VIEW 3D CATALOGUE 2009 by Webb's Auction House

New Zealandâ&#x20AC;&#x2122;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 MAGNIFICENT JEWELS MODERN & TRADITIONAL DESIGN

An Ivory 19thcentury Netsuke, by Shunkosai (Chongestu) $4,200

Maori Ceremonial Hoi, attributed to Jacob William Heberley $15,200 An extremely rare whalebone, Rei Puta, Ryman Collection $140,000

A 5.09ct Loose Emerald-cut Diamond $142,000

An Ivory Netsuke, 19th-century Manju, by Hakuosai, $3,000

Hazard’s Baby Repeater Winchester Rifle, with Maori carving, 22 calibre $6,400

An Ivory Netsuke. 19th-century Manju, by Hakuosai $9,000

FIONA PARDINGTON Portrait of a Female Huia $8,200

19th Century Mahogany Campaign Chest $6,500

A Japanese Shibayama Ivory Tusk Vase $3,600

Maori Carved Lidded Urn, attributed to Piwiki Horohau $9,400

ARCHIBALD BAXTER We Will Not Cease, 1st ed. V Gollancz, London 1939 $960 1982 Chateau Petrus Pomerol $5,500 SHANE COTTON, Island $32,625

A Pair of 2ct Solitaire Diamond Ear Studs $30,000

DON BINNEY Kotare Over Hikurangi $251,000

An 18th-century Cinnabar Lacquer Cabinet $21,000 A New Zealand Folk Art Totemic PETER STICHBURY, Kirsten Clock Tower by $27,000 Captain Gilbert Small, $5,400 A Pair of Japanese Cloisonné Vases, Meiji Period $4,800

MICHAEL PAREKOWHAI Kapa Haka (Hiwera) $48,000

COLIN MCCAHON, Small Landscape $57,000

GREGOR KREGAR Coloured Gnome Trio: Orange, White and Green $6,400

WILLIAM COLENSO A selection of materials c.1880 $3,600

Hornby 4-6-2 Princess Elizabeth Loco and Tender $3,500

MICHAEL PAREKOWHAI Ypres, from the Constellation of Philosophy $18,400

A Large and Rare Early Meiji Period Marine Ivory Figure $6,000

A Fine Waka Huia attributed to Jacob William Heberley $32,700 A Loose Asscher-cut Diamond of 2.03ct $23,000

A Japanese Cloisonné Vase Meiji Period $4,900

2000 Chateau Mouton Rothschild, 7 bottles $7,000 PETER STICHBURY Mary Inchley $8,000 An Ivory Netsuke, 19th-century Kwanju, by Tomotane $2,600

Dick Frizzell Hut Interior $63,000

A Ring Set with a Round Modern Brilliant-cut Diamond Solitaire, 2.01ct $19,500

HEATHER STRAKA King Tawhiao $18,800

HEATHER STRAKA The Virgin of Seven Sorrows $18,800

COLIN MCCAHON Truth from the King Country: Load-bearing Structures, Series 2 $79,800

PETER STICHBURY Lily Donaldson $45,600

CHRIS CHARTERIS Kouma Breastplate $5,700

A Ruby and Diamond Cocktail Ring $16,500

DON BINNEY Kokako, Tiritiri Matangi $86,700

A European Faux Bamboo Carved Bookcase in Pine $5,400

An 18th-century Qianlong Chinese Cinnabar Lacquer Vase $16,800

HIGHLIGHTS JUL – SEPT 09

SHANE COTTON, Genesis, $50,600

COLIN MCCAHON French Bay $142,600

BILL HAMMOND Bird Study $43,300

MICHAEL PAREKOWHAI Rainbow Servant Dreaming $12,600

Maori, Stone Nose Flute $7,310

Pre-contact Whakapakoko (God Stick) $9,900

A Japanese Cloisonné Vase, Taisho Period $4,700

COLIN MCCAHON If You Can Afford a Psychiatrist, $79,800

Prices listed inclusive of buyer’s premium and GST on the premium rounded to the nearest $100. IN FOCUS

