheques will be accepted but must be cleared before delivery of goods will be given. Credit cards are not accepted. Packing and Freight Webb’s do not pack goods in house. However we will arrange for your items to be packed insured and shipped by a professional agent. All costs associated with packing and freight are payable by the purchaser. Valuation Service Webb’s provide free market appraisals on Monday mornings from 9am1pm or at other times by appointment. Webb’s appraisers will come to your home to view and appraise larger items. Webb’s will provide valuations for insurance matrimonial division family division etc. Please enquire at reception for charges. Valuation charges are refundable on occasion when goods are subsequently offered for sale within a reasonable period.
C ATA L O G U E I N F O R M AT I O N
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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
$120
Australia / Pacific
$220
United Kingdom / europe
$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 Credit Card: Amex / Visa / Bankcard / Mastercard / Diners (please circle option) Card Number: Expiry Date: All information provided will be regarded as confidential
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: . ............................................................................
305 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. Recipients other than the addressee listed below are asked to notify us immediately and return the original facsimile to us.
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Bidding Slip For absentee bidders on lots in sale 305 THE IMPORTANT WORKS OF ART, PHOTOGRAPHY, FINE & AFFORDABLE JEWELLERY & WATCHES AND ANTIQUES & DECORATIVE ARTS, 21 - 23 JULY 2009 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 & Affordable Jewellery & Watches sales a buyer’s premium of twelve and a half percent (12.5%) and in Photography and Antiques & Decorative Arts sales a buyer’s 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.
catalogue description
lot no.
mr/mrs/ms
Bid*
first name
home phone
surname/company
business phone
mobile
facsimilie
postal address
contact name
email address
ARRANGEMENTS FOR PAYMENT: I agree to pay immediately on receipt of notice from Webb’s of my successful bid. Payment will be by cash cheque or bank transfer. I will arrange for collection of my purchases or I agree to pay for packing and freight costs incurred by Webb’s in having any purchases forwarded to me. In order to avoid delay in clearing purchases Buyers who are unknown to us are advised to make arrangements for payment before the sale or for references to be supplied. If such arrangements are not made cheques will be cleared before purchases are delivered.
* Webb’s will do its 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 1149 New Zealand Ph: 09 524 6804 / Fax: 09 524 7048 auctions@webbs.co.nz / www.webbs.co.nz
SIGNED &
DATED C ATA L O G U E I N F O R M AT I O N
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INDEX OF ARTISTS Stichbury Peter
IMPORTANT WORKS OF ART
Moodie Muir
893
Mori Bill
900
65
Stoddart Margaret
Apple Billy
60
Straka Heather
3
2, 33, 56
Stringer Terry
12
Muir and Moodie Burton Bros 904
Bambury Stephen
76
Morrison Robin
802, 834, 835
Binney Don
16
Thompson Sydney Lough
74
Newton Helmut
889
Booth Chris
52
Walsh John
46
Nishida Ryuzo
806
Walters Gordon
36
Noble Anne
69
Watkins Denys
68
Pardington Fiona 825, 861, 882, 883
34
Wilkinson Brendan
27
Pardington Neil
Braithwaite Joanna
26, 62
Brickell Barry Brown Nigel Clark Russell
58, 66
Cornish Bronwynne
71, 72
Cotton Shane
47
de Lautour Tony
40, 44, 70
Dibble Paul
5, 6, 57
Wolfe Emily
7
PHOTOGRAPHY Aberhart Laurence Baigent Gary
801, 815 859
803, 876 826
Peryer Peter
800, 805, 817, 832
Piccinini Patricia
891
Pulman Elizabeth
819
Sanderson William Beattie and 847, 848, 851
Fomison Tony
15, 17, 22, 63
Frizzell Dick
10
Beattie William
Goldie Charles Frederick
25
Beattie & Co. William
Hammond Bill
39
Burton Bros
822, 905, 906
Stone Clive
877
Chance George
894, 895, 896,
Tan Yuk King
816
61
897, 898, 899
Taylor Eric
67
Clayton Lynn
Hanly Pat Hight Michael Hodgkins Frances
21, 30
Ball Steven
878, 881
Schoon Theo
836, 837, 863, 880
850
Seymour Ava
827, 830
846
Smith Ross T.
854, 855, 856, 857
886
864, 887
Turner John B.
831
Tyree William
901
Hotere Ralph
28, 64
Cornille Veronique
Kaan Simon
51, 53
Culbert Bill 808, 809, 810, 811, 818
Unknown Photographer 823, 843,
Killeen Richard
29, 42
Deverill Herbert
902, 903
844, 845, 849, 852, 853,
Maddox Allen
48, 59
860, 862
D’orazio Sante
892
869, 870, 871, 872,
McCahon Colin 4, 18, 23, 24, 31, 35, 37
Ffrench Di
838
873, 874, 890, 820
Morison Julia
Friedlander Marti
Mrkusich Milan Ngan Guy
45, 49 43
Greene Milton H.
13, 14
Hall Andy Morley
812, 814
Van Hout Ronnie
867
888
Watts Mark L.
833
885
Webster Christine
Oh Seung Yul
41
Hanly Gil
865, 879
Westra Ans
Pankhurst Alvin
55
Hartigan Paul
839, 840
Wright Douglas
Parekowhai Michael
11
Hoonhout Robyn
Petre Mike
50
Iles Arthur James
Pick Seraphine
54
Jowitt Glen
Pule John Rees Elizabeth Scott Ian Smith Peter James Smither Michael 120
1, 9
Angus Rita
8
884 842 866, 875
Lamsweedre Inez van
841
73
Maloy Richard
804
20, 38
Martin Josiah
821, 824
75 19, 32
Matadin Vinoodh
841
Miller Mac
858
828 807, 813, 829 828
Important Investment Diamonds Fine Jewellery, Watches & Decorative Arts
New Zealand’s Zealand’s New Premier Auction Auction House House Premier 18 Manukau Manukau Road Road 18 PO Box Box 99 99 251 251 PO Newmarket, Auckland Auckland 1031 1149 Newmarket, New Zealand Zealand New P +649 +649 524 524 6804 6804 P F +649 +649 524 524 7048 7048 F auctions@webbs.co.nz auctions@webbs.co.nz www.webbs.co.nz www.webbs.co.nz
The Jubilee Sale of Jewellery & Watches ANTIQUES & Decorative Arts 22 – 23 July 2009
Viewing from 16 July 2009 Jewellery viewing times see page 11 Decorative Arts viewing times see page 37
Illustrated Cover: Lot 207 5.09ct Loose Emerald Cut Diamond and Lot 203 A Splendid Necklace Set with Fancy Yellow and White Diamonds (detail) Inside Front Cover: Lot 113 PATEK PHILIPPE, A Gentleman’s Fine and Rare All 18ct Yellow Gold Automatic Perpetual Calendar Wristwatch Inside Back Cover: Lot 592 A Rare American Vintage Bell Fruit Company Mint Vending Slot Machine (detail) Back Cover: Lots 547–560 A Selection of Bottle Labels in Sterling Silver and Plate
IN FOCUS
1
CHRISTOPHER DEVEREAUX Celebrating 20 Years of Association with Webb’s Chris Devereaux and Webb’s mark a 20-year association with this July catalogue. In recognition of the long and fruitful relationship, Chris has assembled some of the finest jewellery ever to appear on the New Zealand market. Having completed an MSc at Auckland University in 1972, he has spent the last 35 years in the auction industry specialising in jewellery. Chris teamed up with Webb’s in June 1989 as a Jewellery Consultant with his first sale taking place in August of that year. During this time, Chris has compiled more than 150 catalogues that remain unsurpassed in this country and have included many outstanding pieces of jewellery with sales totalling between 30 and 40 million dollars. Amongst the most notable: the sale of the Mappin 12.5 carat diamond brooch; the Jean Batten Brooch; the King Otto Presentation Box; and the gold sword presented to former Prime Minister David Lange. Numerous records have been achieved for diamonds and coloured stones with an unmounted loose emerald achieving $67,500 in 2008. Last year also saw the highest price paid at auction in New Zealand for a gent’s wristwatch, when a watch by Girard-Perregaux realised $85,000. This catalogue has such a marvellous offering of top– quality items that new records may well be established, recession or no recession. Neil Campbell
A Girard-Perregaux Gentleman’s Wristwatch Realised: $85,000, 2007 This is believed to be a record for the highest price achieved for a wristwatch on the New Zealand auction market.
A Magnificent Emerald and Diamond Ring Realised: $70,000, 2007 This is believed to be the highest price achieved for an emerald in the New Zealand auction market.
A Natural Fancy Pink Diamond of 2.95ct Realised: $150,000, 2003
An Important Pendeloque Cut Diamond of 5.713ct Realised: $150,000, 2009
2
TOTO TOTO MODERN ITALIAN CUISINE MODERN ITALIAN CUISINE
Toto’s Restaurant & Montecristo Function Room is proud to announce the coming of 0800-TOTO-PIZZA May 1 2009 for Pizza & Pasta Delivery. See www.totogroup.co.nz 53 Nelson St Auckland CBD 09 302 2665 | Montecristo Functions 09 303 0011
IMPORTANT INVESTMENT DIAMONDS
Illustrated: 1 A B
2 3
4
5 6
A B
Lot 206 11.36 ct Triangular Brilliant Cut Diamond Pendant Lot 207 5.09 ct Loose Emerald Cut Diamond
1 2 3 4 5 6
Lot 258 2.18 ct Loose Emerald Cut Diamond Lot 157 2.03 ct Loose Asscher Cut Diamond Lot 174 3.02 ct Loose Round Brilliant Cut Diamond Lot 242 2.50 ct Loose Round Brilliant Cut Diamond Lot 198 3.02 ct Loose Emerald Cut Diamond Lot 213 2.50 ct Loose Round Brilliant Diamond
Shown actual size
4
IN FOCUS
5
AUGUST - OCTOBER SALES 6 Aug 2009 Fine and Rare Wines With winter firmly upon us, the August sale focuses on red wines and spirits, with Australian wines making up the bulk of the sale. Highlights include a superb collection of Penfolds Grange, a selection of Bin 707, St Henri and RWT. Also included is a broad range of spirits including vintage Armagnac, XO Cognac and Whiskey, with the standout being a bottle of extremely rare 1938 Macallan Whiskey est. $3,000. Further entries are now invited. Contact: Simon Ward, 09 529 5600 or 021 642 277, email: wine@webbs.co.nz Illustrated: Domaine De La Romanée-Conti, realised $10,750, June 2009
20 Sept 2009 Bethunes@Webbs By popular demand, a second Bethunes@Webb’s Sunday Sale will be held on 20 September 2009. The sale will concentrate on important New Zealand historical books, pamphlets, documents and ephemera. A number of exciting pieces have already been secured, including: a complete set of White’s Ancient History of the Maori (1887–1891) - (illustrated est. $5,000), with one book inscribed by the author; a handsome copy of Hamilton’s Maori Art (1901); a first edition of Robley’s Moko, or Maori Tattooing (1896); and a remarkable collection of land documents concerning various parts of New Zealand, including the Auckland and Chatham Islands (1860+). Further entries are now invited. Contact: Francis McWhannell, 09 529 5602 or 021 232 6032, email: bethunes@webbs.co.nz
21 Sept 2009 The Frances Ryman Collection (12th to 17th–Century Artefacts of Aotearoa) In consultation with Te Papa Tongarewa and Steve Austin, Director of Marlborough Museum, Webb’s is honoured to be offering The Frances Ryman Collection which represents one of the most significant archaeological assemblages of 12th to 17th–century Mãori artifacts to be offered in living memory. Providing a unique insight into Aotearoa’s earliest settled history, the collection holds extraordinary examples of supreme craftsmanship, including one of 14 known Rei Puta (as illustrated), an extremely rare and unusual soapstone amulet and other significant artifacts. Aspects of this assemblage are documented in Barry Brailsford’s influential 1981 publication The Tattooed Land. Contact: Neil Campbell, 021 875 966, email: ncampbell@webbs.co.nz
21 Sept 2009 18th to 20th–Century Maori and Pacific Artifacts Webb’s is proud to be offering a significant Asia Pacific sale of fine and applied arts and craft. Beautiful Mãori artifacts created in the 18th, 19th and 20th centuries including works by known carvers such as Piwiki Horohau, Ngati Tarawhai, Jacob William Heberley (Hakopa Heperi) and Pinemine Taipa. Also offered is a large selection of New Zealand folk art from practitioners such as Captain Gilbert Small and Jane Brenkley. The Jane Brenkley collection includes a range of signature works including a large carved book containing over 200 unique watercolours. Also represented in the sale are fine examples of decorative works from Fiji, Tonga, Cook Islands, Niue and Rapanui and selected Aboriginal works. Further entries are now invited. Contact: Neil Campbell, 021 875 966, email: ncampbell@webbs.co.nz
21 Sept 2009 The Peter M. Downey Collection – Important Oriental and Asian Works of Art Extending the Oceanic theme into the realm of Japanese master works, the Peter M. Downey collection celebrates centuries of Japanese applied arts which emphasise both the visual and sensuous impact of the object. Included in the collection are exquisite examples of mid-Edo period Tsuba, delicate glass and lacquer snuff bottles, fine Satsuma pottery and 17th to 19th-century porcelain, as well as an extensive collection of superior Netsuke and a selection of fine cloisonné pieces. Contact: Neil Campbell, 021 875 966, email: ncampbell@webbs.co.nz James Hogan, 021 510 477, email: jhogan@webbs.co.nz
6
22 Sept 2009 New Zealand and Foreign Works of Art Including quality works by leading artists priced below $15,000, the September sale offers something for everyone wishing to extend their collection. Also included will be a selection of fine historical works. Further entries are now invited. Contact: Emma Fox, 09 529 5601, 021 646 828, email: efox@webbs.co.nz or Jonathan Organ, 021 503 251, email: jorgan@webbs.co.nz Illustrated: Gordon Walters Kura, screenprint (detail), $5,000 – $7,000
23 Sept 2009 Fine Jewellery and Watches Webb’s September Jewellery sale will offer a wide selection of fine and magnificent jewels, together with valuable watches and objects of virtue. Further entries are now invited. Contact: Christopher Devereaux, 09 529 5606, email: cdevereaux@webbs.co.nz
24 Sept 2009 Antiques and Decorative Arts
The September sale of traditional design and antiques includes 18th and 19th-century oak, walnut and mahogany furniture, good Georgian and Victorian sterling silver, English and Continental porcelain, Oriental rugs, clocks, mirrors and maritime collectables. Further entries are now invited Contact: James Hogan, 021 510 477, email jhogan@webbs.co.nz
21 oct 2009 Modern Design A sale including authentic vintage pieces and design classics, post-war and contemporary furniture, sculpture, domestic and interior furnishings. If there is a special piece you are looking for, let us know; if you are seeking to realise the full value of your design pieces, contact us for a market overview. Further entries are now invited. Contact: Jonathan Organ, 021 503 251, email: jorgan@webbs.co.nz Nick Resch, 021 652 254, email: nresch@webbs.co.nz
22 OCT 2009 A Private Collection of Hornby Trains and other Heirloom Toys One of New Zealand’s finest and most comprehensive private collections of Hornby trains. The collection traverses the history of its founder Frank Hornby (creator of the wonderfully grown-up Meccano construction toys). This will be a rare opportunity to gain an insight into one man’s absolute passion for a bygone era of industrial design for children! Further entries are now invited. Contact: James Hogan, 021 510 477, email: jhogan@webbs.co.nz
IN FOCUS
7
The Consummate Craftsmanship of
PATEK PHILIPPE One might be tempted to call Patek Philippe the Rolls-Royce of watches. It would be far more appropriate, however, to say that Rolls-Royce is the Patek Philippe of motor vehicles. A celebrated reputation for excellence, gained through an utterly uncompromising commitment to painstaking craftsmanship, coupled with a clientele littered with Royalty, Heads of State and the Rich and Famous, is not the only parallel between these two legendary companies. The first name in both belongs to the entrepreneur who drove the company to pre-eminence, the second to the engineering genius who made it all possible. For Patek Philippe, it was Antoine Norbet de Patek who was the businessman and Jean Adrien Philippe the master watchmaker, founding their firm in 1851. For Rolls-Royce, it was the Hon. Charles Rolls who perceived a market for the engineering skills of Henry Royce, founding their company in 1906, more than half a century after Patek Philippe had achieved the recognition that endures to the present day. Henry Royce’s personal motto was: “ Quidvis recte factum: quamvis humile praeclarum”…. Whatever is rightly done, however humble, is noble. This philosophy could well have been that of the longestablished Patek Philippe, also finish by hand even the smallest moving part. There are great similarities in the relatively small production rates of the two companies throughout their histories. For Rolls-Royce, all of the motor cars made since it was founded amount to fewer than one year’s production from General Motors. For Patek Philippe, the entire output is less than 1% of that for all of Switzerland yet over the period 1900 to 1950, the firm’s timepieces accounted for more than 50% of all observatory-certified watches. Most of the models available are made in small production runs of 20 to 30 timepieces. Even their straightforward watches will usually be in production for several months while, for complicated watches, that may stretch to several years, before the company is sufficiently satisfied with its own level of perfection to give delivery of the piece. 8
It was Queen Victoria who set Patek Philippe on the path to international fame. Antoine Patek, a refugee from the 1831 Polish uprising against Russian rule, gained asylum first in Paris and later moved to Geneva. Finding himself in the watch making capital of the world, he teamed up in 1839 with François Czapek, making high-quality pocket watches. Patek was granted Swiss citizenship in 1843 and, the next year, while at an exhibition in Paris, he heard for the first time of a gifted watchmaker called Adrien Philippe who had constructed a watch movement of extraordinary thinness. Even more amazing was the fact that the watch was wound and set using the crown, eliminating the need for a key. So taken was he with this pioneering design, Patek secured the partnership of Philippe, the aspiring company becoming Patek Philippe & Co on 1 January 1851. Later that same year, at the World Exposition, Queen Victoria decided in favour of one of Patek Philippe’s keyless pocket watches. It was an exquisite piece in blue enamel with diamonds and the matching bow pin allowed her to wear it on her chest. The ensuing years have seen a dazzling parade of celebrities own and collect watches by Patek Philippe. Listed among their exclusive clientele are: Princes; Kings; Popes; famous writers Brontë, Tolstoy, Balzac and Kipling; composers Prokofiev, Tchaikovski and Wagner, and scientists Curie and Einstein, to mention just a few. Each watch or its fitted presentation box carries on it somewhere the Calatrava, an ornate cross that was used for a Spanish military order of chivalry founded in 1158, and which found further noble use as the company symbol. The name Calatrava is also given to their line of classically designed circular outline watches first presented to the market in 1932, and which, with modern variations, are still produced today.
The Golden Ellipse, also one of their early classic designs, is based on the ‘golden section of divine proportions’, an architectural ratio known for over 2,000 years, and one which is the principle behind many of nature’s most wonderful creations. Over the past decades many Patek Philippe timepieces have proved to be not only desirable in their own right, but also investments showing their owner’s spectacular returns. The most complicated watch ever to have been built (prior to the more recent 150th anniversary caliber 89), commissioned by Henry Graves in 1933, with 24 complications, sold at auction in December 1999 for a staggering US$11million (originally sold in 1933 for SF60,000). Unusual or rare watches regularly sell in the $500,000 to $1.5 million range. Featured in this catalogue is a rare and fine example of a collectable wristwatch with Grand Complications: Lot 113 A Gentleman’s Self-Winding Perpetual Calendar Wristwatch in 18ct yellow gold with matching bracelet strap. Not only does it tell the time, but it also displays day, date, month, moonphase, 24hr time and, with the aid of a wheel that completes a revolution just once in four years, the progress of leap year, making the necessary compensation in addition to its regular self-adjustment for the uneven number of days in the passing months of a normal year. Watches of this degree of complexity are often in production for up to five years and are often supplied on back-order to clients, or distributed sparsely to those prestigious firms which represent the company. CHRIS DEVEREAUX
FRIZZELL wines FRIZZELL Sauvignon Blanc 2008 (Marlborough) $17.99 per bottle “A bright, lively, typically Marlborough sauvignon with zesty aromas of limes and fresh snow peas. Crisp, tangy and fruity to taste, delivering all you could ask for at the price,” Stephen Bennett MW. Only 12,600 bottles were produced. Each 12-bottle case and every individual bottle is uniquely numbered.
FRIZZELL Chardonnay 2008 (Hawkes Bay) $18.99 per bottle “This wine has ripe apricot, vanillin oak and subtle creamy characters on the nose. The palate is rounded and generous showing silky texture, well balanced acidity and a soft finish” Sam Kim, Wine Orbit. “There’s no mucking about here. This is real Hawke’s Bay Chardonnay. Full of flavour. A real classic,” Dick Frizzell. Only 6,300 bottles were produced. Each 12-bottle case and every individual bottle is uniquely numbered.
FRIZZELL Pinot Noir 2008 (Central Otago) $21.99 per bottle “A bright and fragrant nose showing red cherry, plum and dried herb characters. It’s rounded and juicy on the palate with well-balanced acidity and fine-grained tannins. A very approachable and delicious Pinot,” Sam Kim, Wine Orbit. Only 1,000 six-packs were produced and every individual bottle is uniquely numbered.
Contact: Simon Ward
Email: wine@webbs.co.nz Ph: 09 529 5600 Fax: 09 529 5604
164
241
151
205
200
158
177
203 197
211 184
155
10
231
THE JUBILEE SALE OF
MAGNIFICENT JEWELS Important Investment Diamonds Fine Antique and Modern Jewellery Valuable & Collectable Wristwatches Gold Coins Day 2
JEWELLERY, COINS & WATCHES WED 22 JULY 2009, 2PM & 6PM (2 SESSIONS) Viewing TIMES EVENING VIEWING Thursday 16
July
5.30PM – 7.30PM
Thursday Friday Saturday Sunday Monday Tuesday Wednesday
July July July July July July July
9AM 9AM 11AM 11AM 9AM 9AM 9AM
16 17 18 19 20 21 22
– – – – – – –
7.30PM 5.15PM 3PM 3pm 5.15PM 5.15PM 1PM (Sharp)
2pm Lots 1000 – 1032 Gold Coins Lots 1033 – 1200 Afordable, Estate & Modern Jewellery A list will be available free of charge at viewings or online at www.webbs.co.nz 6pm Lots 100 – 122 Wrist & Pocket Watches Lots 123 – 124 Accoutrements Lots 125 – 266 Jewellery & Important Investment Diamonds
BUYER’S PREMIUM A buyer’s premium of 12.5% will be charged on all items in the Jubilee section of this catalogue. GST of 12.5% is payable on the buyer’s premium only.