IMPORTANT WORKS OF ART INFOCUS Often whilst an auction is being put together, themes present themselves, and connections between works make themselves apparent. In this auction we have an opportunity to consider the various aspects of portraiture. The approaches demonstrate how, within a diverse group of artists, each has negotiated questions of identity, making sense of what it means to be an individual. Ranging from cartoonish to ethnographic, formal to contemporary, these works illustrate the best of the potential that portraiture can offer as a genre. The Farmer’s Daughter, A Portrait of Annie Coggan by Frances Hodgkins (Lot 27) was painted in about 1929–30 and sits within Hodgkins’ much-celebrated ‘Four Vital Years’ (1928–31). Undisputedly our most important expatriate artist, Hodgkins left New Zealand for good in 1906, exhibiting alongside artists such as Barbara Hepworth, Ben Nicholson and Henry Moore. So established did she become that she represented Britain at the Venice Biennale in 1940. Considered a national treasure by both New Zealand and Britain, this work was gifted by Hodgkins to the sitter and passed by descent to the current owner. Closer to home, but no less important, is the widely reproduced but little seen Portrait of Rita Angus by Theo Schoon (Lot 48). Typically, Schoon has been thought of as a photographer and sculptor, rather than a painter, and his portrait of Angus is remarkable. The expression and cast of her face capture the quintessential character of what we now know about Angus the woman: that she was intense, guarded, private and solitary. That the work is available now is pertinent, as the exhibition and biography have revived interest in her life and work. The skill with which Schoon has captured the essence of Angus, the conflicted nature of her relationships and her position in the canon of New Zealand’s art history, make the importance of this work greater than is the sum of its parts. Robin White’s sensitively rendered portrait of her son Michael (Lot 3) is a nostalgic and intimate view of a boy, consumed by his innocent fascination with the dead gull at his feet which is contrasted with the momentarily discarded buzzy bee toy. He is instantly recognisable as a New Zealand child by the depiction of these images, which are heavy with local symbolism, alongside him. Of those who grew up in New Zealand, who has not played with a buzzy bee, dragged its clattering, ungainly body across the floorboards and who has not walked on a beach, and discovered a dead seabird, wings forlornly fluttering as the sand drifts against it. Dick Frizzell is an artist who has used himself as a subject regularly throughout his career. In this life-sized, half-length portrait painted in his distinctive cartoonesque style (Lot 18), he parodies the features we come to expect: the outrageous facial hair and the direct challenging gaze. So familiar is his likeness, we are surprised not to see the tattoos he now sports on his forearms; he is a master of exercising kitsch in his own likeness.

The Phantom by Paul Hartigan (Lot 30) is synonymous with Pop Art and cartoon culture. The original enamel from 1973 depicts an image that spawned a lifetime of fascination for Hartigan in impossible heroes. This gutsy image is treated in the same manner as it would be in a conventional portrait with full face and direct gaze, yet this crying comic-book hero includes a dimension of pathos, a poignant comment on the potent masculinity rampant in New Zealand 1970s’ culture. Unlike The Phantom, which is a fabricated portrait of a fictional character, A Lois White’s varnished watercolour of St Francis of Assisi (Lot 4) is an imagined depiction of a real person mythologised. Again, even without the benefits of a classical education, we can ascertain his identity by his accoutrements. The patron saint of animals is robed and tonsured. Many myths and legends abound about him, including this one depicting him preaching to the birds, where he advises them that, even though they do nothing, God provides them with all they require and is deserving of their continued devotion. Staying with the theme of portraiture, there are numerous examples on offer. Contemporary examples by Gavin Hurley, Peter Stichbury and Sam Mitchell (Lots 67, 10 and 1) depict both anonymous, gamine, fresh-faced youth and the tattooed visage of the king of celebrity, Michael Jackson. Gottfried Lindauer’s portrait of the kuia, Hera Hunia (c1850 – 1913) (Lot 34), is the most formal and traditionally rendered portrait in the sale. A taonga in its own right, the portrait possesses a photographic clarity and a perceived authenticity and validity. The portraits in this catalogue define and assert ideas of portrayal and expression. Negotiations between identity and representation, portraits have many facets, capturing a person’s appearance, but also their inner self and character. Portraits have been used to indicate social status, capture the moment and mood of the sitter, and as a tool for the artist to express his or her style, techniques and understanding of the subject. The works on offer provide insights into the intimate relationship between artist and sitter. All of the works are engaged in navigating between what or who the subject is and how to best represent the complexity of identity. The December sale brings the 2009 auction season to a close. Please join us for a glass of champagne and to view the items which are for sale on Wednesday 25 November from 6.00pm to 8.00pm. The artworks included in this catalogue will be available for viewing from 9.00am, Tuesday 24 November. Emma Fox

IMPORTANT VINTAGE MOTORCYCLES WED 25 NOV 2009, 7.00PM

Preview evening Wednesday 18 NOV 2009, 6.00PM – 8.00PM Following the sale of important vintage motorcycles held in March 2009, when a number of record prices were achieved, we are pleased to announce another sale of remarkable vintage motorcycles to be held on 25 November 2009. With over a million dollars worth of exceptional bikes on offer, the quality of the machines is world class and reflects the high level of collecting and restoration in this country. The majority of the sale is made up of British and American designs from two Museum collections. The earliest machine in the sale is a 1904 Brown. Thought to be one of the first motorcycles to have been imported into New Zealand, the Brown has spent its entire life on the roads of Christchurch. Also of interest is the collection of pre-WWI Triumph motorcycles from the Phillip Aubert Bedard collection and ‘crate fresh’ examples of some of the most iconic American motorcycles, from the Howard Museum, Christchurch.