F I N E J E W E L L E RY & WAT C H E S
11
DAY 2 WEDNESDAY 22 JULY 2.00PM GOLD COINS 1000 Krugerrand 1991
$1200-1500
1001 Krugerrand 1975
$1200-1500
1002 Krugerrand 1981
$1200-1500
1003 Krugerrand 1979
$1200-1500
1004 Krugerrand 1972
$1200-1500
1005 Krugerrand 1981
$1200-1500
1006 Queen Wilhelmina 10 Guilder Gold Coin 1912
$275-325
1007 Victoria Sovereign 1894 in 9ct free-mount
$300-350
1008 Victoria Sovereign 1869
$275-325
1009 Victoria Sovereign 1880
$275-325
1010 Victoria Sovereign 1899. Melbourne
$275-325
1011 Victoria Sovereign 1898. Sydney
$275-325
1012 Victoria Sovereign 1901. Sydney
$275-325
1013 Edward VII Sovereign 1902. Melbourne
$275-325
1017 Edward VII Sovereign 1903. Perth
$275-325
1018 George V Sovereign 1912
$250-300
1019 George V Sovereign 1914
$250-300
1020 George V Sovereign 1915. Sydney
$250-300
1021 George V Sovereign 1925. Melbourne
$250-300
1022 Victoria 1/2 Sovereign 1863. Australia
$200-300
1023 Victoria 1/2 Sovereign 1890
$150-180
1024 Victoria 1/2 Sovereign 1896
$150-180
1025 Victoria 1/2 Sovereign 1897. Sydney
$150-180
1026 Victoria 1/2 Sovereign 1901
$150-180
1027 Edward VII 1/2 Sovereign 1907
$150-180
1028 Edward VII 1/2 Sovereign 1908. Sydney
$150-180
1029 George V 1/2 Sovereign 1914. Sydney
$150-180
1030 George V 1/2 Sovereign 1915. Sydney
$150-180
1031 George V 1/2 Sovereign 1915. Sydney
$150-180
1032 George V 1/2 Sovereign 1915. Sydney
$150-180
1014 Edward VII Sovereign 1903
$275-325
1015 Edward VII Sovereign1907
$275-325
1016 Edward VII Sovereign1908. Sydney
12
$275-325
AFFORDABLE, ESTATE & Modern JEWELLERY Lots 1033 - 1200 A list will be available free of charge at viewings or online at www.webbs.co.nz
119 104
116
109 122
103 121 111
106
114
118 100
101
F I N E J E W E L L E RY & WAT C H E S
13
6.00PM Wrist & 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.
100 ROLEX, A Gentleman’s Stainless and Gold Oyster
Perpetual Datejust Wristwatch. Ref 16013, s/n R269864 (1988). Cream jubilee face with Arabic numerals, sweep second and date window. Fluted gold bezel. Jubilee bracelet. With original certificate, seals and spare links. $4750-5250
see colour illustration page 13
101 ROLEX, A Lady’s All 18ct Yellow Gold Oyster Perpetual
Datejust Wristwatch. Ref 69178, s/n 9091186 (1986). White face with Roman numerals, diamond indexes, sweep second and date window. Fluted bezel. Matching 18ct President bracelet. With original certificate, seals and spare links. $7500-8500
see colour illustration page 13
102 TAG HEUER, A Stainless Steel Cased Professional Diver’s
Watch. Ref WL1112. Water resistant to 300m. Quartz movement. Black face with sweep second, date window and luminous markers. Integrated bracelet of satin and polished stainless steel with original box. As new appearance. $900-1000
103 CHOPARD, A Lady’s La Strada Stainless Steel Wristwatch
14
Enhanced with Diamonds. Ref 418415, chunky curvex style case, white face with Roman quarters and subsidiary seconds. Quartz movement. Matching stainless strap. The case set with two lines of round modern brilliant cut diamonds as borders. Signed Chopard. With original box. $3500-4000
see colour illustration page 13
104 JAEGER-LE COULTRE, A Gentleman’s 18ct Yellow Gold
Cased Wristwatch. Ref 20007, s/n 1224120. Circular outline case, silver face with polished batons and sweep second. Manual mechanical movement. Brown lizard strap. $1000-1200
see colour illustration page 13
105 LONGINES, A Gentleman’s Gold Capped Automatic
Presentation Wristwatch. Circular outline case, silver face with polished batons and sweep second. Crowned Arabic motif at 12 o-clock. Made as a presentation watch for a middle Eastern kingdom. Brown crocodile strap. $850-950
106 An 18ct Yellow Gold Half-Hunting Cased Pocket Watch.
Keyless Swiss 21 jewel lever. White enamel face with Roman numerals and subsidiary seconds. Inner lens deficient. Outer numerals Roman black enamel. The cuvette (also 18ct) inscribed: “Presented to Captain R. McG. Spencer by the directors of the Athel Line as a mark of their appreciation of his devotion to duty resource and splendid seamanship in bringing his vessel M.V. Athelprince into port after having been twice torpedoed by an enemy submarine on June 11th 1940” Case hallmarks. Birmingham 1937. $1000-1400
see colour illustration page 13
107 An 18ct Yellow Gold Hunting Cased Fob Watch.
Keywood lever. Engine turned gold face with central floral motif and Roman numerals. The case richly engraved with floral and foliate motifs about a vacant cartouche. Case hallmarks for Chester 1886. Movement signed Frank. H. Cook, Sandhurst Street and numbered 11764. $500-600
108 ROLEX, A Gentleman’s Rolled Gold Cased Oyster
Perpetual Wristwatch. Ref 1024 S/N 2843671. (C.1969/70). The case of stainless steel capped with 14ct gold. Gold face with polished batons and sweep second. Stainless and gold oyster bracelet.
$1500-2000
109 LONGINES, A Gentleman’s 18ct Yellow Gold Cased
Automatic Wristwatch. “Admiral”, semi-tonneau outline case. Silver face with polished batons, sweep second and date window. Brown leather strap. Water resistant. Excellent appearance. $2250-2500
see colour illustration page 13
178
252
218
257
245
199
202
180
212
185
204
F I N E J E W E L L E RY & WAT C H E S
15
110 BUCHERER, A Gentleman’s Gold Capped Automatic
Wristwatch. Circular outline case, gold face with polished batons, sweep second and date window. Chronometer quality, waterproof. Dark Brown crocodile strap. $850-950
116 An Early 19th Century French 18ct Vari-Coloured Gold
Cased Open Face Pocket Watch. The case richly ornamented with floral and foliate motifs in pink and yellow gold relief enhanced with faceted foil backed almandine garnet coloured stones. `Telephone dial’ style gold face with Arabic numerals. Key wound fusee with cylinder escapement. Not in going condition, requires repair to fusee and may have other mechanical deficiencies. Otherwise an attractive piece in good condition (one gemstone deficient). French mark-departments; 3rd gold standard 1819-1838. $800-1200
see colour illustration page 13
111 TIFFANY & Co, a Gentleman’s Stainless Steel Cased
Wristwatch. Circular outline case, silver face with concentric engine turned centre. Roman numerals. Quartz movement. Matching stainless gatelink bracelet. $1250-1500
see colour illustration page 13
117 A Lady’s 18ct Yellow Gold Hunting Cased Fob Watch.
112 ROLEX, A Gentleman’s Stainless Steel Cased Oyster
Perpetual Datejust Wristwatch. Ref 160134, s/n 8347105 (c.1984). Textured silver face with polished batons, sweep second and date window. Fluted bezel. Jubilee bracelet. With original box and spare links. $2000-2400
118 CARTIER, A Lady’s Santos Stainless Steel and Gold
Wristwatch. ref 1567 s/n 831867CD. Quartz movement. Cream face with Roman numerals. Signed Cartier. As new appearance. $3800-4800
see colour illustration page 13
113 PATEK PHILIPPE, A Gentleman’s Fine and Rare All 18ct
Yellow Gold Automatic Perpetual Calendar Wristwatch. Ref.5136J movement 3126610 case 4253484 calibre 240 Q Aut. Geneva seal. Circular outline case, cream face with polished batons and subsidiary dials for date, day, 24hour, month and leap-year. Moonphase window at 6 o’clock. Sapphire crystal lens and case back. 18ct gatelink P.P. bracelet with deployant clasp and foldover lock. With original box with rotor (for continuous winding during storage to preserve calendar settings). A magnificent timepiece. See article on Patek Phillippe on page 8 $70,000-80,000
see colour illustration inside front cover
114 CHANEL, A Lady’s Platinum Cased Wristwatch.
Ref E.E. 55703. Square outline case, black face with Roman numerals. Quartz movement. Black cabochon end-stone to crown. Black patent leather strap with platinum clasp signed Chanel. With original box. $3500-4500
see colour illustration page 13
115 MOVADO, A Mid-Size Triple Calendar Wristwatch.
16
Stainless case of circular outline. Manual mechanical movement. Cream face with sweep second, date hand, day and month windows. Some spotting to face. Black leather strap. $1400-1600
Keywound cylinder. Decorative gold face with Roman numerals. Deficient of lens. The case richly decorated with floral and foliate motifs to a vacant cartouche. Movement and case signed F. Roland. $275-375
119 SEIKO, A Gentleman’s Exceptionally Rare 18ct White Gold
Cased Wristwatch. Ref 3823-7030 s/n 350009. c.1970s. Textured semitonneau case, circular textured face with polished batons, sweep second and combined day/date window (English/Arabic) Quartz movement. Black crocodile strap with 18ct white gold buckle. 75g. $1750-2750
see colour illustration page 13
120 CORUM, A Lady’s 18ct Yellow Gold Cased Doctor’s
Wrist Watch. Circular outline case. Quartz movement. Cream face with sweep second, date window, pulse scales and caduceus emblem at 12 o’clock. Brown crocodile strap with plated buckle. $1750-2000
121 ROLEX, A Mid-Size Stainless Steel Oyster Perpetual
Datejust Wristwatch. Ref 68274, s/n U561065 (c1998). Rose gold face with polished Roman numerals, sweep second and date window. Jubilee bracelet. $2750-3250
see colour illustration page 13
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122 ROLEX, A Gentleman’s Yachtmaster Oyster Perpetual
Date Stainless Steel and Platinum Wristwatch. Ref 16622 s/n F524042 (c.2003). White face with luminous markers, red sweep second and date window. Platinum rotating outer bezel. Stainless oyster lock bracelet. $7000-8000
see colour illustration page 13
ACCOUTREMENTS 123 A 15ct Yellow Gold Tiki Rail Pass
$1800-2200
see colour illustration page 21
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.
125 A Bracelet of Turquoise Studded Beads.
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124 WATERMAN SIGNE BOUCHERON. A Limited Edition Edson
Fountain Pen The midnight blue barrel overlaid with 18ct yellow gold, the cap of rolled gold enhanced with blue enamel to the clip and signed by both Companies. Limited to just 3741 pieces being the sum of the founding years of these two iconic French companies (Waterman 1883 and Boucheron 1858) and reflecting the exacting craftsmanship of each. With a sumptuous presentation case having a drawer fitted with accessories, together with a series of booklets which are themselves works of art. $1500-3000
see colour illustration page 17
126 A Heavy Bracelet of Two Colour 18ct Gold.
Interlocking articulated curb links in alternate pairs of yellow and pink gold, grooved to create a raised chevron pattern. 95g. $3000-3500
see colour illustration page 21
127 A Necklace and Earring Suite Set with Diamonds.
FINE JEWELLERY Independent Gemmological Reports And Valuations: Valuations are made available to customers for two primary purposes: Firstly to provide an independent opinion as to the quality of the stones & metals comprising the piece, and Secondly so that buyers can, if they wish, obtain suitable Insurance cover immediately upon purchase and prior to delivery. A valuation for insurance purposes represents a calculated replacement cost allowing for maximum retail margins, such that an Insurer can assess the outer limit of their exposure to risk. It does not represent actual new retail replacement as it makes no provision for competitive trade practice, or for discounts obtained by individual bargaining. As fashion, desirability and current market forces all have variable impact on second hand or Auction value, there is no direct formula for estimation of such value by interpolation from Insurable value. As the currency exchange rate and spot metal prices have a marked effect on jewellery valuations, buyers should note the date and prevailing economic factors at the time that the valuation was produced. Once all of the prevailing parameters have been established, it is possible for an experienced person to interpolate a rough estimate of the current cost of manufacture from past insurable value, but again that exercise will give no indication of actual market forces.
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The necklace comprising a bead-cut 14ct white gold chain suspending a snowflake style domed pendant set with brilliant cut diamonds. The earrings of matching drop design. TDW approximately 1.71ct for the suite. Gemologist’s report and valuation available on request. $3000-3500 (3)
128 A Three Stone Diamond Necklace.
The diamond, all round modern brilliant cut of matched size set in a line as a pendant suspended by a wire neck chain. 18ct white and yellow gold. The diamonds assessed as G/H, SI2 with a TDW 0.60ct. Gemologist’s report and valuation available on request. $1200-1800
129 A Necklace of 14ct Yellow Gold Rope Links.
Graduated from the centre 500mm. 52g. $1350-1550
130 A Pendant Set with A Solitaire Diamond of 0.92ct.
Buyers should also note the stated purpose of the valuation (Insurance, Retail Market, Cash Value, Estate Division etc.). All valuations remain opinions and not matters of fact. Whilst Webb’s staff will assist buyers to understand the methodology and technical details of Gemmological reports and valuations, buyers must make their own assessment of an item’s value before bidding. Webb’s its consultants and employees make no representation or warranty regarding any outside opinion, valuation or certificate of any item on offer.
Cable links with turquoise studed balls at even intervals suspending a larger matching ball which opens as a double photo locket. The safety chain with Swiss cowbell charm. Yellow gold, tests approximately 15ct. 22.4g. One bead deficient. $800-1200
The round modern brilliant cut diamond of stated wright 0.92ct, assessed as H/I, SI1 is set in 18ct white gold, suspended by a trace snakelink neck chain of 18ct yellow gold. Gemologist’s report and valuation available on request. $4250-5250
131 A Loose Marquise Cut Diamond of 1.007ct.
139 A Necklace of South Seas Cultured Black Pearls.
Graduated round 14.3-10mm aubergine/black with good blend and lustre secured by an 18ct white gold ball clasp 440mm. Probably Tahitian. Gemologist’s report and valuation available on request. $8500-9500
see colour illustration page 28
The diamond described in Gemlab report 9C155 as: J/K, SI1. Gemologist’s report and valuation available on request. $3700-4200
132 A Trophy Stag’s Head Motif Necklace Hand Crafted by
Donald Bates. 18ct yellow gold, the 14 point antlers each set with a round modern brilliant cut diamond finial, the eyes set with round cut rubies. The head suspended by a bar and link chain also of 18ct yellow gold. Donald Bates of Cambridge, New Zealand is an internationally recognised goldsmith and jewellery designer. 79.11g. Gemologist’s report and valuation available on request. $6000-8000
Collar style18-22ct yellow gold satin and polished links, the mid-section of marquise shaped links set with some 84 round modern brilliant cut diamonds of fine quality (F-H, VS) and estimated TDW 5.60ct. 137.4g. Gemologist’s report and valuation available on request. $11,000-13,000
see colour illustration page 21
see colour illustration page 17. See also following lot
133 A Muff Chain of 9ct Rose Gold
Faceted oval links with a single clip clasp. Repair to one link. 1440mm. 42.8g. $800-1000
140 A Necklace of Yellow Gold Set with Diamonds.
141 A Bracelet of Yellow Gold Set with Diamonds.
Satin and polished mesh links of 18-22ct yellow gold, the domed mid-section set with some 91 round modern brilliant cut diamonds of fine quality (F/G, VS) with an estimated TDW 5.40ct, 75-71g. Designed as a companion to the previous lot. Gemologist’s report and valuation available on request. $7500-8500
see colour illustration page 17
134 A Heart Motif Necklace Set with Diamonds.
The puff heart pendant of 18ct yellow gold shot set with 10 brilliant cut diamonds of TDW 0.67ct, suspended by a wire necklace also of 18ct gold. 28g. Gemologist’s report and valuation available on request. $1750-2000
142 A Splendid Emerald and Diamond Cluster Ring.
The vibrant emerald-cut emerald of approximately 6.24ct is set within a cushion outline border of round modern brilliant cut diamonds of good quality and estimated TDW 1.80ct in a ring of 18ct white and yellow gold. Gemologist’s report and valuation available on request. $12,000-16,000
see colour illustration page 21
135 An 18ct Yellow Gold Apple Motif Pendant or Charm.
13g. $500-600 .
136 HERMES, A Bangle Decorated with Grape and Vine Motifs.
Rolled gold and transfer decorated enamel with original presentation box. $275-375
143 A Good Emerald and Diamond Ring.
The cushion cut emerald of estimated weight 4.3ct and very good colour quality is set in a ring of 18ct white gold within a border of brilliant cut diamonds, the shoulders pavé set with further diamonds. Gemologist’s report and valuation available on request. $10,000-12,000
see colour illustration page 28
137 A Cross Pendant Set with Diamonds.
14ct white gold, the Latin cross close channel set with 21 round modern brilliant cut diamonds having an estimated TDW 1.26ct. Together with a belcher link neckchain of 9ct white gold. Gemologist’s report and valuation available on request. $1500-1800
see colour illustration page 33
144 A Splendid Necklace and Earring Suite Set with Emeralds
and Diamonds. Art Deco influenced design of circlets, fans and wraps in 18ct white gold set with pavé panels of round modern brilliant cut diamonds and lines of diamond baguettes to finials of oval cut emeralds. The drop earrings of matching design. Gemologist’s report and valuation available on request. $38,000-42,000
see colour illustration page 29
138 An Exceptionally Heavy Necklace of 18ct Yellow Gold.
Plain polished and rope-twist curb links in an alternating sequence. 420mm. 219.8g. $5500-6500
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145 An Exceptional Emerald and Diamond Cluster Ring.
152 A Ring Set with A Solitaire Princess Cut Diamond of
The emerald-cut emerald of stated weight 7.79ct is set in a ring of 18ct white gold within a continuous border of round modern brilliant cut diamonds having a stated TDW 0.95ct. Gemologist’s report and valuation available on request. $18,000-20,000
see colour illustration page 28
Approximately 0.76ct. The diamond assessed as I/K, VS1+, good make, is rub-over set in a ring of white finished 18ct gold. Gemologist’s report and valuation available on request. $2700-3200
153 A Cocktail Ring Pavé Set with Diamonds. 146 A Necklace of Cultured Golden Pearls.
16.5-12mm off round (circled button) graduated from the centre, of very good blend and lustrous orient, secured by a rectangular box clasp of 14ct white and yellow gold set with diamonds. Gemologist’s report and valuation available on request. $6000-7000
see colour illustration page 21
154 A Ring Set with Three Emerald-Cut Diamonds.
The stepped bridge of 18ct white and yellow gold centred by the largest stone of approximately 0.79ct, the side stones estimated at 0.46 and 0.45ct. The diamonds with a TDW approximately 1.70ct are estimated to be H/J VS1-2. Gemologist’s report and valuation available on request. $6000-7000
see colour illustration page 28
147 A Necklace of White and Golden Keshi South Seas
Cultured Baroque Pearls. Graduated 15.5-9mm silver-white, parti light golden and white with excellent lustre, thick nacre and excellent blend. Few blemishes. Secured by an ovoid 18ct white gold clasp shot-set with 16 small brilliant cut diamonds. 460mm. Gemologist’s report and valuation available on request. $15,000-18,000
see colour illustration page 28
155 An Edwardian Brooch Set with Sapphires and Diamonds.
Tapered bar design in 18ct white and yellow gold set with a line of 9 oval cut blue sapphires, of intense colour and lively appearance, graduated from the centre and separated by pairs of old mine cut diamonds of good quality for the period. The brooch finials set with a single diamond. The diamonds, 18 in all, having an approximate TDW 0.90ct. With a box from The Goldsmiths and Silversmiths Association, Burlington Arcade. Gemologist’s report and valuation available on request. $3800-4600
see colour illustration page 10
148 A Pair of Solitaire Diamond Earstuds of 1.14ct Total.
The round modern brilliant cut diamonds assessed as G, SI1, very good make with an actual TDW 1.14ct are set in 18ct yellow gold. Gemologist’s report and valuation available on request. $4250-5250
see colour illustration page 17
149 A Dress Ring Set with Baguette and Brilliant Cut
Diamonds In A Lattice Pattern. The broad band of 18ct white gold set with raised lines of round modern brilliant cut diamonds forming a lattice, each rectangle set with a pair of diamond baguettes. TDW 2.34ct. $3500-4000
see colour illustration page 29
150 BVLGARI, A Ring Set with A Cabochon Green Tourmaline.
18ct Yellow gold with patterned shoulders to the central oval green tourmaline cabochon. Signed Bvlgari. $750-850
156 A Jewelled Butterfly Brooch.
18ct white and blackened gold, the wings and abdomen enhanced with ajoure set with lines of cognac and white diamonds; the wings further set with pavé panels of fancy yellow diamonds and the thorax with a 16.5mm round white pearl. The eyes and antennae set with round cut rubies. Gemologist’s report and valuation available on request. $4800-5200
see colour illustration page 21
157 A Loose Asscher-Cut Diamond of 2.03ct.
The square emerald-cut (Asscher) diamond described in GIA report 14315473 as: 2.03ct, I, Vs2, very good make. Gemologist’s report and valuation available on request. $22,500-25,000
see colour illustration page 25
151 A Ring Set with A Solitaire Early European Cut Diamond of
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Approximately 1.85ct. The diamond assessed as G/H, I1, very good make for the period; is set in a ring of platinum. Gemologist’s report and valuation available on request. $7500-8500
see colour illustration page 10
The broad band of 18ct white gold featuring a stepped mid-section with a recessed tonneau shaped domed panel, all pavé set with round modern brilliant cut diamonds, some 423 in all with a TDW 3.12ct. Gemologist’s report and valuation available on request. $4800-5600
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158 A Necklace of Diamonds with a Tassel-Fringe Drop.
Designed as a line of pendeloque solid links of 18ct white gold to a twin chain section, each link set with two round modern brilliant cut diamonds, joining to a mid-section 5 row graduated tassel fringe drop. TDW 4.07ct. Jeweller’s retail certificate available on request. $4000-5000
see colour illustration page 10
165 A Cocktail Ring Pavé Set with Diamonds.
Cartouche cushion design in 18ct white gold pavé set with some 300 diamonds having a TDW 4.11cts. Gemologist’s report and valuation available on request. $5500-6500
see colour illustration page 29
166 A 19thC. Brooch/Pendant Set with Gemstones.
159 A Ring Set with A Solitaire Round Modern Brilliant Cut
Diamond of 0.73ct. The diamond stated to be D/E, VS2 is set in an Italian ring of 18ct white and yellow gold. Retailer’s report from Hartfield’s of Parnell. $4500-5500
167 An Exceptional Ceylonese Sapphire and Diamond Dress
Ring. The vivid blue Ceylonese sapphire of cushion cut and estimated weight 9.80ct is rub-over set in a domed ring of 18ct yellow gold set with panels of round modern brilliant cut diamonds and four lines of closeset square cut diamonds. The diamonds, some 46 in all, of good quality, have an estimated TDW 2.5ct. Gemologist’s report and valuation available on request. $27,500-32,500
see colour illustration page 21
160 A Pair of Solitaire Diamond Earstuds of Approximately
1.00ct Total. The round modern brilliant cut diamonds assessed as K/L, VS2+ are rub-over set in 18ct yellow gold. Gemologist’s report and valuation available on request. $3000-3500
see colour illustration page 17
161 A Heart Motif Ring Set with An Emerald & Diamonds.
18ct yellow gold domed design centred by an emeraldcut emerald on a pavé diamond ground. Gemologist’s report and valuation available on request. $2000-2500
168 A Pair of Drop Earrings Set with Princess Cut Diamonds.
Each designed as a diamond shaped panel stud suspending an articulated pendeloque drop in 18ct white gold. The studs set with 4 Princess cut diamonds, the drops invisibly pavé set with Princess cut diamonds, some of fancy shape cut to fit the design in an unusually exacting feat of craftsmanship. TDW 3.59ct. Gemologist’s report and valuation available on request. $7250-7750
see colour illustration page 29
162 A Ring Set with A Solitaire Princess Cut Diamond of
Cross motif in yellow gold (tests approximately 15ct) enhanced with beading and wire-work, set with a central oval faceted amethyst, four oval faceted citrines and four round cut garnets. The arm of one cross fitted with a loop for alternate use as a pendant. $700-800
Approximately 1ct The diamond assessed as1.00ct, G, SI1,vg make is set in a simple modern ring of 18ct white gold and platinum. Gemologist’s report and valuation available on request. $6000-7000
163 An Attractive Ring Centred by a Diamond of Around
0.90ct. The round modern brilliant cut diamond in a milled rub-over bordered by small diamond brilliants, the shoulders enhanced with lines of close channel set Princess cut diamonds, the under bezel and a lower gallery set with further diamond brilliants. $3500-4500
169 An Impressive Necklace Set with Over 20ct of Diamonds.
Designed as a line of 54 articulated circular panels in 18ct white gold, each centred by four Princess cut diamonds within a border of round modern brilliant cut diamonds. The diamonds, some 864 in all, having a stated TDW 22.04ct. Gemologist’s report and valuation available on request. $28,000-34,000
see colour illustration page 33. See also three following lots
164 A Three Stone Emerald-Cut Diamond Ring.
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Stepped bridge design in 18ct white gold centred by an emerald-cut diamond of approximately 0.57ct with side stones of approximately 0.26ct each all assessed as F/G VS1-VS2, the shoulders each set with a graduated line of 3 Princess cut diamonds of similar quality. TDW approximately 2.10ct. Gemologist’s report and valuation available on request. $5500-6500
see colour illustration page 10
170 A Bracelet Set with Over 9ct of Diamonds.
Designed as a companion to the previous lot in 18ct white gold. TDW 9.52ct. Gemologist’s report and valuation available on request. $12,000-16,000
see colour illustration page 33. See also two following lots
171 A Circular Panel Diamond Cluster Ring.
18ct white gold set with a central cluster of four Princess cut diamonds within a border of round modern brilliant cut diamonds. TDW 1.05ct. Designed as a companion to the previous two lots. Gemologist’s report and valuation available on request. $2000-2400
see colour illustration page 33. See also following lot
172 A Pair of Circular Panel Diamond Cluster Earstuds.
Designed as companions to the previous three lots. 18ct white gold, TDW 2.52ct. Gemologist’s report and valuation available on request. $3500-4000
see colour illustration page 33
173 A Stylish Pendant Set with Diamonds.
Designed as three free-swinging concentric ovals of 18ct white gold, each set with a continuous line of round modern brilliant cut diamonds, caught by the bale which is set with further diamonds. TDW approximately 1.75ct. Gemologist’s report and valuation available on request. $3400-3800
see colour illustration page 29
174 A Loose Round Modern Brilliant Cut Diamond of 3.02ct.
The diamond described in Gemlab Diamond Report 9E109 as: 3.024ct, E, I1, excellent make.Gemologist’s report and valuation available on request. $32,000-35,000
see colour illustration page 25
177 An Exceptional Tanzanite of 15.33ct Set In a Cluster Ring
with Diamonds. The oval cut tanzanite of deep colour and lively appearance is set in a ring of 18ct white gold within a continuous border of round modern brilliant cut diamonds having a reported TDW 2.12ct. Gemologist’s report and valuation available on request. $17,500-20,000
see colour illustration page 10
178 An Oval Outline Diamond Cluster Ring.
The central oval raised panel close set with round modern brilliant cut diamonds to an open gallery within a diamond set border. The shoulders pavé set with further diamonds. TDW 1.13ct, 18ct white gold. Gemologist’s report and valuation available on request. $1750-2000
see colour illustration page 15
179 A Pair of Articulated Pendeloque Panel Drop Earrings Set
with Diamonds. Each designed as a circular cluster stud suspending two concentric articulated panels centred by an articulated chain 3 diamond drop; all set with lines of round modern brilliant cut diamonds. 18ct white gold, TDW 2.12ct. Gemologist’s report and valuation available on request. $3000-3500
see colour illustration page 33
180 An Exceptional Pair of 2ct Solitaire Diamond Earstuds.
The round modern brilliant cut diamonds assessed as F/G, SI2, with a TDW 4.10ct are set in clip-hook and four claw mounts of 18ct white gold. Gemologist’s report and valuation available on request. $38,000-48,000
see colour illustration page 15
175 A Pair of Ladybug Brooches.
Yellow gold (tests approximate 9ct, overgilded) decorated with red and black enamel, set with circular sapphire coloured cabochons and each set with two single-cut diamonds. $1000-1200
see colour illustration page 29
181 TIFFANY & Co, A Full Eternity Ring.
176 A Pair of Fine White Solitaire Diamond Earstuds of 2.09ct
total. The round modern brilliant cut diamonds assessed as E, I1 are set in 18ct white gold with scroll and plate butterflies. Gemologist’s report and valuation available on request. $10,000-12,000
see colour illustration page 29
The band of 18ct yellow gold shot set with round modern brilliant cut diamonds at even intervals but on alternating sides around the entire circumference. Signed Tiffany & Co. With Tiffany box. $850-1250
182 A Ring Set with A Solitaire Diamond of Around 0.90ct.
The transitional modern brilliant round cut diamond set in platinum. Gemologist’s report and valuation available on request. $3850-4850
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183 A Good Pair of Creole Hoop Earrings Pavé Set with
Diamonds. Hinged design in 18ct yellow gold, the inner and outer leading surfaces pavé set with some 310 round modern brilliant cut diamonds having a stated TDW 5.86ct. Gemologist’s report and valuation available on request. $8000-9000
see colour illustration page 17
184 A Ring Set with An Emerald Cut Diamond of
Approximately 1.25ct. The diamond assessed as H, VVS2 is set in a ring of 18ct white and yellow gold with two tapered baguette shoulder diamonds. TDW approximately 1.50ct. Gemologist’s report and valuation available on request. $7500-8500
see colour illustration page 10
185 A Bangle Set with Diamonds.
Hinged designed in 9ct white gold, the upper section of split rail design enhanced with barley-twist borders set with a line of 5 round modern brilliant cut diamonds. The central largest stone of approximately 1.00ct is claw set, the other four are of smaller matched size (total approximately 0.65ct) and are rub-over set. Gemologist’s report and valuation available on request. $6000-7000
see colour illustration page 15
186 A Ring Set with An Asscher Cut D, VS1 Diamond of 1ct.
The diamond described in GLA report 16230252 as: square emerald-cut, 1.01ct, D, VS1, excellent/ very good make is rub-over set in platinum above a square border of round modern brilliant cut diamonds, the shoulders enhanced with further diamonds. Gemologist’s report and valuation available on request. $9500-10,500
see colour illustration page 29
187 A Tennis Style Line Bracelet Set with Diamonds.
The 50 articulated links of 18ct yellow gold each set with a round modern brilliant cut diamond. TDW 4.92ct. Gemologist’s report and valuation available on request. $6750-7250
see colour illustration page 17
188 A 19thC Floral Spray Brooch Set with Diamonds.
9ct rose gold/silver doublet set with old mine, single and rose cut diamonds to suit the design. The diamonds, some 103 in all are estimated to have a TDW 4.7ct. Gemologist’s report and valuation available on request. $4800-5800
189 A Pair of Drop Earrings Set with Fancy Yellow and White
Diamonds. Each articulated 3 link drop in 18ct yellow gold set with a radiant cut fancy yellow diamond at the stud, a round modern brilliant cut white diamond to the mid link and a heart shaped fancy yellow diamond bordered by white brilliants to the finial. TDW 2.30ct. Gemologist’s report and valuation available on request. $3750-4250
see colour illustration page 21
190 A Pendant Set with a Solitaire Diamond of 1.57ct.
191 A Stylish Full Eternity Ring.
18ct rose and white gold set with three continuous lines of round modern brilliant cut diamonds having a TDW approximately 0.84ct. Gemologist’s report and valuation available on request. $2200-2600
see colour illustration page 28
192 A Pair of Solitaire Diamond Earstuds of 3.03ct Total
The round modern brilliant cut diamonds assessed as K/L/M, I1 are set in 18ct yellow gold. Gemologist’s report and valuation available on request. $12,500-14,500
see colour illustration page 21
193 CARTIER, A Pair of 18ct Yellow Gold Earclips.
Creole style, each designed as a line of signature Cartier `C’ motifs. Signed Cartier and numbered 774957. 31.5g. $1500-1800
see colour illustration page 17
194 A Bangle Set With Two Rows Of Diamonds
The hinged bangle of 18ct yellow gold set with an alternating pattern of small & larger rmb cut diamonds having a TDW 1.74ct. Gemologist’s report and valuation available on request. $2750-3250
195 A Ring Set with A Solitaire Round Modern Brilliant Cut
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The round modern brilliant cut diamond of stated weight 1.574ct, assessed as H, SI3, very good make is set in a simple 4-claw setting of 18ct white gold suspended by a trace link neck chain also of 18ct white gold. Gemologist’s report and valuation available on request. $10,000-12,000
Diamond of Approximately 0.98ct. The diamond assessed as: F, SI2, very good make, is set in a ring of 18ct yellow gold and platinum. Gemologist’s report and valuation available on request. $4800-5800
196 A Ring Set with A Solitaire Round Modern Brilliant Cut
Diamond of Approximately 1.02ct. The diamond assessed as F, I1, good make is set in a heavy band of 18ct white and yellow gold. Gemologist’s report and valuation available on request. $5500-6500
202 A Ring set with An Intense Fancy Yellow Radiant Cut
Diamond of 3.01ct. The diamond described in EGL report US86357003D as: 3.01ct, fancy-fancy intense yellow, SI1, very good make is set in a ring of platinum and 18ct yellow gold within an octagonal border of round modern brilliant cut white diamonds, the split-shank shoulders set with further white diamonds. TDW 3.73ct. Gemologist’s report and valuation available on request. $60,000-65,000
see colour illustration page 15
197 A Ring Set with A Fine White Asscher Cut Diamond
of 1.5ct. The square emerald (Asscher) cut diamond assessed as 1.506ct, E, SI2, very good make is set in a ring of platinum, the shoulders each enhanced with a graduated line of round modern brilliant cut diamonds. TDW 1.70ct. Gemologist’s report and valuation available on request. $17,000-19,000
see colour illustration page 10
203 A Splendid Necklace Set with Fancy Yellow and White
Diamonds Articulated leaf and branch pattern links of 18ct white gold outlined with brilliant cut white diamonds, each leaf centred by a marquise cut yellow diamond. The 42 yellow diamonds and 2215 brilliant cut diamonds having a stated TDW 19.05ct. Gemologist’s report and valuation available on request. $26,000-30,000
see colour illustration page 10
198 A Loose Emerald-Cut Diamond of 3.02ct.
The diamond described in GIA report 14315772 as: 3.02ct, J, VS2, very good make. Gemologist’s report and valuation available on request. $39,000-$44,000
see colour illustration page 25
204 A Pair of Fancy Yellow and White Diamond Cluster
Earrings. Foliate cluster design in 18ct white gold, each set with a spray of 8 marquise cut fancy yellow diamonds within borders of round modern brilliant cut white diamonds. TDW 7.32ct. Gemologist’s report and valuation available on request. $9000-10,000
see colour illustration page 15
199 An Elegant Bracelet Encrusted with over 12ct of
Diamonds Mesh circular panel design in 18ct white gold set with some 1022 round modern brilliant cut diamonds having a TDW 12.18ct. Gemologist’s report and valuation available on request. Gemologist’s report and valuation available on request. $13,500-15,000
see colour illustration page 15
205 An Impressive Cocktail Ring Set with A Cluster of Fancy
Yellow and White Diamonds. Domed circular spiral design in 18ct white gold set with marquise cut fancy yellow and round modern brilliant cut white diamonds to suit the design. TDW 5.68ct. Gemologist’s report and valuation available on request. $7750-8750
see colour illustration page 10
200 A Ring Set with An Intense Fancy Yellow Cushion Cut
Diamond of 2.35ct. The diamond described in EGL report US84010601D as: natural fancy intense yellow, 2.35ct, VS2, very good make is set in a ring of platinum 18ct yellow gold within a border of round modern brilliant cut diamonds, the shoulders also set with white diamonds. TDW 3.24ct. Gemologist’s report and valuation available on request. $37,500-40,000
see colour illustration page 10
206 An Important Solitaire Triangular Cut Diamond of 11.36ct
Set in A Pendant. The diamond described in EGL report 79141241D as: Triangular brilliant, 11.36ct, K, SI1, very good make and excellent finish is set in a mount of 18ct yellow gold enhanced with scroll work. Gemologist’s report and valuation available on request. $200,000-220,000
see colour illustration page 4 and page 24
201 A Bracelet Set with Fancy Yellow and White Diamonds.
The articulated line of 22 oval links of 18ct white gold each centred by an oval cut fancy yellow diamond within a border of round modern brilliant cut diamonds. TDW 8.68ct. Gemologist’s report and valuation available on request. $14,000-16,000
see colour illustration page 33
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207 A Magnificent Loose Emerald-Cut Diamond of 5.09ct.
The diamond described in GIA report 15786561 as: 5.09ct, G, SI1, very good make. Gemologist’s report and valuation available on request. $130,000-140,000
see colour illustration page 4 and page 24
208 A Ring Set With An Ideal Cut Round Modern Brilliant Cut
Diamond Solitaire of 2.01ct. The diamond assessed as G, SI1/2 ideal cut is set in an elegant 4 claw mount ring of platinum. Gemologist’s report and valuation available on request. $22,000-26,000
see colour illustration page 29
209 A Ring Set with A Finest White (D) Cushion Cut Diamond of
1.50ct together with other Fine White Diamonds. The stepped bridge of platinum set with a central cushion brilliant cut diamond described in GIA report 14067991 as: 1.50ct, D, SI1, Good-Very Good Make; together with four cushion brilliant cut side stones assessed as 2.05ct (total), D/E, VS2-SI1 and a row of small round modern brilliant cut gallery stones on either side. TDW 3.65ct. Gemologist’s report and valuation available on request. $42,000-$44,000
see colour illustration page 33
212 A Magnificent Necklace set with over 30ct of Diamonds.
Designed as a line of articulated loops in 18ct white gold graduated from the centre, set with baguette and brilliant cut diamonds. The diamonds, some 959 in all having a TDW 31.10ct. Gemologist’s report and valuation available on request. $35,000-40,000
see colour illustration page 15
213 A Loose Round Modern Brilliant Diamond of 4.00ct.
The diamond described in AGS report 0007190601 as 4.005 ct, I, SI2, excellent make. Gemologist’s report and valuation available on request. $85,000-90,000
see colour illustration page 25
214 A Stylish Bracelet Set with Diamonds.
Designed as a hinged line of open rectangular links with X motifs, each centred by a round modern brilliant cut diamond and bordered by lines of further diamond brilliants. 14ct white gold. Gemologist’s report and valuation available on request. $4500-5500
see colour illustration page 33
215 A Bracelet Set with Rubies and Diamonds.
Designed as a line of 21 articulated cushion outline panels, each centred by an oval cut ruby; the panels formed by four marquise outline sectors and four cheniers, all set with round modern brilliant cut diamonds. 18ct white gold. Gemologist’s report and valuation available on request. $5000-6000
see colour illustration page 33
210 A Bangle of Art Deco Design Set with Black Onyx,
Diamonds and Pearls. Hinged design in 18ct white gold, the tapered shoulders set with panels of polished black onyx to finials of geometric outline set with round modern brilliant cut diamonds, each set with a 14mm round pearl. Gemologist’s report and valuation available on request. $4800-5200
see colour illustration page 28
216 A Splendid And Impressive Ruby and Diamond Cocktail
Ring. The broad band of 18ct white gold with upswept lobed quarters pavé set with round modern brilliant cut diamonds and further enhanced with square cut diamonds is centred by an oval cut ruby of good colour, excellent clarity and estimated weight 3.00ct. TDW approximately 7.32ct assessed as G/H, VS2-SI1. Gemologist’s report and valuation available on request. $18,500-$22,500
see colour illustration page 33
211 BVLGARI, A “PARENTESI” Bangle Set with Diamonds.
18ct white gold integrated sprung links of signature geometric pattern, all set with a total of 288 round modern brilliant cut diamonds of very fine quality (E/F/G, VS2+), with an estimated TDW 3.0ct. Signed Bvlgari, 750 Italy, 2337 AL*. With original Bvlgari Box. A truly international piece of jewellery. $12,500-15,000
see colour illustration page 10 217 An Exceptional Ruby and Diamond Ring.
30
The oval cut ruby of reported weight 4.11ct, vivid medium-dark red, and of rare clarity, is set in a ring of 18ct white gold with two demi-lune cut side diamonds and pavé diamond set shoulders. TDW 1.26ct. Gemologist’s report and valuation available on request. $27,500-32,500
see colour illustration page 28
218 A Pair of 1ct Solitaire Princess Cut Diamond Earstuds.
The diamonds of actual weights 1.00 and 1.02ct, described in GIA reports 1639440 and 1639443 as being F & G VVS2 are set in 18ct white gold. Gemologist’s report and valuation available on request. $15,000-17,000
see colour illustration page 15
219 A Three Stone Diamond Ring.
14ct white gold set with small round modern brilliant cut diamonds at the shoulders and sides to a central row of three diamonds centred by the largest stone. The three main stones assessed as I/K, SI2/I1 with an approximate TDW 1.12ct. Overall TDW 1.50ct. Gemologist’s report and valuation available on request. $3000-3500
220 A Five Band Diamond Ring
Designed as 3 raised bands and 2 lower bands in 18ct white gold. The raised bands each set with a line of round modern brilliant and baguette cut diamonds, the lower bands with just round modern brilliant cut diamonds. TDW estimated 1.78ct; of good quality. Gemologist’s report and valuation available on request. $2800-3200
224 A Fancy Yellow Radiant Cut Diamond of 1.77ct Set In
a Ring with Two Fine White Pear Shaped Shoulder Diamonds. The central diamond graded loose as F.Y., SI1, good make is set in 18ct yellow gold and platinum with shoulder diamonds of 0.328 and 0.345ct, E, SI2 (quasar certs). Gemologist’s report and valuation available on request. $24,000-28,000
see colour illustration page 17
225 A Dainty Necklace and Bracelet Suite Set with Diamonds
18ct white gold trace cable link chain with circular panels of yellow gold at even intervals, each panel set with 4 round modern brilliant cut diamonds on either side. Gemologist’s report and valuation available on request. $2750-3250 (2)
226 A Cross Pendant Set with Opals and Diamonds.
The Latin cross of 18ct yellow gold rub-over set with 6 oval crystal opal cabochons showing a good full-spectrum colour play; together with 17 round modern brilliant cut diamonds having a stated TDW 1.02ct. The bale and terminal panel both articulated. Gemologist’s report and valuation available on request. $2000-2500
see colour illustration page 17
221 A Pair of South Seas Cultured Pearl and Diamond drop
Earrings. Each designed as a Creole Half hoop of 18ct white gold set with a central line of round modern brilliant cut diamonds to an articulated drop set with an approximate 12mm round white South Seas Cultured Pearl. Gemologist’s report and valuation available on request. $2000-2400
222 A Ring Set With A Trilliant Cut Diamond Of Approx. 1.00ct.
The diamond assessed as E-F, SI1, good make is set in 18ct yellow gold with a further 0.35ct of brilliant & baguette cut shoulder diamonds. Gemologist’s report and valuation available on request. $6000-7000
223 A Fully Set Diamond Bangle.
18ct white gold, the circumference set with a continuous line of round modern brilliant cut diamonds having a stated TDW 2.50ct. Gemologist’s report and valuation available on request. $2750-3250
227 CHOPARD, A Pair of `Happy Diamond’ Earclips.
Tapered lobed Creole design in 18ct yellow gold, each with a heart motif outlined with brilliant cut diamonds to a central glazed compartment containing a single free-moving diamond. Signed L.U.C. With original Chopard Certificate and presentation box. $1600-1800
228 An Eternity Ring of Rose Gold Set with Princess Cut
Diamonds. The band of 18ct rose gold set with 32 Princess cut diamonds in two rows. TDW approximately 0.75ct. $1800-2200
229 A Pair of Solitaire Diamond Earstuds of 2.53ct Total.
The round modern brilliant cut diamonds assessed as L, I1 are set in 18ct yellow gold. Gemologist’s report and valuation available on request. $9500-10,500
see colour illustration page 21
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230 A Dainty Ring Set with Diamonds.