CONTACT NEIL CAMPBELL +64 9 524 6804 +64 21 875 966 ncampbell@webbs.co.nz

ILLUSTRATED 1939 Triumph Tiger 100 GP Est. $58,000 – $68,000

This auction and viewing is to be held at Deus Ex Machina, Shed 5, top deck, 90 Wellesley Street, Auckland. PREVIEW: WED 18 NOV 6:00PM – 8:00PM VIEWING: WED 18 NOV to 25 NOV, 8:00AM – 4:00PM Catalogue now online at www.webbs.co.nz

IN FOCUS

Tempis Fugit Rare Timepieces

In this busy world, time is precious, and there is no better confirmation of that fact than with a rare and valuable timepiece. Simple mechanical watches, even if crafted to the highest standards, will suffer the minor inaccuracy of differing orientational impulses to the balance wheel. To solve this problem, Abraham Louis Breguet invented the tourbillon in 1795. This complication has the entire escapement rotate in a carriage (usually once per minute) so that the differing orientations cancel each other out. A watch with a tourbillon escapement is considered by many to be the pinnacle of the watchmakerâ&#x20AC;&#x2122;s art. Because of the difficulty of manufacturing such pieces, they comprise a very small number of the watches produced even by the most renowned makers. Two such watches are presented in this catalogue: Lots 223 and 224.

Exciting & Beautiful Rare Fancy Coloured Diamonds

Two rare and desirable fancy-coloured diamonds are featured in this catalogue: Lot 315, a magnificent fancy intense yellow rectangular brilliant of 5.14ct, set with two contrasting fine white shoulder diamonds; and Lot 331, a magnificent cluster ring set with a fancy intense pink diamond of 0.69ct together with other pink and contrasting white diamonds. Fancy intense yellow diamonds are prized for their warmth and fire and are rare in large sizes; whilst fancy intense pink diamonds are extremely rare, seldom available to the market and are mostly under 0.50ct. According to a recent report from the Argyle mine, of all diamonds produced only 0.1% were pink and, of those, just 22 were greater than 1ct! Both of these stones have accompanying G.I.A. reports. CONTACT CHRIS DEVEREAUX +64 9 529 5606 cdevereaux@webbs.co.nz

Brick Bay Sculpture Trail PreSenTS

Shrunk

14 november until 14 December An exhiBiTion of SmAll SculPTureS By:

Graham Bennett Paul Dibble Aiko Groot christine hellyar martin Selman Greer Twiss

new sculpture will join the exhibition throughout the summer season.

Brick Bay Sculpture Trail near matakana showcases contemporary sculpture by established and emerging artists. This is a remarkable outdoor gallery experience, where an ever-changing display of 40 sculptures is sensitively sited along the 2km track overlooking the celebrated Brick Bay Vineyard. experience art and wine entwined at Brick Bay. open 10am until 5pm daily. We welcome new sculpture on the main trail by: Graham Bennett, mary-louise Browne, lucy Bucknall, neil Dawson, Jim Dennison & leanne Williams, Paul Dibble, Peter lange, lauren lysaght, Phil Price, Seung yul oh, rachel Walters www.brickbaysculpture.co.nz sculpture@brickbay.co.nz Phone 09 425 4690 Arabella lane, Snells Beach, Warkworth, new Zealand IN FOCUS

FINE WINE AUCTION 7 DEC 2009 , 6.30PM

Catalogue now online at www.webbs.co.nz

RARE BOOKS, MAPS, PHOTOGRAPHY & EPHEMERA

SUN 6 DEC 2009, 12.00PM Catalogue now online at www.webbs.co.nz Find something special for that special someone at the Bethunes@Webb’s Christmas sale.

CONTACT SIMON WARD +64 9 529 5600 +64 21 642 777 wine@webbs.co.nz

The December event is always a highlight of our wine auction calendar and this year’s will be no exception. Wines from many different countries and regions provide broad appeal. In time for Christmas, we have plenty on offer that will add to celebrations on the day or as special ‘stocking fillers’ including exquisite champagnes, dessert wines and ports. HIGHLIGHTS INCLUDE: - French wines from first-growth Bordeaux wines to vintage champagnes - Italian greats from Ornellaia and Sassicaia - Spanish wines including Vega Sicilia ‘Unico’ and Numanthia - A top selection of premium vintage Hawke’s Bay reds - Australian wines from Penfolds, Henschke, Two Hands, Clonakilla and Jasper Hill - New Zealand Pinot Noirs from Ata Rangi, Seresin, Peregrine, Rippon and Felton Road - Vintage port from Fonseca, Grahams, Taylors, Dows and Calem. We also have a few cases remaining of the ‘Frizzell’ wines (Pinot Noir, Sauvignon Blanc and Chardonnay) available. 8