The band of 18ct white gold pierced to form four undulating lines set with small diamond brilliants, the nodes each set with a larger round modern brilliant cut diamond. The 131 diamonds having a TDW 0.97ct. Gemologist’s report and valuation available on request. $1400-1800
see colour illustration page 33
236 A Pair of Cabochon Ruby and Diamond Cluster Earrings.
The oval ruby cabochons of stated total 8.13ct are set in 18ct yellow gold within borders of round modern brilliant cut diamonds having a TDW 1.42ct. Gemologist’s report and valuation available on request. $4000-5000
see colour illustration page 21
237 A Good Emerald and Diamond Ring.
The emerald-cut emerald of particularly good colour and of stated weight 3.98ct is set in a ring of platinum, the shoulders each enhanced with 3 baguette cut diamonds of graduated size and estimated TDW 0.95ct. Gemologist’s report and valuation available on request. $9000-10,000
see colour illustration page 28
231 A Ring Set with a Solitaire Marquise Cut Diamond of
Approximately 1.5ct. The diamond set in a simple mount of 18ct white and yellow gold. Gemologist’s report and valuation available on request. $6500-7500
see colour illustration page 10
232 A Ring Set with A Solitaire Emerald-Cut Diamond of
2.02ct. The diamond assessed as J/K, VS2+ is set in a white and yellow twin band ring of 18ct gold. Gemologist’s report and valuation available on request. $14,000-18,000
see colour illustration page 21
233 A Pair of Cultured Pearl and Diamond Drop Earrings.
Each having a diamond set stud supporting a cupola set with diamonds, holding an 18 x 12mm ovoid white pearl. 18ct white gold. Gemologist’s report and valuation available on request. $2000-2500
see colour illustration page 28
The flowerhead motif panels of 18ct yellow gold wirework swirl design, graduated to the finials, each set with a round modern brilliant cut champagne coloured diamond; the finials also outlined with rows of brilliant cut white diamonds. The diamonds, some 270 for the pair, having a TDW 3.64ct. Gemologist’s report and valuation available on request. $4500-5500
see colour illustration page 21
239 A Ring Set With A White Pearl & Diamonds.
The ring of 18ct yellow gold set with a round 9.5mm pearl together with 34 brilliant cut diamonds. Gemologist’s report and valuation available on request. $2000-2500
234 A Bangle Set with A Row of 25 Diamonds.
240 A Pendant Set with A Solitaire Heart Shaped Diamond of
Approx. 3.4ct. The diamond assessed as J, SI2/I1 is set in a pendant of 18ct white and yellow gold, the bale enhanced with three small diamond brilliants. Gemologist’s report and valuation available on request. $18,000-24,000
see colour illustration page 17
Hinged design in 9ct white and yellow gold, the upper section set with a row of round modern brilliant cut diamonds graduated from the centre, each in a partial rub-over mount. TDW approximately 2.50ct. Gemologist’s report and valuation available on request. $2500-3500
235 A Striking Pendant Set with Diamonds.
32
238 A Pair of Three Panel Drop Earrings Set with Diamonds.
Pendeloque outline `puff’ design set with some 215 round modern brilliant cut diamonds in an intricate fan swirl pattern about a raised panel of matching outline. The bale, also set with diamonds in an inverse pendeloque. 18ct white gold stated TDW 4.79ct. Gemologist’s report and valuation available on request. $6500-7500
see colour illustration page 29
241 A Tennis Style Line Bracelet Set with Marquise and Round
Modern Brilliant Cut Diamonds. 18ct white gold set with marquise and round diamonds in an alternating sequence. TDW approximately 4.53ct. Gemologist’s report and valuation available on request. $9500-10,500
see colour illustration page 10
246
172
171 230 209
170
216
169
179
215
137 214 201
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242 A Loose Round Modern Brilliant Cut Diamond of 2.50ct.
The diamond described in GIA report 12136444 as: 2.50ct, I, VS1, good make. Gemologist’s report and valuation available on request. $42,000-44,000
see colour illustration page 25
243 A Rivière Necklace Set with Over 21ct of Diamonds.
The articulated line of 119 circular links of 18ct white gold each set with a round modern brilliant cut diamond graduated from the centre and having a TDW 21.53ct. Gemologist’s report and valuation available on request. $24,000-28,000
see colour illustration page 28
244 A Jewelled Insect Brooch.
14ct yellow gold enhanced with umber enamel, the abdomen a polished amethyst, the wings, eyes, head and thorax set with round cut diamonds. Minor fault to enamel. $750-950
248 A Pair of Drop Earrings Set with South Seas Cultured
Pearls, Diamonds, Rubies and Pink Sapphires. Each designed as a fall of 3 graduated open escutcheon shaped links set with pink sapphires and rubies of increasing intensity of colour, articulated by diamond set joints and terminating in a 12.8mm round white South Seas pearl. 18ct white and black finished gold. Gemologist’s report and valuation available on request. $5000-6000
see colour illustration page 28
249 A Dainty Pair of Ruby and Diamond Earrings.
250 A Pair of Solitaire Diamond Earstuds of Approximately
245 A Pair of Earrings Pavé Set with Diamonds.
The convex diamond outline panels of 18ct white gold each invisibly pavé set with Princess cut diamonds within a border of round modern brilliant cut diamonds. TDW 3.94ct. Gemologist’s report and valuation available on request. $3750-4250
see colour illustration page 15
see colour illustration page 33
247 A Ring With A Diamond Of Around 1.5ct In A Setting Of
34
Pavé Diamonds. The round modern brilliant cut diamond rub-over set at the centre of a domed ring of 18ct yellow gold pavé set with further diamonds. Gemologist’s report and valuation available on request. $15,000-17,000
see colour illustration page 17
1.45ct Total. The round modern brilliant cut diamonds assessed as J/L, I1 are set in 14ct white gold. Gemologist’s report and valuation available on request. $2000-2400
251 A Pendeloque Outline Ruby and Diamond Cluster Ring
246 A Good Emerald and Diamond Dress Ring.
The emerald-cut emerald of rare transparency and good colour is set in a ring of 18ct white gold within a border of small brilliant cut diamonds, the three row split shank enhanced with further rows of diamonds. Gemologist’s report and valuation available on request. $5750-6750
Each designed as a wire clip highlighted with three small diamonds suspending an articulated octagonal drop set with round modern brilliant cut diamonds to a central oval cut ruby. $800-1200
The ring of 18ct white gold centred by a pendeloque cut ruby of a little over 2ct, rub-over set to an ajouré line and border of round modern brilliant cut diamonds, the shoulders enhanced with further diamonds. Gemologist’s report and valuation available on request. $2500-3000
252 A Striking “Tutti Frutti” Style Dress Ring Set with
Multicoloured Sapphires. The sapphires of mixed cuts and a wide range of hues are set in a double row band of 18ct white gold with small scattered accent diamonds. Gemologist’s report and valuation available on request. $2000-2400
see colour illustration page 15
253 An Amethyst and Two Diamond Ring
The rectangular cut amethyst set in 18ct yellow gold with two Princess cut side stones. Gemologist’s report and valuation available on request. $800-1200
254 A Good Intaglio Signet Ring.
The richly ornamented archaeological revival style setting of 18ct gold set with an oval carved cornelian intaglio of a classical warrior. $550-650
260 A Pair of Solitaire Diamond Earstuds of Approximately
255 A Dress Ring Pavé Set with Round Modern Brilliant and
1.10ct Total. The round modern brilliant cut diamonds assessed as H, I1, good + make, are set in 18ct white gold. Gemologist’s report and valuation available on request. $2850-3250
261 A Pair of Ruby and Diamond Cluster Earstuds.
Early European Cut Diamonds. Domed oval outline in 18ct yellow gold and platinum pavé set with nine diamonds of mixed round cuts and of good quality (E-H, SI1-I1) and ranging down from the largest stone of 0.50ct. TDW 2.30ct. Gemologist’s report and valuation available on request. $6500-7500
see colour illustration page 17
256 A Ruby and Diamond Cross-Over Estate Brooch.
18ct white finished gold set with a central round cut synthetic ruby on either side of which is set an old brilliant cut diamond of approximately 0.30ct within a cross-over style extended scroll highlighted with lines of small single-cut diamonds. $800-1200
Circular outline in 18ct white and yellow gold, each set with an oval cut ruby within a border of round modern brilliant cut diamonds. The rubies have an approximate total 0.80ct for the pair and the TDW is estimated as 0.60ct for the pair. With original box from the Goldsmiths & Silversmiths Association, Burlington Arcade, London. $1000-1400
262 A Ruby and Diamond Cluster Ring.
The rectangular cut ruby of around 1.32ct is set in platinum above an undulating border of baguette and brilliant cut diamonds, supported by filigree work. Gemologist’s report and valuation available on request. $2000-2500
263 A Stylish Ring Set with A Solitaire Oval Cut Diamond. 257 A Dragonfly Brooch Set with Multi-coloured Sapphires
and Diamonds. 18ct white gold outlined with lines of round modern brilliant cut diamonds, the two pairs of wings set with lines of mixed-cut sapphires of blue, pink, yellow, green and apricot hues. Gemologist’s report and valuation available on request. $4750-5250
see colour illustration page 15
264 A Ring Set with An Emerald Cabochon of over 8ct
Together with Diamonds. The oval emerald cabochon of good colour and reported weight 8.70ct is set in 18ct yellow gold within a border of round modern brilliant cut diamonds. Gemologist’s report and valuation available on request. $6000-7000
see colour illustration page 17
258 A Loose Emerald-Cut Diamond of 2.18ct.
The diamond described in GIA report 16386212 as: 2.18ct, H, SI1, good make. Gemologist’s report and valuation available on request. $25,000-28,000
see colour illustration page 25
265 A Striking Dress Ring Set with Five Rows of Princess Cut
Diamonds. The broad band of 18ct white gold set with five close channel set rows of Princess cut diamonds in domed steps. TDW 3.12ct. Gemologist’s report and valuation available on request. $5250-5750
see colour illustration page 29
259 A Dainty Necklace Set with Diamonds.
14ct yellow gold gate links to a foliate mid-section set with brilliant and marquise cut diamonds to a drop set with tapered baguettes suspending a round modern brilliant cut diamonds of around 0.37ct. TDW approximately 1.11ct. Gemologist’s report and valuation available on request. $1850-2250
The diamond of approximately 0.65ct assessed as H, VS2SI1 is rub-over set in 18ct white gold on an oval yellow gold panel supported on a twin band ring of white gold. Gemologist’s report and valuation available on request. $2000-3000
266 A Ring Set with A Large Multi-Faceted Amethyst.
The domed cushion outline amethyst of mixed cut with an entirely faceted upper surface is set in a ring of 9ct yellow gold. $1000-1400
see colour illustration page 21
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Antiques & Decorative Arts Day 3
ANTIQUES & DECORATIVE ARTS THURS 23 JULY 2009, 6PM Viewing TIMES EVENING VIEWING Thursday 16
July
5.30PM – 7.30PM
Thursday Friday Saturday Sunday Monday Tuesday Wednesday Thursday
July July July July July July July July
9AM 9AM 11AM 11AM 9AM 9AM 9AM 9AM
16 17 18 19 20 21 22 23
– – – – – – – –
7.30PM 5PM 3PM 3pm 5.30PM 5.30PM 5.30PM 12noon
Lots Lots Lots Lots Lots Lots Lots Lots
400 – 422 Tribal & New Zealand Interest 423 – 449 Pottery & Ceramics 450 – 460 Porcelain & Glass 461 – 537 Oriental 538 – 570 Silver & Silver Plate 571 – 597 MiScellaneous 598 – 633 The Ian Mason Photographic Collection 634 – 739 Furniture & Decorator Items
BUYER’S PREMIUM A buyer’s premium of 15% will be charged on all items in the Antiques & Decorative Arts section of this catalogue. GST of 12.5% is payable on the buyer’s premium only. Phone and Absentee bids to be placed no later than 12noon on day of sale. Illustrated Left: Lot 456 Rene Lalique France Plumes De Paon Bowl (detail)
All Lots illustrated online at www.webbs.co.nz
A N T I Q U E S & D E C O R AT I V E A R T S
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Tribal & New Zealand interest
407 A Hemba Warrior Ancestor Figure
the large phallus flanked by diminutive but strong legs, the serene face is defined by a geometric detailed beard and an elaborate cruciform coiffure, the figure carries a warrior’s lance and an adze. Note; repair to left arm, some age related losses. H.565mm.
400 A Hemba Fertility Figure of a Male
carved in a stance with the diminutive legs below a large phallus and open arms resting on the protruding abdomen, the chin defined with notched carving, the smooth forehead accentuated by a swept back coiffure with carved decoration to the rear. Note; loss to base. H.285mm.
the short legs standing on a circular base, with defined genitalia below a protruding abdomen on which she supports an infant and accentuated breasts above, the coiffure elaborate and cascading the length of her back. H.288mm.
$100 - $150
402 A Kusu Female Fertilty Figure and an Infant
the female carved standing on bent diminutive legs, the elongated torso with diamond scarification above a protruding naval and accentuated genitalia, the arms carved supporting an infant below small breasts. The enlarged head with refined facial features and a simple coiffure with incised decoration. Note; some loss to the head decoration. H.310mm.
$120 - $160
403 A Buyu Ancestral Female Figure
carved standing on straight diminutive legs below a slight abdomen with diamond scarification and small breasts, the enlarged head with a three part coiffure. H.340mm.
standing on a semi-circular base, the enlarged feet supporting bent diminutive legs under an elongated torso with enlarged genitalia, the arms detached from the body with grooved large hands resting on the slightly protruding abdomen with an accentuated naval, the enlarged head with a deep chin which terminates just above the small breasts, the smooth head decorated with a small horn-charge. H.300mm.
of shorter stature to the above, the well muscled arms carrying a lance and an adze, the coiffure with triangular incised decoration. Note; age related loss to lower body and lance shaft. H.380mm.
$100 - $140 See Illustration page 40
the enlarged head with a notched beard defining the chin line and the coiffure beneath woven fibre. H.260mm.
$100 - $150
406 A Hemba Female Fertility Figure
carved seated on a birthing stool with her enlarged genitalia below a swollen abdomen with a protruding naval and large diamond scarification, her bent arms with grooved large hands resting below pointed breasts, the enlarged cylindrical neck supports an enlarged head with refined facial features, the coiffure with a curved ‘beak-like’ decoration to the rear. H.350mm.
$140 - $200
See Illustration page 40
the power figure with hands resting on the abdomen with an oval large naval below a bow shaped chest, the elongated neck supports a head with a horn-charge. A part-woven fibre skirt secured at the waist. H.270mm.
$80 - $140
411 A Hemba Female Fertility Figure with an Infant
with age-related diminished legs below an abdomen with a protruding naval and diamond scarification, an infant is held on her back by her arms supporting its feet, the child’s hands clutching the enlarged breasts, the prominent head with an elaborate grooved coiffure. H.640mm.
$150 - $250
412 A 19th Century Fijian Sperm Whale Tooth Tabua
of good patination, plain with two drilled suspension holes near the tip and a single suspension hole at the base. Provenance; acquired by the vendor’s grandfather who was a trader living in Fiji in latter 19thc and returned to New Zealand 1903. L.140mm.
$400 - $600
413 A New Zealand Hand Carved Dark Stained Folk Art Large
Waka Huia
the oblong lid and conforming body with all-over robust carving (except for the slightly rounded belly of the base which is plain), with heads as protuberances to either end of the lid and base, the eyes with paua inlay. Note; faults, some losses of paua inlay. W.568mm. D.138mm. H.225mm.
$2,000 - $3,000 See Illustration page 48
414 A New Zealand Timbers Inlay Deep Small Box
of kauri with kauri figured veneers to the box and sides of the hinged lid, brass escutcheon, the lid surface with various timbers geometric inlay. W.191mm. D.144mm. H.125mm.
$250 - $400
415 A Masonic Lodge Ball Voting Box in Kauri
fitted with a drawer to receive and store the original but now absent black and white voting balls. W.255mm. D.140mm. H.140mm.
See Illustration page 40
38
$80 - $140
410 A Kusu Ancestral Male Small Figure
405 A Tabwa Female Fertilty Figure
the elongated torso with a protruding naval and genitalia is supported on straight diminutive legs, the abdomen with diamond scarification below the large breasts each of which is cupped in her hands, the enlarged head with small ears between a double layered coiffure. H.250mm.
$100 - $160
409 A Buyu Ancestral Male Small Figure
$120 - $160
404 A Songye Female Fertility Figure
$150 - $300
408 A Hemba Warrior Ancestor Figure
$120 - $200
401 A Tabwa Female Fertilty Figure and an Infant
$150 - $250
416 A New Zealand ’WESTPORT HARBOUR’ Panoramic Post
Card, Circa 1901
426 A Crown Lynn Hand Potted Bulbous Large Vase
by Ernest Shufflebottom
photo typed in Saxony, unused, some foxing and a small pressure tear to far L. area L.825mm.
$50 - $100
417 A Large Post Card Album with Mixed Cards inc. Early
Pitcairn Island
the upper body tapering to a wide mouth, the lower body with five lathed bands tapering to a circular foot. Base Crown Lynn Hand Potted marks and incised 34. Mouth Diam.154mm. H.225mm.
427 Jova Rancich Titirangi Road Made In New Lynn Incised
Marks Squat Jug
seven Pitcairn Island cards circa 1900, four of which show groups of Pitcairn Islanders. Also included are some Louis Wain cards.
the exterior surface in streaked burnt orange over yellow glazes. The interior well with a surface firing stress crack. Base also signed J Rancich NZ. Note; some small glaze frits, not untypical for this type of pottery. H.105mm. Diam.155mm.
$200 - $400
418 An Quality Early New Zealand Scenes
$350 - $500
Photo Album ‘CAMERA GEMS’
the album of South Island scenes with 47 of the original 48 images present.
$250 - $400
428 John Crichton Design Mosaic Tiles Large Charger
the striking design typically of mini-mosaic tiles inlay on a copper finish aluminium bowl body. Diam.570mm. H.102mm.
$200 - $400
419 A New Zealand Wellington Subject Post Card Album
429 Two McSkimming White Glazed Large Jardiniers
containing over 100 cards.
$200 - $400
420 A New Zealand Post Card Large Album
the mixed cards of North Island scenes and subjects including a number of Maori post cards.
the mixed cards of North Island, South Island and Stewart Island scenes and subjects and also including a number of New Zealand shipping post cards.
including novelty, humorous, New Zealand and other shipping, Christmas and greetings, Australian scenes and subjects including Aboriginal people.
423 A Crown Lynn Pale Green Mottle Glaze Small Elephant
the trunk curled against the front R. knee. H.82mm. L.148mm.
wood ash glaze. Impressed cipher, early 1960s. The base with an exhibition sticker marked 29 4 Gns. Diam.287mm. H.68mm.
the square section base flaring to four rounded shoulders below a circular neck and rim. Wood ash glaze speckled with iron. Impressed cipher, early 1960s. The base with an exhibition sticker marked 49 6 Gns. H.260mm.
of varying sizes. Iron underglaze, ash overglaze, each one with impressed lettering including HERBS, GINGER, NUTMEG, MUSTARD, CINNAMON, GARLIC and SPICE and with cork stoppers. Impressed cipher, early 1960s. Largest H.90mm.
the pod shaped vase with an impressed stylised large tiki figure, the opposing surface impressed with a stylised manaia figure with an oval pierced eye, fine iron speckled pale greygreen glazed. Possibly an experimental piece. H.240mm.
$300 - $500
434 Len Castle ‘Inverted Volcano’ Bowl Form
the exterior with white-burning slip cratered biscuit surface and jagged rim, the interior of glossy molten lava red with black molten effects. Impressed cipher. W.845mm. D.180mm. H.160mm.
$200 - $300
425 An Unmarked Studio Pottery Maori Motifs Vase
$500 - $900
433 Len Castle Set of Seven Small Storage Jars
424 A Crown Lynn Tiki Figure Ceramic Trinket Box
$400 - $800
432 Len Castle Stoneware Robust Vase
$150 - $300 of cylindrical form, the cover with a stylised tiki figure raised in relief, the pot and cover speckled brown glazed. Not marked but probably made at the Luke Adams factory during the time of Crown Lynn ownership. Refer Gail Henry ‘New Zealand Pottery, Commercial & Collectable’, page 201. H.52mm. Diam.57mm.
$600 - $1,000
431 Len Castle Stoneware Bowl
$300 - $600
Pottery & Ceramics
on Stands $200 - $300
ash over iron on a roughish clay body, the interior lip with an incised border. Impressed cipher, early 1960s. Diam.364mm. H.125mm.
$300 - $600
422 A Large Post Card Album with Mixed Cards
See Illustration page 44
430 Len Castle Stoneware Footed Large Bowl
$500 - $800
421 A New Zealand Post Card Album
$1,000 - $2,000
$1,500 - $1,800
435 Len Castle Stoneware Hanging Form
umber pigment. Incised LC mark, 1980s. H.260mm.
$800 - $1,200
$300 - $450
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436 St Ives Pottery Stoneware Deep Bowl and Four Shallow
Dishes
each with umber pigment surface exteriors including the rim, ash and iron interiors. Impressed ciphers. Bowl Diam.95mm. H.86mm. Dish Diam.118mm. H.24mm.
$100 - $200
437 St Ives Pottery Stoneware Small Jug
ash and iron glazed with resist decoration. Impressed cipher. H.74mm.
$50 - $80
438 A Ruskin Meiping Shape Vase in Pale Blue Lustre
base impressed RUSKIN ENGLAND mark and dated 1919. H.160mm.
404
406
$250 - $500 See Illustration page 41
439 A Ruskin Small Ginger Jar and Cover in Lilac Lustre
409
base impressed RUSKIN MADE IN ENGLAND mark and dated 1922. H.90mm.
$150 - $250 See Illustration page 41
440 A Ruskin Yellow Lustre Small Vase
base impressed RUSKIN ENGLAND mark and dated 1915. H.65mm.
$80 - $120 See Illustration page 41
441 A Ruskin Deep Lilac Lustre Small Vase
base impressed RUSKIN ENGLAND mark and dated 1916. H.72mm. Rim Diam.57mm.
$100 - $150 See Illustration page 41
658 666 665
40
519
520
522
524
525
523
521
518 517
526
443 448
442 438
447
439
448 444
446 440
441 445
A N T I Q U E S & D E C O R AT I V E A R T S
41
442 A Ruskin Meiping Shape Vase
the surfaces forest green and iron speckled glazed. Base impressed RUSKIN POTTERY WEST SMETHWICK and dated 1906. H.180mm.
451 A Continental 38 Pce Gilt Porcelain Classics Painted Tea
Service
comprising eight cups (one with handle old repair), ten saucers (two reglued), eleven side plates, two comports, two large plates (handled), two medium plates, two pedestal small bowls and a creamer, (the cover minus the finial). All but the saucers painted with the classics inspired individual scenes, signed Neumann, enclosed by gilded extensive scrolling foliate motifs with gilt slip and beading on a cobalt ground and each theme entitled to the rear. The cups and pedestal bowls with gilt interiors. Blue beehive mark.
$400 - $800 See Illustration page 41
443 A Ruskin Yellow Lustre Tall Vase
impressed base marked RUSKIN ENGLAND and dated 1916. H.204mm.
$300 - $600 See Illustration page 41
444 A Ruskin Purple Lustre Vase
452 A Worcester First Period Chinese ‘Fisherman’ Pattern
Teapot
the base impressed RUSKIN ENGLAND, dated 1919. H.148mm.
445 A Ruskin Orange Lustre Footed Bowl
impressed base marked RUSKIN ENGLAND and dated 1919, together with a black RUSKIN ENGLAND mark. Note; hairline. H.62mm. Diam.205mm.
decorated with a cell diaper and a fleur-de-lis border. Hatched crescent mark. Note; restored, lid absent. H.115mm.
$250 - $400 See Illustration page 41
the ‘Sunny Brook’ Design
most probably a design by Clarice Cliff, hand painted foliage and a distant house with a red roof. The service comprising three oval graduated meat plates, a 9” bread/cake plate, four 10” plates, five 9” plates, five 8” plates, a squat circular vegetable tureen (cover absent), a squat circular gravy/sauceboat with an infilled loop handle, six sweet bowls, six side plates, six Conical Shape cups and saucers, five hexagonal side plates, a milk jug and sugar both in the Conical Shape, the shape designed by Clarice Cliff. Note; some pieces are damaged or in fair condition with some wear. Other pieces are in good order.
$100 - $150 See Illustration page 41
with areas of white, impressed base mark RUSKIN ENGLAND and dated 1919. H.155mm.
$200 - $300 See Illustration page 41
447 A Ruskin Apricot Lustre Small Vase
base impressed RUSKIN ENGLAND and dated 1927. H.138mm.
448 A Ruskin Pottery Pair of Purple Souffle Glazed
Candlesticks
the surfaces with raised stylised floral sprigs and beading. Impressed base marks. H.357mm.
Figure
449 A Middle Eastern Ceramic Discoid Vase
the shoulder hand decorated with stylised yellow arches each containing a deep blue and green flower motif, all outlined in brown within brown encircling bands, signed. Note; glaze chips to the cobalt blue glazed rim. Diam.200mm. H.90mm.
$80 - $120
Porcelain & glass 450 A Set of Nine Mason’s Ironstone China Water Lily Pattern
Plates
one having a single impressed line mark, circa 1813 - 1820. Diam.240mm. Eight with blue transfer marks, circa 1813 - 1820. Diam.250mm.
the base impressed 10604 together with other marks of manufacture. H.595mm.
$500 - $800 See Illustration page 41
$200 - $300
456 Rene Lalique France Plumes De Paon Pattern Deep Bowl
in opalescent glass, acid etched signature R. Lalique France. Diam.236mm. H.88mm.
$400 - $600
See Illustration page 36
457 Gary Nash Iridescent Blue Mottled Small Vase
the surface trailed with bronzed glass. Base signed and dated 96. H.170mm.
$200 - $300
458 Gary Nash Black Glass Large Vase, 1986-87
the glossy surface with grey-green lustre spots scattered around the shoulder. Provenance; 1986-87 Sunbeam Gallery, purchased for the private collection of the late W.R. James, of Landmark Gallery, Nelson. H.165mm. Diam.220mm.
$300 - $500
42
$600 - $900
455 A Royal Dux Czechoslovakia Girl at a Standpipe Large
base impressed RUSKIN POTTERY and dated 1909. H.170mm.
$800 - $1,000
454 A Royal Doulton Pair of Salt-Glazed Floral Tall Vases
$150 - $225 See Illustration page 41
$200 - $250
453 An Art Deco Wilkinson Fifty One Piece Dinner Service in
446 A Ruskin Orange Lustre Vase
$1,500 - $2,500
$300 - $450
459 A Pair of Bird Amongst Holly Painted Milk Glass Vases
the wren and fruiting holly sprig with gilded details. H.250mm.
Glass Covered Box
in autumn shades, the base of tapering square section with a circular neck, the domed circular cover with two applied raised bugs. Etched mark to base. W.150mm. H.85mm.
$1,500 - $3,000
oriental 461 A Signed Satsuma Pair Foo Dog Vases
each of the Thousand Faces design and supported on the shoulder and by the tail of the Foo Dog, typical gilt slip and beading decoration. Note; the left facing dog with rear L.leg basic repair and some loss to the L. ear. H.185mm.
$400 - $600
462 A South East Asian Folk Warrior Small Figure in Bronze
the detailed figure on a bent knee and brandishing a sword. H.84mm.
$150 - $250
463 A Chinese Dragon and Phoenix Decorated Large Dressing
470 A Japanese Antique Four Drawer Chest on Chest
with decorative iron hardware. W.868mm. D.460mm. H.890mm.
471 A Japanese Antique Kitchen Chest on Chest
with decorative sliding doors and two small drawers. H.1537mm. W.980mm. D.400mm.
$180 - $250
472 A Japanese Antique Chest
with two slides below a full drawer and above a series of small drawers and a small cupboard concealing two smaller drawers. W.956mm. D.375mm. H.985mm.
$300 - $500
473 A Japanese Antique Cupboard
the later doors concealing original deep shelving traditionally used under stairs. W.730mm. D.330mm. H.908mm.
$200 - $400 with iron fittings and a wood panelled lock. W.1110mm. D.400mm. H.375mm.
the figures depicted on a river bank with a large catch of fish, their robes and head covers with raised enamel and gilded details within a raised enamelled and gilded brocade border. Note; small hairline crack to rear surface, with old restoration.
$400 - $600
the wood shafts with shaped iron tips and feathers, one arrow with a shagreen collar. Ranging in lengths 890mm - 960mm.
$150 - $300
270mm.
$100 - $100
477 A 19th Century Tibetan Tiger and Snow Leopard Painted
Wood Trunk
with metal mounts. W.760mm. D.425mm. H.320mm.
$500 - $600
478 A Chinese Decorative Pair of Contemporary Table Lamps
on wood-carved stands with red lantern shades. H.695mm.
$350 - $450
479 A Red Lacquer Freestanding Bank of Small Drawers
the six drawers with a dark stained finish and decorative ‘silvered’ mounts and handles. D.380mm. W.240mm. H.1320mm.
$300 - $450
480 A Chinese Set of Three Conical Hat Boxes in Red Faux
Leather
468 A Japanese Woodblock Triptych
depicting a land invasion from the sea, the flotilla of small craft carrying warriors armed with bows, swords and lances. Note; some creasing. Frame W.785mm. H.393mm.
$600 - $800
476 A Japanese Pair of Cube-Form Fireboxes in Wood
467 A Japanese Woodblock of a Pair of Ducks
under a bright moon and descending into a reed bed. Frame.H.525mm. W.360mm.
$300 - $450
475 Seven Japanese Arrows
$400 - $600
466 A Satsuma Fisherman Decorated Large Circular Platter
$800 - $1,200
$250 - $300
the shallow dish painted with six Samurai swordsmen in a fighting situation close to a tree, their attire with raised enamel and gilded details, within a gilded and enamel ‘jewelled’ various diaper patterns border. Poem in gilt to the rear. Diam.372mm. H.55mm.
$400 - $600
474 A Japanese Antique Three Drawer Sword Chest
465 A Satsuma Warriors Decorated Large Circular Platter
$900 - $1,500
Box
in red lacquer and wood, the surfaces painted with boys and landscapes, gilt details and effects. H.360mm. Diam.320mm.
the shaped folding hinged lid lifting to reveal a bevelled mirror above four drawers with metal mounts, carry handles to the sides. H.285mm. W.250mm. D.325mm.
464 A Chinese Mandarin Hat Box
with metal mounts and bird shaped key hole covers, the lower chest with a small cupboard concealing two small drawers. W.1152mm. D.447mm. H.1205mm.
$80 - $120
460 A Daum Nancy Vine Leaves and Berries French Cameo
469 A Japanese Antique Four Drawer Chest on Chest
minor faults.
$180 - $240
$200 - $400 A N T I Q U E S & D E C O R AT I V E A R T S
43
428
667
726
682
596
697
699
699A 571
44
481 A Chinese Pair of Floral and Bird Relief Decorated
Covered Censors in Bronze
with dragon and phoenix handles, the cover with a figural lion large finial, the urn body on integral tripod legs on a stepped circular base. H.400mm.
$600 - $900
482 A Chinese Pair of Carved Red and Black Lacquer Circular
Boxes
one surface showing two lions with an embroidered ball, the opposing surface decorated with a kylin and six fish. Diam.180mm. H.70mm.
two scholars contemplating a stream below a willow bough with gilt details in low relief, poem to the rear.
$150 - $300
484 A Cased Chinese Pictorial Ink Block
depicting a blue robed figure appreciating a landscape scene with his three gilt robed attendants, poem to the rear.
Block
the shaped block with the gilt figures in low relief, calligraphy to the rear.
$150 - $300
$150 - $300
486 A Tibetan Raised Dragon Decorated Hexagonal Hat Box
in wood. H.168mm. W.348mm.
$140 - $200
487 A Chinese 19th Century Foliate Blue and White Petal
Rimmed Country Bowl
$200 - $300
483 A Cased Chinese Pictorial Ink Block
485 A Cased Chinese Daoist Eight Immortals Pictorial Ink
with bold calligraphy to the rear, on a tapering foot and with faults. Diam.218mm. H.80mm.
$250 - $300
488 An Antique Japanese Bronze Censor, a Man Figure Riding
a Fish
with losses. L.232mm. H.232mm.
$200 - $300
489 A Qing Dynasty Jade Carved Spirit of
Wealth or Money
carved in the round standing and emerging from the waves holding a bag of money above his left shoulder. H.98mm.
$800 - $1,000
694
A N T I Q U E S & D E C O R AT I V E A R T S
45
490 A Japanese Modern Pair of Gilded Samurai Epaulettes
with fading to the cordage.
Pierce Carved Stand
signed Qing Der, II. The carving depicts a huge framed and long bearded Guan Yu of the Three Kingdoms Period (220 265) who is now revered as a God of martial arts, wealth and literature and a dominant deity of Chinese and Tibetan beliefs, personifying honour, loyalty, integrity, justice, courage and strength. Note; old wood splits front and back. H.450mm.
decorated with lotus and longevity motifs. Note; some lacquer chipping. W.344mm. H.62mm.
stylised decoration of a bird amongst flowers above two lions flanking a longevity symbol. H.330mm. Diam.340mm.
Guardian Figure
standing on a lotus plinth. H.505mm.
Guardian Large Figure
standing on a lotus plinth. Note; some faults. H.750mm.
painted with a golden pheasant amongst chrysanthemums. H.304mm. Diam.328mm.
stylised pattern of scrolling sweet peas and double shou patterns indicating wedded bliss and double happiness. H.430mm.
$200 - $300
497 A 20th Century Chinese Calligraphy Scroll
$100 - $150
498 An Early 20th Century Japanese
simplistic sprays of flowers underglaze blue painted. Note; with faults. Diam.230mm.
$100 - $200
500 A Framed Chinese Contemporary Tang Dynasty ‘Cave’
with a garden scene including bamboo and rockwork, floral decorated border. Note; faults. Diam.235mm.
$800 - $1,000
501 A Tibetan Religious Scene Oblong Jewelry Casket
with side carry handles, the domed cover depicting a flaming deity. W.300mm. W.180mm. H.100mm.
46
$100 - $150
$80 - $120
508 A Chinese Exportware Imari Vessel with a Dutch Antique
Handle
the two panels painted with stylised flowers with gilt effects, the tin metal handle encased in old woven cane (with some loss). Note; old crack near the handle. 18thc. H.148mm.
$500 - $750
509 A Chinese Vintage Pair of Character Dolls
in Qing Dynasty style embroidered dragon robes, the hands with minor faults, circa 1920s. H.270mm.
$200 - $300
510 A Taoist Old Gilt Wood and Polychrome Temple Small
Figure
the figure displaying five lengthy beards and moustaches, carved seated on a chair, his legs resting on a foot stool, the robe with some gilding. H.260mm.
$400 - $600
511 A Chinese Late 19th Century/Early Republic Wedding Box
in Old Lacquer
Large Painting
the panel with religious figures, God and Goddess guardian figures in a muted palette. Frame H.1275mm. W.1060mm.
$80 - $120
507 A Chinese Provincial Porcelain Blue and White Plate
Calligraphy Decorative Scroll $100 - $160
499 A Late 19th Century Japanese Calligraphy Scroll
$300 - $400
506 A Chinese Provincial Porcelain Blue and White Plate
496 A 20th Century Silk Painted Scroll, Song Dynasty Hunting
Scene
$150 - $200
505 A Qing 19th Century Blue and White Large Jar with Cover
$300 - $400
depicting two horsemen.
$60 - $100
504 An Early Republic Wood Cylindrical Hat Box
$250 - $350
495 A Chinese Wood Carved and Painted Luohan Heavenly
20thc.
$120 - $200
494 A Chinese Wood Carved and Painted Luohan Heavenly
$200 - $280
503 A Chinese Bird on Rockwork Painted Scroll
$150 - $200
493 A Chinese Early Republic Wood Cylindrical Hat Box
$400 - $600
492 A Chinese Red Lacquer Butterfly Shape Box
Decorated Box
the box with carry handles to the sides, the interior with a sliding tray. Box W.320mm. D.190mm. H.120mm.
$300 - $400
491 A Wood Carved Guang Gong (Lord Guang) Figure on a
502 A Chinese Chess Set in a Pair of Golden Pheasants
the cover decorated with lotus and double happiness symbols. Note; some age related distress. Diam.325mm. H.190mm.
$130 - $180
512 A Chinese Oblong Box in Black Lacquer
painted with stylised figures in a garden and lake landscape. W.325mm. D.200mm. H.65mm.
$120 - $160
513 A Chinese Lacquered Camphorwood and Gilded Three
Part Stacking Provincial Cabinet
the doors with landscape and warrior figures painted oval panels, the interior with drawers and shelves. H.1870mm. W.650mm. H.380mm.
$800 - $1,200
514 An Early to Mid Qing Dynasty Shanxi Painted Large
Cabinet
with ‘Yuan’ dynasty influence, the front with panelled two doors flanked by corresponding panels decorated with painted remnants of simplistic figures and floral studies, below three floral and painted carved panels and above a similarly decorated central panel flanked by a drawer to either side, their fronts similarly carved. Very little touch up and with some faults. H.1685mm. W.1530mm. D.560mm.
$800 - $1,200
521 A Canton Famille Rose Enamels Small Plate
the central panel painted with five figures, one brandishing a pair of swords, enclosed by a birds and flowering foliage border. Diam.161mm.
$100 - $200
516 A Chinese Porcelain Pair of Imperial Dragons Saucer
the small rondel painted with a bird and bee and bordered by four large panels typically painted with court figures relaxing in pavillions and birds and butterflies amongst flowers and seasonal fruits alternating, trimmed in gilt. Note; small rim frit, possibly during manufacture. W.267mm. D.210mm.
$2,000 - $3,000
the shaped rimmed border with a gilt brocade ground and decorative cartouches of stylised birds and floral sprays enclosing a courtyard scene of an infant being breast fed in the presence of attendants and older children. Note; some faults incl. rim border with some chipping. Diam.222mm.
See Illustration page 41
White Octagonal Dish
the shaped border of stylised lingzhi fungi, key and floral patterns enclosing a village scene of two figures on a bridge. Note; old crack. Diam.230mm.
520 A Canton Courtesans Panels Decorated Famille Rose Vase
$200 - $300
527 An 18th Century Chinese Export Ware Porcelain Blue and
See Illustration page 41
the separating panels typically painted with birds and butterflies amongst flowers and fruits, gilt moulded lion mask and ring incipient handles at the shoulder. H.255mm.
See Illustration page 41
the shoulder, body and pedestal enamels painted with a continuous court figures scenes above four clawed dragons pursuing flaming gems, the square plinth flowers and fruits painted in enamels on a gilt ground, gilt handles. Note: cover absent. H.132mm.
Rose Famille
$250 - $400
$300 - $450
526 A Chinese Export Campana Small Urn
519 A Canton Court Figures Panels Decorated Tall Vase in the
See Illustration page 41
Plate
See Illustration page 41
the interior scenes panels alternating with birds and butterflies amongst flowers and fruits, gilt moulded foo dog incipient handles applied to the figures and flowers painted neck, applied gilded dragons at the shoulder. H.255mm.
$250 - $400
525 A Chinese 18th Century Porcelain Wet Nurse Scene Export
See Illustration page 41
$100 - $150
See Illustration page 41
the centre panel decorated with two children and an infant with their attendants in a fenced courtyard in enamels, the enclosing border with stylised bird and flowering foliage cartouches alternating and gilt brocade ground. Diam.230mm.
$120 - $200
alternating panels of figures in interior scenes and birds and bugs amongst flowers in bright enamels. H.78mm. Diam.177mm.
$80 - $120
524 A Chinese 18th Century Porcelain Export Plate
the reverse panel painted with birds and butterflies amongst flowers, fruits and foliage, gilt trims and details. H.100mm.
518 A Canton Famille Rose Footed Medium Bowl
See Illustration page 41
the well panel painted with simplistic courtesan figures enclosed by a butterflies, flowers and seasonal fruits painted border in enamels. Note; some enamel loss, rim small chip. Diam.200mm.
517 A Canton Famille Figures Decorated Squat Jug
$200 - $400
523 A Canton Famille Rose Medium Plate
Dishes
one dragon finished in magnesium, the other in green, the five clawed dragons chasing a flaming gem amongst the flames on a yellow ground. Black Kang Hsi marks, but not of the period and possibly early 20thc/Early Republic very good copies. Diam.131mm. H.27mm.
See Illustration page 41
522 A Canton Lotus Petal Shaped Dish in the Rose Famille
515 An Chinese Two Handled Large Vase
the surface inky blue painted with encircling panels including four of each; birds, horses and fish amongst vines on a crackled ground. H.240mm.
$80 - $140
$100 - $160
$225 - $350 See Illustration page 41
A N T I Q U E S & D E C O R AT I V E A R T S
47
649
413
673
587
48
528 A Porcelain Blue and White Octagonal Warming Dish
540 A Georgian Sterling Silver Creamer
the water sleeve rim decorated with butterflies, floral sprigs and diaper, the circular well with a lake and pavillions landscape, a single figure on a boat. Diam.370mm.
$250 - $400
529 A Song or Yuan Period Celadon Water Lily Medium Bowl
the exterior surface with petals in low relief. Note; faults. H.67mm. Diam.178mm.
Condiment Bowls or Cups
the country pieces not matching but each with simplistic underglaze blue patterns. H.38mm. Diam.78mm.
Walker & Hall
the tray with two pen rests flanking a pair of cut glass ink bottles with plated mounts and engraved ‘CAPTAIN DRYDEN U.S.S. ARAHURA’, raised on four bun feet. W.248mm. D.173mm.
Norman Gurr 1888
presented by the Vice President J Kohn to Norman Gurr, who for several years being the quarter and half mile champion for New Zealand. The cup of Sheffield manufacture and with some small faults. H.222mm.
$40 - $80 raised on ring foot and signed on the base. H.190mm. H.95mm.
$100 - $150
532 An Oriental Porcelain Underglaze Blue Jar
$100 - $140
533 A Chinese Longevity Painted Pattern Oblong Box
Hall
$60 - $100 on a deep blue ground. H.148mm.
Birmingham 1902. Maker T.W.
decorated with a spring scene of birds amongst flowering prunus and iris on a russet ground. H.182mm.
$150 - $250
537 An Oriental Cloisonne Ribbed Small Vase
the surface decorated with flower heads and butterflies on a deep russet ground. Note; some enamel loss to the rim interior. H.152mm.
$120 - $160
silver & silver plate
with a circular deep bowl. L.320mm.
$250 - $350
539 An Ewardian Sterling Silver Pair of Short Candlesticks
makers Goldsmiths & Silversmiths Company, London 1906. H.92mm.
$150 - $200
$120 - $200
546 Two Georgian Silver Bottle Labels
of similar pierced decoration, one of oval form engraved ‘SHERRY’ and marked T.P E.R, makers Thomas Phipps and Edward Robinson, circa 1784-1796, the other engraved ‘BURGUNDY’, marked S.B, maker Samuel Bradley, circa 1773.
$150 - $250 See Illustration Back Cover
547 An Early Victorian Sterling Silver ‘HOCK’ Cut-Out
Bottle Label
shells and leaves embossed. London 1841, makers Rawlins & Summer.
$180 - $250 See Illustration Back Cover
548 A Georgian Silver ‘PORT’ Bottle Label
crested with an initials engraved shield flanked by a pair cornucopia. Makers Thomas Phipps and Edward Robinson, circa 1784-1796.
538 A Child’s Three Ball Rattle
with a whistle handle and two bells, marked T97. Metal not tested. L.85mm.
$100 - $150
545 A Hungarian Silver Large Ladle
$120 - $160
536 A Japanese Cloisonne Small Vase
$400 - $550
$100 - $140
535 A Japanese Iris Decorated Cloisonne Small Vase
544 An Edwardian Sterling Silver Pair of Berry Spoons
H.78mm.
plain, of stepped oval section and standing on four pad feet, ebonised handle and finial. Sheffield 1909. Note; some dimples. H.235mm.
the symbol enclosed by painted flowers on a deep red ground. W.343mm. D.198mm. H.53mm.
534 An Oriental Cloisonne Small Vase
$150 - $250
543 An Edwardian Sterling Silver Coffee Pot by Walker and
the provincial or country vessel stylised landscape decorated, minus the cover, base mark. Late 18th/ early 19thc. Note; rim chip. H.165mm.
$150 - $200
542 A Plated Athletic Football Club Trophy Cup,
531 A Chinese Porcelain Underglaze Blue Rustic Old Bowl
$275 - $400
541 A New Zealand Shipping Presentation Plated Ink Stand by
$100 - $220
530 Two Chinese Ming Period Porcelain Blue and White Footed
of oval section with reeding to the shaped rim and handle, brightcut foliate decoration, the two cartouche areas vacant. Note; old repairs. H.132mm.
$120 - $180 See Illustration Back Cover
549 A Silver Plate ‘CLARET’ Engraved Bottle Label
with vine engraved decoration.
$100 - $150 See Illustration Back Cover A N T I Q U E S & D E C O R AT I V E A R T S
49
550 A Silver Plate ‘WHITE-WINE’ Engraved Bottle Label
561 An Early 19th Century Cupid, Grapes and Satyr ‘MADEIRA’
Cut-Out Bottle Label
with vine engraved decoration.
$100 - $150 See Illustration Back Cover
551 A Sterling Silver Shell ‘DUBONNET’ Bottle Label
with a solid back and pierced lettering, maker unknown.
562 An Edwadian Sterling Silver Pierced and Embossed Shell
Small Dish
London 1953, maker HFB.
$120 - $160 See Illustration Back Cover
552 A Georgian Sterling Silver ‘CHAMPAGNE’ Engraved
standing on three reeded bead feet. Sheffield 1909.
maker’s mark T.H with a crown above.
$120 - $160 See Illustration Back Cover
standing on three ball and claw feet. Sheffield 1910. Note; with minor faults. Diam.312mm. H.35mm.
‘MUSCATEL’ by John Toleken
$150 - $250
fancy gadrooning to the rim, gilt interior. London 1781, maker HH. Note; with some faults. L.134mm.
Cruet Stand
each of the bottles with silver mounts, three with crystal/ glass stoppers, the pierced walls of the stand with foliate engraving and beading to the wavey rim, the central carry handle with a pierced and engraved bottle spacer supported on a wood floor, the whole raised on four silver ball and claw feet. Rubbed marks. Note; some faults. W.185mm. H.230mm.
with border gadrooning and surmounted with acanthus in relief, date mark indistinct, maker TR.
$150 - $250 See Illustration Back Cover
555 A Vine Embossed ‘MADEIRA’ Cut Out
Bottle Label in Silver Plate $100 - $160
See Illustration Back Cover
556 Two Sterling Silver Three Barrels Bottle Labels
the barrels marked consecutively D, S, and J. One label ‘SHERRY’ engraved, the other ‘GIN’ engraved, London 1962, makers P&B.
$300 - $450 See Illustration Back Cover
558 A Sterling Silver ‘RUM’ Cut-Out Bottle Label
with restrained pierced and engraved foliate decoration. Maker WC.
London 1947. H.105mm.
559 A Georgian Sterling Silver Swan Armorial ‘SHERRY’
Engraved Bottle Label
surmounted with a swan figure, its webbed foot resting upon a globe. Maker AR.
$120 - $200 See Illustration Back Cover
machined main surfaces, the oval cartouche with initials. Birmingham 1897.
Cut-Out Bottle Label
50
$180 - $250 See Illustration Back Cover
$100 - $160
568 A Sterling Silver Jockey Helmet Vesta Case
marked ‘STERLING’, together with a hexagonal pill box marked 925.
$40 - $60
569 A Silver Letter Opener and a Silver Mounted Easel Clock
the cased letter opener S925 marked. The clock face named KITNEY & CO LONDON. H.66mm.
$50 - $100
570 Two Dog Figures in Silver Plate
$60 - $100
miscellaneous 571 A Torpedo Shaped Cocktail Shaker
of three parts, on fixed wheels. Manufacturer unknown, circa 1980s.
560 A Victorian Sterling Silver Vine Embossed ‘BRANDY’
London 1850, maker GU.
$30 - $50
567 A Late Victorian Sterling Silver Card Case
$120 - $160 See Illustration Back Cover
$300 - $450
566 A Wooden Pepper Pot with Sterling Silver Mounts
557 N.M. Penzer ‘The Book of The Wine Label’
$20 - $40
$250 - $400
565 A 19th Century Seven Bottle Sterling Silver Oval
See Illustration Back Cover
554 A George III ‘WHISKY’ Engraved Bottle Label
$500 - $800
564 A George III Sterling Silver Pap Boat
553 A George III Cork Sterling Silver Bottle Label Engraved
circa 1790.
$80 - $120
563 A Sterling Silver Pie Crust Salver by Walker & Hall
Bottle Label
$180 - $250
$200 - $300 See Illustration page 44
572 Five Copper Small Moulds
583 An Oak Carved Spice or Knife Wall Hanging Box
constructed from old timbers, the hinged carved top above a frieze small drawer. H.435mm. W.260mm. D.170mm.
two impressed MADELEINE, three smaller impressed 151.
$80 - $120
573 An Arts and Crafts Serving Dish and Cover in English
Pewter
584 An Antique Sword
the helmet shaped cover with restrained raised decoration and a handle to one side. Diam.231mm.
$100 - $160
574 An Art Nouveau Serpent and Sculptured Nude Calling
the hilt with cast figures, distress to the fine wiring.
the half figure depicted in a lily pond, her arms outstretched and gripping the shallow sides of the tray. The base with marks and raised 249, possibly WMF. Note; some minor faults. W.250mm. D.228mm.
$250 - $350
on water colour sketching board, signed M.Saunders, the calligraphy text bordered by painted poppies within applied Christmas wrapping paper. Note; some minor faults. H.538mm. W.424mm.
Prints
one entitled ‘N.Z. Pied Tit’, the other entitled ‘Fantail’. Frame H.198mm. W.147mm.
Clock
Nettlefords Ltd Birmingham England Purpose Oak Cased Metal Manufacturing Display the samples including scissors, screws, hooks, eyes, bolts and split pins, the mounted displays untouched in their original condition. The large oak wall-mounted display case with trade name gilt and black lettering and trade mark medallions. Later heavy duty wall bracket supports. L.2440mm. D.180mm. H.1395mm.
576 A Victorian Salesman Sample Pair of Clogs
$100 - $150
577 A Circular Framed Small Portrait Oil of a White Bearded
Gentleman
$2,000 - $3,000
See Illustration page 48
588 A 1926 Dunedin South Seas Exhibition Guest, Keen &
Nettlefords Ltd Birmingham England Purpose Oak Cased Metal Manufacturing Display
possibly originally as a snuff box lid. Frame Diam.128mm.
$150 - $300
of a large range of nuts and bolts samples, mounted decoratively, untouched in their original condition. The large oak wallmounted display case with trade name gilt and black lettering and featuring Globe & Lion Trade Mark medallions. Later heavy duty wall bracket supports. L.2440mm. D.180mm. H.1395mm.
578 An Oval Framed Gentleman Silhouette Portrait Miniature
the rear hand inscribed ‘Portrait of John Wales’. Frame H.150mm. W.128mm.
$200 - $400
579 A Vietnamese Wood and Gesso Saint Small Figure
the bearded figure wearing a red robe, which is partially tucked at the waist. H.320mm.
$450 - $600
$200 - $300
587 A 1926 Dunedin South Seas Exhibition Guest, Keen &
$250 - $400 the shoes with black leather uppers brass tacked to the wood soles and heels and shod with iron cleats. L.155mm. H.175mm.
$100 - $150
586 John Wysart Moore New Zealand Birds Pair of Small
575 An Art Nouveau Figural and Foliate Bronzed Cast Brass
the openwork featuring a ‘classical’ beauty standing beneath fruiting boughs with her arms outstretched and her hands gripping a slender trunk in each, surmounted by the clock body supported amongst the foliage, the dial with fancy Arabic black numerals on an ‘ivory’ ground, the shaped base on four bun feet. H.290mm. W.205mm.
$200 - $300
585 An Illuminated “THY WILL BE DONE” Prayer
Card Oval Tray
$200 - $275
$2,000 - $3,000
589 A Late 19th Century Harbour Master’s All Brass Large
Telescope, makers T. PEACOCK & SON AUCKLAND
the main barrel L.940mm, supported on a brass metal tripod base.
$1,000 - $2,000
580 An Artist Unknown Modern Bronze Sculptural Figure of
Christ on a Cross
the carpenter’s son infact ‘nailed’ to a spoke shave. H.360mm.
590 An ELI GRIFFITHS & SONS 1915 Passenger Ship
Companion Way Kerosene Lantern in Brass
$400 - $600
of tall rectangular form with a brass and wood carry handle and raised on four peg feet, makers stamp below the flap covered key hole. H.330mm. W.132mm. D.103mm.
581 Two Antique Bronze Small Censors Cast as Individual
Birds
H.150mm and H.132mm.
$750 - $900
$300 - $450
582 A Brass Mounted Pedestal Large Salad Bowl in Oak
minus the liner but with oak handled and plated servers. Rim Diam.265mm. H.175mm.
$150 - $200 A N T I Q U E S & D E C O R AT I V E A R T S
51
591 A Popular Bell Fruit Company Mills “Silent” Mechanism
Slot Machine, Circa 1935
the 6d machine with a burnt orange front decorated with a stylised horse head profile and ribbon and stamped 423381, the one armed bandit with a bonus payout mechanism, original finish and key, in working condition. Original Mills Novelty Co Chicago USA trademark sticker on the left side. H.640mm. Sold with a volume ‘The Anatomy of a Vintage Slot Machine’ by Mills, reissued for the Historian by Post-Era Books, 1978.
$1,800 - $3,000
See Illustration page 58
592 A Rare American Vintage Bell Fruit Company Mint
Vending Front 5c Slot Machine, Circa 1920
the 5c machine with a metal impressed bell 1776 trademark and stamped 235800, the mint dispenser with four windows as a ploy to legalise the gambling machine, original finish and key, in working condition. Original Mills Novelty Co Chicago USA trademark sticker on the left side.
$1,800 - $3,000
See Illustration page 58 and Inside Back Cover
IAN MASON 1917 – 2008 Starting out as a hobby while he was a teenager, photography grew into a lifelong passion for Ian Mason. In 1934, Mason joined Wilson and Horton as a printing cadet, following which he served in the RNZAF photographic section during WWII in Ohakea. The majority of his photographic life was spent working an admirable 48 years as a senior photographer for The Weekly News and The New Zealand Herald. During this time, Mason covered important historical events including the Tangiwai rail disaster in 1953 and the majority of royal visits to New Zealand. Furthermore, Mason spent considerable time documenting his personal interest in yachting on the Hauraki Gulf and skiing at Mt Ruapehu. His summer travels throughout New Zealand in a caravan yielded an extensive number of photographs of New Zealanders holidaying and working on farms, beaches and lakes. Up until his death in 2008, Mason retained a keen interest in any national news that was worthy of being photographed. As a result, Mason’s photographic collection provides an iconic snapshot of what it meant to be a New Zealander throughout the 20th century. 598 An Air New Zealand NZ Lions Tour Honolulu 1976 Official
Name Tag, Ian Mason
together with Press Passes including Public Relations Pass Royal Visit 1977, and Northern Journalist’s Union Certificates of Membership.
593 A Model of a Classic Bi-Plane
finished in forest green, the body with a painted ‘H’, the tail rudder painted with three stripes in red, yellow and blue and marked ‘F 904’. Note; with some faults. L.1010mm.
$400 - $600 See Illustration page 58
594 A Rare Marconi Telephone and Telegraph Domestic Only
Receiver in Working Order
the instrument licensed under Marconi Patents for private and domestic use only in Great Britian, circa 1921. (This type of machine was viewed as a threat to National Security as a means to spread propoganda following WWI and therefore illegal be used in public.) The wood case with glazed doors protecting the sloping dial panel, the case top with the original ‘NEW SYSTEM’ Telegraph Manufacturing Co Ltd, London trademark transfer sticker and an original BBC Post Master General License circular mark, the ‘Type’ undecipheral, original ATM CLARITONE BBC black painted metal speaker horn on bakelite stand, Ericsson Beeston Motte headphones, and low voltage batteries, a modern high voltage power suppy. Note; rear wood panel and lower front small wood panel absent. Cabinet W.486mm. D.355mm. H.266mm.
$650 - $900
595 A Thomas A Edison Fireside Model A Cylinder Player with
599 A Rare Leica Vintage Motor Winder 1775, Chrome Cased
one of 500 manufactured.
$600 - $900
596 An Early Imperial B Typewriter and Original Cover
Yashica Yashinon 80mm F3.5 lens and built in selenium meter in original Yashica case.
compur -rapid shutter, Skopar lens, metal housing, in a brown leather case.
597 A Continental Violin and Case
the internal label states Chardon Pere & Fils Lathiers, Paris, 1928 but this is most probably a later copy not manufactured by the family. L.590mm.
52
$1,000 - $1,500
$100 - $200
602 An Agfa Isolette Dual Format Horizontal Folding Camera
6x6cm & 4.5x6cm, lens Apotar f4.5 compur shutter, top housing in black plastic.
$50 - $100
603 A Franke & Heidecke Rollieflex Old Standard Model TLR
Camera,1932-38
# 467505, Zeiss Tessar f3.5/7.5cm lens, compur shutter, lever crank film advance, in a tan leather Rolleiflex case.
$150 - $300
604 Eight Franke & Heidecke Rollei Filters and a Cased
Rolleilux Hood and Light Meter Bayonet Size 1
UV, medium yellow and light red filters, four filters in original blue and grey packaging, the Rolleilux hood bayonet and light meter with instructions in original case, together with two Rollei II hoods, all in a leather case.
$250 - $350 See Illustration page 44
$100 - $200
601 A Voightlander Brilliant TLR Camera
down strike, curved three bank keyboard, double shift, the model first introduced 1915.
$750 - $1,200
600 A Yashica Mat 124 G TLR Camera
Horn and Cover
serial number 17987, last patent 1905. Sold with 12 cylinders and boxes.
$50 - $100
$300 - $500
625 627 633 628
626 611
605 L. A. Mannheim ‘The Rollei Way: The Rolleiflex and
Rolleicord Photographer’s Companion’ Third Edition
608
611 A Leica Cased Classic Leitz Leica M3 Chrome Camera with
35mm, 50mm, and 90mm Lenses
hard cover, together with ‘Rolleiflex 2.8F in Practical Use’, ‘Rolleiflex 3.5 in Practical Use’, ‘Agfa Isolette 4,5’ and ‘Weston Ratings A.S.A ‘ information booklets, together with a ‘Rolleiflex 4x4 Practical Accessories’ leaflet.
$40 - $80
606 A Graflex Model 2 Film Pack Adapter on a Speed
Graphic Back
with a Kalart Synchronized Range Finder.
$80 - $160
607 Morgan & Lester ‘Graphic Graflex Photography’ Fourth
Edition 1942
camera serial number 1110040 (1965), with intercangeable lenses: Summaron f 3.5 35mm lens, a Summarit f1.5 50mm lens and an Elmar f4 90mm lens, a Leitz 35mm view finder magnifier, hoods and a filter, in a fitted Leica camera case.
$20 - $40
608 Leitz Leica M2 35mm Chrome Body Camera,1960 with a
Leitz 35mm Bright Line Viewfinder Magnifier
Leica serial number 1011569, Summicron 35mm f2 lens, and a Leitz hood.
$1,000 - $2,000 See Illustration page 53
609 Three Western Master Universal Exposure Meters
1: Western Master II, model S141/735. 2: Western Master IV, model 461-4. 3: Leather cased Western Master V, model 461-5.
$150 - $250
610 A Bag Lot of Leitz Leica Accessories
including filters, lens caps, 90mm view finder magnifier and others, hoods.
See Illustration page 53
612 A W.German Mannesmann Multiblitz Press
Universal Flash and Battery Case $100 - $200
613 Thornton Pickard Victory Reflex Camera with Cooke F4.5
Lens
together with a booklet ‘The Pacemaker Graphics Instruction and Reference Manual’.
$3,000 - $4,500
circa 1925, 2.1/4 x 3.1/4” SLR, Patent No 6283.12, with tripod and leather case.
$300 - $450
614 A Selection of Dark Room Developing Items
including a Paterson Tank System 4 with instuction booklet, a vintage timer, thermometers and grips, in a black case.
$80 - $120
615 Ian Mason Photograph, Country School Cape Reinga
mounted on card.
$300 - $450
616 Ian Mason Photograph, Opening Parachutes for Testing
Purposes.
mounted on card.
$100 - $200
$200 - $400 A N T I Q U E S & D E C O R AT I V E A R T S
53
617 Ian Mason Two Photographs, R.N.Z.A.F Aerial Views of
629 Ian Mason Photographs, Opening of the Auckland Harbour
White Island
Bridge $100 - $200
one rear stamped R.N.Z.A.F Photo Gisborne, Serial No. C2120, Date 4/11/43, Crown Copyright. The other entitled ‘White Island Useful Landmark for Aviators. Both mounted on card.
630 Ian Mason Photographs, New Zealand Mixed
$200 - $300
618 Ian Mason Photograph, ‘Warhawks in Formation’
mounted on card.
631 Ian Mason Photographs, Mixed New Zealand Scenery,
$100 - $150
Holidays $500 - $1,000
619 Ian Mason Two Photographs, Union Airways of NZ LTD
Royal Mail Aircraft ‘KUAKA’
632 Ian Mason Photographs, New Zealand
mounted on card.
Hunters and Gatherers $400 - $800
$300 - $400
620 Ian Mason Wartime Aviation Photograph, Front Propellor
Details
633 Ian Masons Photographs, Large Quantity New Zealand
mounted on card.
Airforce WWII Years $600 - $1,000
$140 - $200
621 Ian Mason Three Photographs, WWII Pacific Island Coastal
Scenes
$100 - $140
634 An Arabian Large Trunk
the hinged cover and front surfaces ornately decorated with brass beading, carry handles to the sides, the interior with an upper small compartment. W.1035mm. D.465mm. H.555mm.
622 Ian Mason Selection of Nineteen New Zealand
Herald Photographs, Royal Tour 1953-54. $500 - $800
623 Ian Mason Photographs, “ESMERALDA” and “GOLDEN
oil on canvas. Frame H.1250mm. W.1520mm.
mostly 12 x 15”.
$200 - $300
Albert and Nicholas, oil on canvas. Frame H.1650mm. W.1010mm.
the large quantity shot over several decades and featuring many accomplished sailors and helmsmen including Sir Tom Clarke on his racing yacht, “Buccaneer”.
$1,000 - $1,500
637 A Late 19th Century Needlepoint Tapestry
$1,000 - $2,000
a scene of two lasses relaxing beneath leafy trees with their pet dogs and a goat. Note; quite faded. Frame H.1185mm. W.974mm.
625 Ian Mason Photograph, Beatle George Harrison
638 A Turkish Silk on Silk Finely Handknotted Small Rug
with a tear at the top.
$50 - $100
including Mrs Auckland 1970.
$200 - $400
the two shaped panelled doors opening to reveal three full drawers below two half drawers, each with porcelain knob small pulls. Note; with some faults, loss of one drawer pull. W.410mm. D.260mm. H.315mm.
New Zealand
a large quantity of images.
$500 - $1,000 See Illustration page 53
the shaped solid head and tail boards with carved cresting standing on decorative carved feet, the shaped rails also veneered. H.1510mm. W.1500mm.
a selection of images.
$400 - $600 See Illustration page 53
$700 - $900
640 A Late 19th Century French Bed in Veneered Mahogany
628 Ian Mason Photographs, Royal Tours in New Zealand
$1,000 - $1,800
639 An Apprentice Chest In Kauri
See Illustration page 53
627 Ian Mason Photographs, Skiing and Alpine Subjects in
$200 - $300 the three border guards each with repeat stylised floral motifs enclosing a large ornate medallion on a cream field. L.1230mm. W.640mm.
See Illustration page 53
626 Ian Mason Photographs, Glamour and Beauty
54
$1,000 - $1,500
636 An Antique Copy of Reubens Portrait of His Sons
624 Ian Mason Photographs, Yachting and Marine Subjects
$700 - $1,000
635 An Antique Copy of a Holy Family Group
LOTUS”
See Illustration page 53
furniture & decorator items
one with a partially submerged destroyer.
inc. Dignitaries, General Interest $100 - $200
$800 - $1,200
641 An Oriental Decorative Iron Bound Trunk
in dark stained pine. The interior with three small drawers. H.470mm. L.1050mm. D.470mm.
$160 - $220
642 A Handknotted Small Rug
three geometric patterned borders enclosing a central panel containing four geometric medallions, on a deep red ground. Note; damage to one edge. L.1650mm. W.930mm.
$200 - 300
643 A Turkish Yagci Bedir Handknotted Wool Rug
652 A Vintage Denoyer - Geppert Series Wall Map of Canada
Map JII, Edition 1933. L.1715mm. W.1115mm.
653 A Vintage Denoyer - Geppert Winslow Health and Hygiene
Series Wall Chart
W10 The Nervous System, W9 Secretion and Excretion. L.1705mm. W.1110mm.
from the original drawings selected & arranged by Professor Balfour, Sheet 3. Inflorescence, Whorls of the Flower, Sheet 10. Illustrations of Natural Philosophy. L.1335mm. W.1075mm.
$100 - $160
644 A Geometric Patterned Handknotted Tribal Rug
in predominantly browns. L.1760mm. W.950mm.
of browns and indigo geometric motifs. L.1990mm. W.1325mm.
Note; one tripod support with a break. H.745mm. Diam.550mm.
French Style
the gilt metal mounts highlighting a black paint finish with painted floral decoration, the pedestal with a rouge marble top, enamelled Roman numerals to the dial, the clock surmounted by a child playing a musical instrument. H.1910mm. W.440mm. D.250mm.
on the part skull. Antler L.360mm.
supported on a wooden mount on a naturalistic base. H.1400mm
the metal open frame with shaped wires to support each bottle, the cage with a lockable grille, 19thc. H.1610mm. W.545mm. D.596mm.
$2,000 - $4,000
Circular Small Table
the tilt-top with a border of stylised birds and a lion carved in low relief enclosing a plain surface above the pierced foliate carved sloping apron, the top supported on a foliate carved stem on a square form base which is elaborately carved with a dragon to each corner and four birds ‘supporting’ the pedestal. Note; some faults. H.700mm. Diam.630mm.
See Illustration page 40
Medieval Scenes
the wood surfaces painted with individual figures and banquet scenes. Note; some losses. H.940mm.
Plate No.2, edited, revised and augmented by Max Brodel. Frame H.1670mm. W.1125mm.
$500 - $800
660 A Swedish Rustic Pine Vintner’s or Carpenter’s Work
the work surface with a central trough, large wood screws to each end and supported on a stretcher base. W.1820mm. D.650mm. H.730mm.
General Anatomy Wall Chart by J Teck
showing especially the muscles. L.1595mm. W.725mm.
$100 - $200
$400 - $600 Bench
See Illustration page 48
650 A Vintage St John Ambulance Association Full Size Man
$1,200 - $1,800
659 A Candlestand or Torchere Polychrome Decorated with
649 A Vintage Anatomical Wall Large Chart, American Frohse
$400 - $600
658 A 19th Century Anglo-Indian Woodcarved Pedestal
648 A Benjamin Lewis Vulliamy Dial Clock
$1,200 - $1,500
657 A French Antique Iron Wine Cage
$1,500 - $2,000 the named large dial with black Roman numerals mounted to the brass clock, the sides and back panels floral foliate engraved and also named Benjamin Lewis Vulliamy 1798 London, and surmounted by a large bell, the clock supported on four brass legs with ball feet. Note; the dial with some white paint retouching. H.330mm.
$70 - $100
656 A Shoulder Mounted 8 Pointer Velvet Sika
$300 - $450
647 A 20th Century Ornate Clock and Pedestal Stand in the
$100 - $200
655 A Mounted Pair of Spiker Antlers
$150 - $250
646 An Ornate Cast Iron Pub Table
$150 - $200
645 A Handknotted Rug with a Russet Field
$100 - $160
654 A Vintage Johnstons Illustrations of Botany Wall Chart
L.1640mm. W.1075mm.
$100 - $150
$1,000 - $2,000
651 A Vintage Anatomical Wall Large Chart, American Frohse
Plate No 7, edited, revised and augmented by Max Brodel, showing sections of the head, mouth cavity, jaws, and neck. L.1820mm. W.1095mm.
$100 - $200
A N T I Q U E S & D E C O R AT I V E A R T S
55
661 A Very Good Antique Oak Dresser Base with Later Open
Dresser Back
the inverse breakfront base with pilasters flanking two panelled cupboards with butterfly hinges and escutcheons, the central three graduated drawers with swan neck handles (replaced) and brass escutcheons, on four fore and two rear square sectioned short legs. The dresser back with two open plate shelves below a shaped frieze and carved picture moulding pediment. Note; some losses and repairs. W.1860mm. D.490mm. H.1870mm.
the four fixed shelves with moulded facings, the side panels with moulding, the whole raised on shaped small feet. H.1500mm. W.950mm. D.370mm.
with blade backs and shaped solid seats, the turned legs joined by stretchers. H.810mm.
on a stretchered later base, the desk with fruiting vine carved decoration flanking the key hole, iron hinges. The interior with three small drawers. W.735mm. D.525mm. H.955mm.
Sideboard in Kauri
$300 - $500
the base with three cupboards, each panelled door front with foliate or fruit carvings in relief above three drawers to the frieze, substantial but ornate hardware, supported on a decorative shaped apron and bracket feet. The upper with a shaped open full shelf supported on tall spindles and columns and surmounted by foliate carved brackets supporting a shaped stretcher with a row of low spindles. H.2385mm. W.1855mm. D.575mm.
the base with two cupboard doors below two drawers with turned knobs, the dresser top with two fixed shelves. H.1968mm. W.1030mm.
$500 - $750
664 A Very Good Fruitwood Dining Table
typically on tapering square legs and with good patination. L.2450mm. W.840mm. H.760mm.
$3,000 - $6,000
the two doors with shaped panels above four graduated full length drawers, each veneered in flame mahogany, the drawers with decorative turned handles above a shaped apron flanked by compressed bun feet, the interior with with two sliding shelves. H.2110mm. W.1460mm. D.570mm.
$1,500 - $2,500
666 A Pair of Armchairs, Maroon/Burgundy Leather
Upholstered
similar in style to the above couch, loose cushioned seats and raised on casters. W.765mm. D.980mm. H.900mm.
$1,000 - $1,800 See Illustration page 40
667 A Georgian Chinoiserie Longcase Clock
$2,500 - $3,500
See Illustration page 44
668 A Victorian Three Drawer Sideboard in Pine
the cupboard door and drawer fronts with turned knob handles, the shaped upstand with a long shelf below a semicircular small shelf. H.1205mm. W.1210mm. D.490mm.
supported on turned and foliate carved tapering legs, on brass casters. W.1355mm. D.1215mm. H.752mm.
the shaped wood frame with scroll carving and open work to the crest, the chair upholstered in contemporary red, grey and blue striped textile and supported on carved cabriole legs. H.1020mm. W.740mm.
56
$3,000 - $5,000
$600 - $800 See Illustration page 57
677 A Set of Twelve Hogarth Engravings of Industry and
Idleness
purchased 1984 from the Chairman, ex the Boardroom of Lloyds of London. Note; some frames with faults. Frame W.515mm. H.440mm.
$600 - $1,000
678 A Late 19th/Early 20th Century Pair of Oak Chairs in the
Elizabethan Style
the panelled backs with diamond carving enclosing a tudor style rose, flat solid seats, the turned front legs joined by a stretcher with lesser stretchers joining the front and back legs. D.1112mm. H.1215mm. D.605mm.
670 A 20th Century French Provincial Armoire in Oak
$600 - $800
676 A Victorian Armchair
$800 - $1,200 the interior with a deep shelf below three drawers to the frieze and a shelf above. W.1420mm. D.500mm. H.2120mm.
See Illustration page 57
on bracket feet, the interior with a shelf. Note; some small faults. H.1206mm.
$700 - $1,100
669 A Victorian Dining Table
$4,000 - $6,000
675 A Bow Front Cabinet in Mahogany
the painted wood dial with black Roman numerals below an arched top which is painted with a basket of flowers. Note; considerable faults and degradation with loss. H.2370mm. W.495mm. D.240mm.
See Illustration page 48
Mahogany Veneers
L.2645mm. W.860mm. H.820mm. See Illustration page 40
$2,500 - $3,500
674 A 19th Century Linen Press in Mahogany and Flame
665 A Large Couch Upholstered in Burgundy Leather
$400 - $600
673 An Ornate European Influence Mirror-Backed
663 A 19th Century Pine Kitchen Dresser
$1,000 - $1,800
672 An Old Book Box Desk in Oak
$4,000 - $5,500
662 A 19th Century Set of Six Country Chairs in Elm
671 A Spanish Oak Open Bookcase
$2,000 - $2,500
674
676
A N T I Q U E S & D E C O R AT I V E A R T S
57
593
591
58
592
679 An Antique Oak Book Box Desk on Later Stand
the desk with iron hinges and lock plate and the front with fruiting vine carved decoration, the slope with a book rest lifting to reveal an interior fitted with a small cupboard, supported on a stretchered oak base with turned and carved decorated legs. W.740mm. D.480mm. H.1020mm.
$575 - $700
680 A French Late 19th/Early 20th Century Gilt Metal Mounts
Secretaire
the lift-up top with butterfly veneers and an engraved brass edge, the false drawer front with a drop-down catch release, pulls out to reveal a small writing surface with gilt tooled green leather inlay and an interior of three small drawers below a shallow shelf, the secretaire supported on slender tapering cabriole legs with gilt metal classical decoration. H.792mm. W.655mm. D.460mm.
Mahogany
comprising of two sliding panels and a central pullup panel, each double sided and covered in classical patterned textile, the wood frame supported on brass capped casters. Closed W.582mm. Closed H.990mm.
$400 - $600
682 A 19th Century Giltwood Armchair
the moulded frame with shell, acanthus and floral decoration in relief, the back, seat and open-arm insets upholstered in mid green velvet. W.700mm. H.1070mm.
Lanterns
each lobed pod form with a surface finished in frosted or sand blasted pale amber and fitted within a simple metal wire frame. Two as wall lights with electrical fittings, the third as a ceiling shade. H.280mm.
$1,000 - $1,500 See Illustration page 44
the legs with goat hoof feet and joined by beaded concave stretchers, ‘distressed’ paint finish. John Colby & Sons original retailer sticker, circa 1920s - 30s. H.760mm.
H.610mm.
$350 - $500
684 An Edwardian ‘Le Zephyr’ Spelter Figural Lamp
brass LE Japy & Co Movement 1887, the dial with decorative Arabic numerals in black. Note; small faults.
constructed of various timbers with a dark stained finish, the shaped panel slender door opening to the interior with one fixed shelf, heavy moulded pediment. H.610mm. W.560mm. D.385mm.
upholstered in a modern brocade textile version of chinoiserie figures playing traditional stringed instruments, camels and flowers on an oyster ground, the wood frame supported on turned front legs raised on white porcelain casters. H.985mm. W.815mm.
$800 - $1,100
686 A Victorian Balloon Back Chair
the seat upholstered in the matching fabric to the above.
with a single drawer, the turned tapering legs on brass and brown porcelain casters. W.814mm. Closed D.500mm opening to D.974mm. H.742mm.
complex indigo and cream floral designs on a madder red field, enclosed by multiple borders with stylised floral motifs on fields of ochre, madder and indigo. L.3165mm. W.2155mm.
$1,000 - $2,000
694 A
Victorian Marble Topped Washstand
the attractive wood base with two drawers to the frieze above a shaped stretcher type open shelf and supported on bun feet on casters, the shaped marble upstand with a small vase shelf. W.1210mm. D.560mm. H.1000mm.
$1,200 - $2,000
See Illustration page 45
695 A Pair of Framed Antique Engravings, Classical
Sculptures
Frame H.585mm. W.424mm.
$150 - $250
696 A 19th Century American Wall Clock No 2, Sessions Clock
Co
large white painted dial with black Roman numerals, the glazed door named ‘T.E HOWSE WATCHMAKER’. Note; some faults. H.985mm. W.463mm. D.138mm.
687 A Very Heavy and Attractive Handknotted Oriental Rug
$300 - $400
693 A Fine Andkhoy Afghanistan Kelle Handknotted Rug
$200 - $300 the central panel with complex florals designs in indigo blues, pinks and browns on a madder red field, enclosed by multiple border guards patterned with floral and geometric themes. L.3490mm. W.2440mm.
$250 - $400
692 A Victorian Pembroke Table in Mahogany
$350 - $500
685 A Victorian Three Button-Back Armchair
$250 - $400
691 A Late Victorian Corner Cabinet of Small Proportions
entitled ‘Le Zephyr, PAR A Moreau’, the classical figure with butterfly wings, mottled glass small shade. H.545mm.
$600 - $800
690 A 19th Century Slate and Marble Mantel Clock
683 An Allen & Hansbury Chrome Floor Adjustable Lamp
$800 - $1,200
689 A French Style Marble Insert Circular Side Table
$1,000 - $1,800
681 A 19th Century Adjustable Three Panel Fire Screen in
688 A Set of Three Elegant Siru Blown Glass Venetian
$500 - $750
697 A Vintage Counter Glove Lamp in Brass ex George Court
Building, Auckland
$2,000 - $3,000
with ‘Artificial’ and ‘Daylight’ lamps. H.700mm.
$800 - $1,200 See Illustration page 44 A N T I Q U E S & D E C O R AT I V E A R T S
59
698 A Student’s Lamp in Chrome
H.390mm.
the multiple border guards enclosing a pale ochre field with geometric motifs in natural, pinks and fawn. W.2950mm. L.4060mm.
$80 - $150
699 An Art Deco Style Table Lamp
the hexagonal column on a stepped square base and surmounted by an stepped octagonal ‘yellowed’ milk glass shade. H.630mm.
708 A Large Oriental Handknotted Geometric Designs Rug
709 An Unusual Late 19th Century Work Table in Mahogany
with a drop-down small leaf to the front, a drawer to the side and standing on turned legs supported on white porcelain casters, the lid lifting to reveal a geometric compartmented well flanked by a fixed tray of open small compartments fitted over the side drawer. Closed D.500mm. Open D.690mm. W.775mm. H.770mm.
$200 - $300 See Illustration page 44
699A An Angle Poise Lamp in Black Finish
$250 - $350
See Illustration page 44
700 A Mid Victorian Twin Pedestal Mirror Back Sideboard in
$1,200 - $2,000
701 A Swedish Satin Birch Karl Johan Biedermeier Style Sofa
with a decorative open back and an upholstered dropin seat. W.1840mm. D.630mm. H.800mm.
$700 - $1,000
comprising two panelled cupboards below a shaped apron drawer, the upstand back and pilasters with simple carved decoration, reduced back. D.640mm. W.1240mm. H.1270mm.
$800 - $1,000
703 An Ornate Vitrine in the Continental Style
serpentine fronted and gilt metal mounts, the cupboard door and panels painted with romantic scenes below a frieze slide, decorated with putti, a similar decoration to the shaped pediment, the glazed display cabinet with a velvet-lined interior and two shaped glass shelves, on cabriole legs. W.690mm. H.1800mm. D.370mm.
$2,400 - $3,000
704 A Desk in the French Manner
gilt metal mounts, the drawer opens to release the cylinder revealing a fall-front writing slope and three frieze small drawers below a shallow shelf. W.810mm. D.560mm. H.1010mm.
$1,600 - $2,400
705 A Pedestal Stand in Veined White Marble
the fold-over top with highly figured veneer (with faults) on a birdcage base, original white casters. W.910mm. Closed D.445mm. H.730mm.
comprising two shaped cupboards flanking a central mirrored door, typically decorated with floral inlay, the conforming top in grey flecked marble. 2nd half 19thc. Note; lacking some original mouldings. H.900mm. D.455mm. W.1530mm.
Mahogany
with two leaves, on turned and reeded legs on substantial brass casters. H.750mm. Closed W.1060mm. Open W.1930mm.
Mahogany and Flame Mahogany Veneers
the broken swan neck pediment with finials and inlaid panel above an arched hood which is flanked by turned and reeded pillars, the painted dial with floral and bird decoration signed Alexr Bowie Bonefs, pierced and gilded hands. W.500mm. D.235mm. H.2160mm.
Mahogany
with overstuffed seats and supported on turned and carved tapering legs. H.900mm.
60
$1,000 - $1,500
$2,000 - $4,000
714 A Persian Handknotted Prayer Rug
with calligraphy woven signature to the upper border, the field with a stylised ‘arch’ and incorporating floral and animal motifs. L.1820mm. W.1140mm.
$350 - $450
715 A Victorian Oak Desk of Small Proportions
the desk surface with a green leather inset tooled in gilt, three frieze drawers with decorative metal knob handles and brass escutcheons, the turned tapering legs on brown ceramic casters. W.1310mm. D.690mm. H.780mm.
$800 - $1,200
716 A Victorian Chiffonier Bookcase of Small Proportions in
Mahogany
comprising two glazed cupboards above two arched panelled cupboard doors with flame mahogany veneers. W.895mm. D.360mm. H.1840mm.
$2,000 - $4,000
707 A Victorian Set of Eight Balloon Back Dining Chairs in
$2,000 - $3,500
713 A Late 18th/Early 19th Century Grandfather Clock in
$150 - $250
706 A Very Good Mid Victorian Crank Extension Dining Table in
$1,000 - $1,500
712 An Attractive Walnut Credenza
the vase shaped stand with a key pattern motif to the centre. H.1050mm. Top 250mm square.
$1,000 - $1,800
711 A 19th Century Walnut Card Table
702 A French Pair of Armchairs
the ivory painted frames with floral mouldings and upholstered in pale grey-green velvet. Note; some faults. H.922mm.
$800 - $1,100
710 A Mid 19th Century Chiffonier in Flame Mahogany
Mahogany
the pedestals with arch topped flame veneered panels, the top with three moulded frieze drawers below an arch topped mirror with with scroll carved decoration and crest. W.1820mm. D.570mm. H.1690mm.
$1,000 - $1,800
$1,600 - $2,400
717 A Classical Beauty Lead Light Window Tall Panel
the central oval medallion panel painted with a semi-clad figure in a relaxed stance, with her left arm draped over an architectural column and holding a vessel in her right arm, surmounted by a large urn and a ribbon below. H.1552mm. W.620mm.
$1,400 - $2,000
718 A Fine Afghanistan Kelle Rug
Display Shelving and Storage Unit Designed by Alec Shee
$800 - $1,200
721 A Contemporary Japanese Design Elm Grained Timber
Small Display Shelving and Cupboard Unit Designed by Alel Shee
727 A Continental Oil Townscape
depicting a cobbled street scene. Frame H.512mm. H.412mm.
1887
a shepherd driving a small flock of sheep along a country lane. The rear with a printed 1903 catalogue extract featuring J. C. Adams ‘A Surrey Lane’. Gilt moulded frame W.452mm. H.355mm.
entitled to the rear. Gilt frame W.515mm. H.408mm.
artist identifies with Colin McCahn in disappearing into the wilderness. Mixed media including an old tile, pelmet section and welsh slate. Vertical signature. Frame 638mm square.
unsigned. Frame H.325mm. W.275mm.
Policy’
relates to colonial forebears forever changing the Maori way of life and landscapes. Mixed media, etched and fired concrete panels mounted in a glazed cedar window frame from an old villa. Vertical signature. H.1365mm. W.598mm.
a kitchen scene of a woman feeding crumbs to doves, unsigned. Frame H.272mm. W.234mm.
unsigned. Gilt frame H.295mm. W.242mm.
$1,500 - $2,500
$140 - $200
734 A Victorian Tapestry of a Recumbent Spaniel
Frame W.470mm. H.405mm.
$100 - $150
735 E. Armitage Tranquil Coastal Scene in Oil, signed
Frame W.402mm. H.280mm.
$250 - $400
736 E. Armitage Watercolour of a New Zealand Rural Bridge
signed and dated 1939. Frame W.391mm. H.312mm.
$200 - $300
737 An Antique Landscape in Oil, Cows Grazing Near a Stream
in a gilt moulded frame. Frame W.635mm. H.485mm.
$250 - $500
738 A Landscape Oil,Signed
a tranquil scene of a man pole fishing on a riverbank, his gaze towards a woman with a basket crossing the river on boulder steps. Frame W.386mm. H.248mm.
725 A Large Oriental Geometric Floral Patterned Handknotted
with five border guards within a plain black border, the central black field with a number of floral design motifs and scattered flowers. L.4340mm. W.3055mm.
$150 - 300
733 A Framed Antique Classical Oil on Board
$1,500 - $2,500 Rug
$200 - $400
732 An Antique Oil on Copper
$1,200 - $1,800
724 Dallas Seccombe-Young Original Art, ‘Scorched Earth
$200 - $400
731 An Antique Oil on Copper, Madonna and Child
723 Dallas Seccombe-Young Original Art, ‘Gone Bush’
$400 - $800
730 G. Opelt Oil Landscape, ‘Last Rays’
$800 - $1,000
$1,500 - $2,500
$250 - $400
729 An English Landscape in Oil, signed J. Clayton Adams
mixed media, recylcled timbers refreshed and revitalised. Vertical signature. Frame 802mm square.
$250 - $400 not signed. Gilt wood frame W.440mm. H.368mm.
of rectangular form but designed to fit into a corner. The unit upper with three fixed shelves above a cupboard, the door front with slats matching the previous two lots. Circa 1990. W.490mm. D.340mm. H.2000mm.
722 Dallas Seccombe-Young Original Art, ‘Kauri on Wry’
See Illustration page 44
$1,000 - $1,800
matching the above, the unit with five fixed shelves and two frieze drawers, flanked by a cupboard to the right with hanging space, simple moulding to the top, the drawer fronts and door cupboard with decorative slatted panels. Circa 1990. W.1910mm. D.370mm. H.2000mm.
728 A French Oil Coastal Scene
720 A Contemporary Japanese Design Elm Grained Timber
$300 - $500
$1,000 - $2000
the head and tail ‘boards’ with slatted decoration, the slatted side panels with storage space behind and two deep drawers. Circa 1990. Note; no mattress but would fit a mattress of W.1600mm. Total W.1760mm. H.1080mm.
Japanese Gate Shape Designed by Alec Shee
the rear hand inscribed ‘Ö..Castle on the Tweed’. The castle name and signature illegible. Gilt frame W.733mm. H.580mm.
handknotted, the six border complex guards enclosing a complex central panel on black and red fields. L.2860mm. W.2010mm.
719 A Contemporary Elm Grained Timber Bed, Traditional
726 An Antique Oil English Landscape
$200 - $400
739 An Artist Unknown Landscape, Oil on Board
a shepherdess, her dog and small flock resting beneath a leafy tree. Note; with some faults. Frame W.396mm. H.338mm.
$100 - $200 A N T I Q U E S & D E C O R AT I V E A R T S
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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% in the Important Works of Art and Fine Jewellery & Watches sales and a buyer’s premium of 15% of the hammer price in the Photography and Antiques & Decorative Arts sales (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. 7. Webb’s Act as Agents. They have full discretion to conduct all aspects of the sale and to withdraw any lot from the sale without giving any reason. 8. Collection. Purchases are to be taken away at the buyer’s expense immediately after the sale except where a cheque remains uncleared. If this is not done Webb’s will not be responsible if the lot is lost, stolen, damaged or destroyed. Any items not collected within seven days of the auction may be subject to a storage and insurance fee. A receipted invoice must be produced prior to delivery of any lot. 9. Licences. Buyers who purchase an item which falls within the provisions of the Protected Objects Act 1975 or the Arms Act 1958 cannot take possession of that item until they have shown to Webb’s a license under the appropriate Act. 10. Failure to make Payment. If a purchaser fails either to pay for or take away any lot, Webb’s shall without further notice to the purchaser at its absolute discretion and without prejudice to any other rights or remedies it may have, be entitled to exercise one or more of the following rights or remedies: a. To issue proceeding against the purchaser for damages for breach of contract. b. To rescind the sale of that or any other lot sold to the purchaser at the same or any other auction.
62
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 is held by Webb’s pending i. clearance of funds by the purchaser or ii. completion of payment after receipt of a deposit the lot will be held by Webb’s as bailee for the vendor risk and title passing to the purchaser immediately upon notification of clearance of funds or upon completion of purchase. In the event that a lot is lost, stolen, damaged or destroyed before title is transferred to the purchaser the purchaser shall be entitled to a refund of all monies paid to Webb’s in respect of that lot but shall not be entitled to any compensation for any consequent losses howsoever arising. 11. Bidders deemed Principals. All bidders shall be held personally and solely liable for all obligations arising from any bid including both telephone”and absentee bids”. Any person wishing to bid as agent for a third party must obtain written authority to do so from Webb’s prior to bidding. 12.”Subject Bids” Where the highest bid is below the reserve and the auctioneer declares a sale to be “subject to vendor’s consent” or words to that effect the highest bid remains binding upon the bidder until the vendor accepts or rejects it. If the bid is accepted there is a contractual obligation upon the bidder to pay for the lot. 13. SALES POST AUCTION OR BY PRIVATE TREATY The above conditions shall apply to all buyers of goods from Webb’s irrespective of the circumstances under which the sale is negotiated. 14. conditions of Items: the condition of the items are not detailed in this catalogue. Buyers must satisfy themselves as to the condition of lots they bid on and should refer clause six. Webb’s are pleased to provide intending buyers with condition reports on any lots.
A guide for buyers Webb’s have set out the following information for the benefit of first time buyers and those who are unfamiliar with auction procedures. Important note: Please refer to full conditions of sale for buyers printed in the reverse of this catalogue and displayed in the saleroom. Registration: All intending buyers must complete a bidding form available from the reception desk Buying at Auction 1. Floor Bidders Ensure that you have registered and obtained a buyer number before bidding on the lot or lots you have chosen Be aware that a buyer’s premium of 12.5%+GST on the premium or 15%+GST is payable by all buyers in addition to the hammer price. Please make sure that you are aware of the amount of the buyer’s premium. Make your bids clear preferably by holding up your buyer number card. If you make a mistake e.g. the auctioneer takes a bid from you at a higher level than you had intended or you realise that you had bid on the wrong lot call out to the auctioneer immediately so that the bidding can be adjusted. Waiting until after the hammer falls is too late. If your bid is the highest and the lot is knocked down to you then you have entered a binding obligation to pay for that lot. 2. Sales Subject to Vendor’s Consent Where your bid is the highest but still below the reserve the Auctioneer may declare you to be the “buyer subject to Vendor’s consent”. This means that your bid is held as binding and will be communicated to the Vendor at the earliest opportunity. If the vendor accepts then there is a contractual obligation for you to pay for the lot. If the vendor does not accept you are released from any obligation however you will have first right to negotiate with the vendor through Webb’s until an agreement is reached and Webb’s will not present other offers to the vendor until your negotiations are ended. 3. Absentee Bids Webb’s will endeavour to ensure that your bidding instructions are executed but accept no responsibility or liability for failure to do so. Lots will be bought as favourably as is allowed by bidding in the sale room and any reserve imposed by the vendor. Please note that Webb’s cannot guarantee that another bidder will not be successful at your limit if in the course of competitive bidding someone else bids your limit first. Absentee bids are accepted by written instruction which can be sent by fax (e-mailed absentee bids are not accepted) up to l hour before the commencement of the sale. Absentee bids will be executed on the following basis: If your bid limit is equal to or above a reserve the Auctioneer may open the bidding at reserve on your behalf and will bid thereafter only in response to competition for the lot.If your bid limit is below a reserve the Auctioneer may open the bidding at your limit and if there are no further bids in the room may sell to you “subject to vendor’s consent”. In the absence of a reserve the Auctioneer may exercise your bid in advance of any opening bid or may open the bidding on your behalf at the Auctioneers estimate at the Auctioneer’s sole discretion.
Telephone Bids The same conditions as above apply to telephone bidders. Webb’s will telephone the number you have given several minutes before the lot you have request comes up for sale. If your phone is engaged or we are unable to make contact the auction will proceed without your bidding.
A guide for buyers
Our staff will ask you to hold when we have made contact. They will then tell you that your lot is about to come up. The bids will be relayed to you and you can enter the bidding at any time by making your call. Please note that the bidding at many auctions can be fast and furious. The auctioneer will not favour a phone bidder over and above buyers who are attending the auction by giving them more time to bid. You will need to establish your limit and make sure that you bid clearly and promptly. Telephone bids are only accepted for catalogued sales and on items with estimates over 500. Pre-Sale Estimates Estimates printed in the catalogue or given verbally are intended as a guide only and can be subject to revision nearer to the time of a sale. Webb’s staff are available during pre-sale viewing times and by appointment to assist prospective bidders with estimates and any aspect of the auction procedure. Condition Reports Webb’s staff will provide condition reports for out of Auckland buyers. However please note that no 6 in the Conditions of Sale for Buyers will still apply despite the obtaining of a condition report. Payment Payment for all items purchased is due on the day of sale immediately following completion of the sale. If full payment cannot be made on the day of sale a deposit of 10% of the total sum due must be made on the day of sale and the balance must be paid within 5 working days. Payment is by cash bank cheque or Eftpos. Cheques will be accepted but must be cleared before delivery of goods will be given. Credit cards are not accepted. Packing and Freight Webb’s do not pack goods in house. However we will arrange for your items to be packed insured and shipped by a professional agent. All costs associated with packing and freight are payable by the purchaser. Valuation Service Webb’s provide free market appraisals on Monday mornings from 9am1pm or at other times by appointment. Webb’s appraisers will come to your home to view and appraise larger items. Webb’s will provide valuations for insurance matrimonial division family division etc. Please enquire at reception for charges. Valuation charges are refundable on occasion when goods are subsequently offered for sale within a reasonable period.
C ATA L O G U E I N F O R M AT I O N
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PRICES REALISED SALE 303 (MAR 2009) & SALE 304 (MAY 2009) LOT
64
$
SALE 303 0001 3,500 0002 9,500 0003 10,750 0004 6,250 0007 6,250 0008 1,800 0009 7,000 0010 8,000 0012 6,750 0015 3,500 0016 9,500 0017 5,000 0019 3,500 0020 12,500 0021 6,250 0023 8,750 0026 11,000 0027 70,000 0031 67,500 0033 8,750 0036 18,000 0038 60,000 0039 75,000 0046 162,500 0049 28,500 0051 9,000 0052 8,000 0053 12,000 0056 7,000 0057 7,500 0058 6,000 0059 7,000 0062 8,500 0063 17,500 0070 4,750 0071 9,500 0072 2,750 0073 5,500 0075 22,000 0076 5,000 0077 5,500 0078 4,500 0082 20,000 0083 7,500 0084 4,500 0089 5,000 0090 3,300 0092 2,600 0094 7,200 0096 5,000 0101 2,500 0108 700 0200 600 0203 3,750 0204 350
LOT
$
0205 0212 0216 0216A 0217 0218 0219 0219A 0219C 0220 0221 0222 0223 0224 0225 0226 0227 0229 0231 0232 0233 0234 0235 0236 0237 0239 0241 0242 0244 0246 0247 0249 0251 0252 0253 0254 0258 0262 0263 0266 0267 0269 0271 0272 0276 0277 0278 0280 0282 0284 0287 0290 0293 0297 0299 0300
650 11,000 5,700 350 1,000 1,500 800 4,100 3,700 500 120 300 350 100 200 38,000 1,400 1,600 1,300 3,700 2,400 1,550 700 500 1,100 3,000 800 3,250 300 650 1,600 220 3,600 750 2,500 1,750 2,250 6,000 1,400 2,750 2,000 3,100 7,250 6,750 4,100 38,000 2,500 1,400 1,400 3,000 1,500 4,500 4,000 11,500 10,000 23,000
LOT
$
0301 5,500 0302 3,600 0305 150,000 0306 82,600 0311 35,000 0313 5,750 0317 8,000 0321 3,000 0323 8,500 0328 300 0329 4,200 0333 2,750 0334 4,500 0338 1,700 0339 900 0345 3,000 0354 1,400 0356 5,700 0401 80 0402 110 0404 100 0405 150 0407 140 0408 260 0410 300 0413 270 0414 240 0415 300 0416 290 0417 310 0419 1,800 0420 300 0421 400 0422 50 0423 220 0424 200 0425 500 0427 550 0428 40 0429 40 0430 30 0431 160 0432 40 0434 100 0435 240 0436 440 0437 150 0438 90 0439 80 0440 750 0448 120 0450 120 0451 250 0452 220 0453 210 0455 150
LOT
0456 0457 0458 0459 0460 0461 0468 0472 0473 0474 0475 0476 0477 0479 0480 0481 0482 0483 0485 0491 0495 0498 0499 0501 0502 0503 0504 0507 0510 0511 0512 0514 0515 0516 0517 0518 0519 0520 0521 0522 0523 0524 0525 0526 0527 0528 0529 0530 0531 0532 0533 0534 0535 0536 0537 0538
$
225 190 60 320 150 400 100 225 600 250 300 170 450 380 100 425 300 650 300 150 80 200 300 450 1,800 120 360 120 190 550 80 100 130 80 100 80 775 1,450 1,450 475 300 560 1,300 950 220 200 220 3,000 1,300 450 1,700 1,900 700 120 100 80
LOT
0539 0540 0541 0543 0546 0548 0550 0551 0553 0554 0555 0556 0557 0560 0561 0562 0563 0564 0565 0566 0567 0568 0569 0570 0574 0576 0577 0579 0580 0581 0583 0584 0585 0586 0587 0588 0591 0592 0594 0596 0597 0599 0601 0602 0604 0606 0607 0608 0609 0610 0611 0612 0613 0614 0615 0617
$
220 110 300 675 1,050 80 150 550 100 70 20 190 80 40 80 64 450 325 1,400 575 2,000 950 900 700 150 2,000 600 1,200 600 2,250 5,500 300 500 100 180 400 200 120 400 325 200 140 2,050 160 800 900 325 250 900 380 1,300 600 1,600 900 500 150
LOT
0618 0620 0622 0623 0624 0625 0626 0630 0631 0635 0636
$
700 560 850 200 280 3,000 1,100 300 325 320 225
SALE 304
0002 1,250 0003 700 0004 275 0005 275 0006 50 0007 50 0010 300 0011 1,450 0012 175 0015 375 0017 400 0018 2,500 0020 2,500 0021 1,550 0021A 550 0025 350 0026 350 0027 350 0028 1,000 0029 2,600 0030 900 0031 750 0032 750 0034 9,000 0037 5,500 0039 1,000 0040 100 0041 50 0042 7,000 0043 7,000 0044 2,500 0045 2,500 0046 3,000 0047 20,000 0048 2,100 0050 550 0052 250 0053 2,000 0054 7,700 0059 500 0060 400 0061 280 0062 100
PRICES REALISED SALE 303 (MAR 2009) & SALE 304 (MAY 2009)
LOT
$
0066 0067 0068 0069 0071 0074 0075 0077 0082 0083 0085 0087 0088 0089 0090 0093 0095 0096 0098 0099 0100 0102 0103 0104 0108 0108A 0110 0112 0113 0116 0118 0119 0120 0121 0127 0131 0132 0133 0134 0135 0136 0137 0139 0140 0141 0142 0145 0146 0147 0148 0149 0150 0151 0152 0155 0157
900 2,000 1,100 10,000 3,300 300 1,200 15,000 350 400 2,750 600 150 300 1,250 275 1,300 600 900 100 400 950 500 400 350 200 150 1,900 1,600 1,000 100 50 75 175 550 1,750 1,850 700 2,000 750 1,250 400 600 100 350 2,000 100 750 800 1,025 1,200 1,100 950 950 350 200
LOT
0158 0159 0160 0160A 0163 0169 0171 0172 0200 0201 0204 0206 0208 0209 0211 0213 0214 0216 0218 0219 0220 0221 0222 0223 0224 0225 0226 0229 0230 0232 0233 0235 0239 0245 0246 0250 0254 0257 0258 0259 0260 0261 0262 0263 0268 0270 0271 0273 0274 0278 0280 0282 0285 0286 0287 0288
$
200 400 1,600 50 2,000 300 500 400 120 40 540 300 55 60 500 140 120 300 100 80 250 100 250 350 550 200 470 20 75 120 2,500 3,000 2,200 450 250 650 300 80 150 500 425 200 90 45 110 80 150 600 150 250 170 175 180 150 220 160
LOT
0290 0291 0292 0295 0296 0299 0300 0301 0302 0303 0351 0355 0356 0358 0359 0362 0363 0366 0368 0369 0371 0372 0373 0374 0376 0377 0381 0386 0389 0391 0395 0398 0400 0403 0404 0405 0407 0409 0411 0414 0415 0416 0418 0422 0427 0428 0429 0430 0431 0432 0433 0435 0442 0445 0448 0449
$
420 240 50 70 225 35 125 500 500 700 1,700 1,200 8,500 4,800 2,800 1,100 450 750 275 275 300 300 275 275 300 140 550 300 1,050 500 18,000 5,600 3,000 7,000 2,000 1,500 9,500 32,000 10,000 5,200 1,300 3,200 3,750 1,800 15,000 1,000 800 800 7,300 1,175 575 1,700 1,150 800 2,000 575
LOT
0457 0458 0459 0460 0462 0502 0504 0505 0508 0511 0512 0514 0515 0516 0521 0522 0523 0524 0529 0530 0531 0532 0533 0535 0537 0538 0539 0541 0545 0546 0547 0548 0550 0551 0552 0553 0554 0557 0558 0559 0560 0564 0567 0569 0571 0573 0574 0575 0576 0577 0578 0581 0584 0585 0586 0587
$
5,500 850 1,050 775 4,000 325 70 175 140 2,100 220 500 50 175 150 200 360 3,900 400 210 60 120 450 850 300 175 50 100 300 400 525 100 300 30 100 120 160 150 30 200 100 450 350 2,200 650 100 100 110 400 2,100 2,000 200 2,000 125 125 250
LOT
0588 0589 0591 0595 0596 0597 0601 0602 0605 0606 0608 0609 0611 0612 0613 0614 0615 0616 0617 0618 0619 0620 0621 0622 0623 0624 0628 0630 0631 0632 0634 0635 0637 0638 0639 0640 0641 0643 0644 0645 0646 0647 0648 0649 0650 0651 0652 0653 0655 0656 0657 0658 0659 0660 0661 0663
$
150 120 700 110 130 375 425 325 5,000 300 250 130 220 90 50 90 100 650 1,250 1,700 3,000 2,000 1,200 2,000 2,500 3,100 400 325 350 500 3,250 275 75 1,500 300 600 75 500 125 225 120 70 80 125 250 300 1,000 1,000 350 240 250 380 325 360 280 1,600
LOT
0664 0665 0666 0667 0668 0669 0670 0671 0672 0673 0674 0675 0676 0677 0678 0679 0680 0682 0683 0684 0685 0686 0687 0688 0689 0690 0691 0693 0694 0696 0697 0698 0699 0702 0703 0707 0708 0709 0710 0712 0713 0714 0715 0716 0717 0718 0719 0720 0721 0726 0727 0728
$
5,000 130 325 160 1,000 900 400 450 500 60 450 1,400 800 500 2,500 250 100 1,250 500 75 150 150 2,200 150 175 380 225 1,000 200 1,200 130 350 9,000 160 450 250 70 180 140 1,400 340 220 900 300 500 110 1,900 2,000 90 1,200 300 250
C ATA L O G U E I N F O R M AT I O N
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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
$120
Australia / Pacific
United Kingdom / europe
$350
Usa / asia / other
Include fine wine catalogue at no extra cost YES / NO
$220 $328 (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 Credit Card: Amex / Visa / Bankcard / Mastercard / Diners (please circle option) Card Number: Expiry Date: All information provided will be regarded as confidential
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: . ............................................................................
305 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. Recipients other than the addressee listed below are asked to notify us immediately and return the original facsimile to us.
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Bidding Slip For absentee bidders on lots in sale 305 THE IMPORTANT WORKS OF ART, PHOTOGRAPHY, FINE & AFFORDABLE JEWELLERY & WATCHES AND ANTIQUES & DECORATIVE ARTS, 21 - 23 JULY 2009 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 & Affordable Jewellery & Watches sales a buyer’s premium of twelve and a half percent (12.5%) and in Photography and Antiques & Decorative Arts sales a buyer’s 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.
catalogue description
lot no.
mr/mrs/ms
Bid*
first name
home phone
surname/company
business phone
mobile
facsimilie
postal address
contact name
email address
ARRANGEMENTS FOR PAYMENT: I agree to pay immediately on receipt of notice from Webb’s of my successful bid. Payment will be by cash cheque or bank transfer. I will arrange for collection of my purchases or I agree to pay for packing and freight costs incurred by Webb’s in having any purchases forwarded to me. In order to avoid delay in clearing purchases Buyers who are unknown to us are advised to make arrangements for payment before the sale or for references to be supplied. If such arrangements are not made cheques will be cleared before purchases are delivered.
* Webb’s will do its 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 1149 New Zealand Ph: 09 524 6804 / Fax: 09 524 7048 auctions@webbs.co.nz / www.webbs.co.nz
SIGNED &
DATED C ATA L O G U E I N F O R M AT I O N
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AUCTION DEPARTMENTS Directors Peter Webb Ann Webb Sophie Coupland
LANDLINE MOBILE E-MAIL 524 6804 524 6804 524 6804
021 867 263 021 522 366 021 510 876
pwebb@webbs.co.nz awebb@webbs.co.nz scoupland@webbs.co.nz
Managing Director Neil Campbell
529 5607
021 875 966
ncampbell@webbs.co.nz
Design and Publications Head of Department: Aisha Habir
524 6804
design@webbs.co.nz
Business Services General Manager: Chris Allsop Administrator: Jamie Lee Smith Head Technician: Josh Williams Client Liaison Manager: Rosa Attwood Client Liaison: Katrina Sewell Accounts Manager: Trish Shann Accounts Services & Subscriptions: Rachael Leach
529 5605 524 6804 524 6804 524 6804 524 6804 524 6804 524 6804
callsop@webbs.co.nz jsmith@webbs.co.nz jwilliams@webbs.co.nz rattwood@webbs.co.nz ksewell@webbs.co.nz tshann@webbs.co.nz rleach@webbs.co.nz
Fine Arts Director: Sophie Coupland 021 510 876 Head of Department: Emma Fox 529 5601 021 646 828 Manager: Jessica Pearless 529 5609 021 115 4479 Specialist: Jonathan Organ 526 5603 021 503 251 Registrar: Jemma Field 524 6804
scoupland@webbs.co.nz efox@webbs.co.nz jpearless@webbs.co.nz jorgan@webbs.co.nz jfield@webbs.co.nz
Decorative Arts & Collectables Head of Department: James Hogan Specialist: Nick Resch Consultant & Chief Cataloguer: Ngaire Lawson
524 6804 021 510 477 524 6804 021 652 254 524 6804
jhogan@webbs.co.nz nresch@webbs.co.nz nlawson@webbs.co.nz
Jewellery Consultant: Christopher Devereaux
529 5606
cdevereaux@webbs.co.nz
Bethunes@Webb’s Rare Books Head of Department: Francis McWhannell 529 5602 021 232 6032 Cataloguer: Jan Dickens
bethunes@webbs.co.nz jdickens@webbs.co.nz
20th Century Design Specialist: Josh Williams Specialist: Jonathan Organ
524 6804 526 5603 021 503 251
jwilliams@webbs.co.nz jorgan@webbs.co.nz
Wine Director: Simon Ward
529 5600
wine@webbs.co.nz
Collectables and Estates Head of Department: James Hogan Auction Manager: Steve Galpin
524 6804 021 510 477 524 6804
021 642 277
jhogan@webbs.co.nz sgalpin@webbs.co.nz
For all general enquiries please phone 00 64 (09) 524 6804, e-mail auctions@webbs.co.nz or freephone 0800 22 00 77
18 Manukau Rd Newmarket | PO Box 99251 Auckland New Zealand Ph: 09 524 6804 | Fax: 09 524 7048 | www.webbs.co.nz 68