A splendid array of printed materials is on offer, including an extensive collection of New Zealand literary and private press publications. The auction also features: first editions of the official accounts of Captain Cook’s first and second voyages (1773 & 1777); a tidy copy of Parkinson’s Endeavour journal (1784); Kendall’s Grammar and Vocabulary of the Language of New Zealand (1820); Grey’s Ko Nga Waiata Maori (1857/1950); Hamilton’s Maori Art unbound in its original paper-covered parts (1896– 1901); signed copies of Zane Grey’s Tales of the Southern Rivers (1924) and Tales of Fishing in Virgin Seas (1925); Camden’s Britannia (1695) noted for its exquisite maps; a book of newspaper clippings regarding the sinking of the TITANIC; a grand Eric Craig fern album (c1890) annotated by Craig; a second edition of Buller’s History of the Birds of New Zealand lavishly bound as one volume; and a colossal limited edition (1972) reproducing select plates from Audubon’s Birds of America. CONTACT FRANCIS McWHANNELL +64 9 529 5602 +64 21 232 6032 bethunes@webbs.co.nz

ILLUSTRATED Ruth Gilbert Lazarus and Other Poems With wood engravings by E Mervyn Taylor Reed, Wellington 1949 Est: $50+

ANTON PARSONS PASSING TIME

9 – 18 MAR 2010 OPENING FUNCTION: TUE 9 MAR, 6:00PM Webb’s is delighted to present an exhibition of new work by well-known New Zealand sculptor Anton Parsons. Over the past eighteen years, Parsons has established a fluid and sustainable practice working sculpturally, often on a large scale. Graduating from University of Canterbury School of Fine Arts, Christchurch, in 1990, Parsons’ has exhibited in artist-run spaces, dealer galleries, curated exhibitions and institutional venues. Parsons’ work is held in numerous public and private collections and he has successfully realised commissions within both the public and the private sectors.

INSTALLATION VIEW All The Time aluminium, lacquer, vinyl 300mm x 150mm x 100mm each

CONTACT JESSICA PEARLESS +64 9 524 6804 jpearless@webbs.co.nz

THE IMPROBABLE FOR THE IMPOSSIBLE THUR 17 DEC 2009 6:00PM For all those who have people in their lives who are impossible to buy

Please note that no catalogue will be produced for this sale but all

for, Webb’s final sale for 2009 is the solution. Improbable gifts for the

pieces will be illustrated online from Monday, 14 December.

impossible to please: expect the very best of the unlikely. Come to Webb’s for quirky and collectable and affordable gifts: from taxidermy and toys, to kitsch, retro and modernist furniture and furnishings. 10

VIEWING Mon 14 Dec, 9.00am – 5.30pm Thu 17 Dec, 9.00am – 5.30pm

MAORI ARTEFACTS & OCEANIC ARTS

ENTRIES NOW INVITED FOR A FORTHCOMING SALE MARCH 2010 Entries are now invited for a sale including Maori artefacts from the pre-contact and contact periods through to the 20th century. These pieces cover those used for ritual, ceremonial, decorative and practical purposes within traditional Maori and Pacific cultures. Already scheduled for the sale are two significant collections: a substantial assemblage being repatriated to New Zealand, covering artefacts from both the Maori and Pacific cultures; and a sample from a private collector, well known within the field. The sale in September of Maori Artefacts and Oceanic Arts saw unprecedented interest from private collectors and institutions alike and several works established record prices. Webb’s was entrusted with the marketing of one of the most important collections of Maori artefacts to come onto the market in living memory: the academic value of Frances Ryman’s archaeological assemblage was acknowledged when it achieved $140,000*. Works attributed to Jacob William Heberley (Hakopa Heperi, 1849 – 1906) and Captain Gilbert Small also generated competition and sold for figures in excess of their estimates. (Highlights of the sale are published on pages 2 and 3 of this catalogue.) Burgeoning interest from private collectors, museums, institutions and dealers has seen prices steadily rise for rare, early and welldocumented pieces. Of specific interest to collectors are Maori figurative carvings, architectural fragments and weapons. Early New Zealand furniture by the likes of master craftsmen Anton Seuffert and his sons William, Albert and Carl have found favour with the same collecting audience. * Includes buyer’s premium and GST on the premium.

CONTACT NEIL CAMPBELL +64 9 524 6804 +64 21 875 966 ncampbell@webbs.co.nz

ILLUSTRATED A finely carved nephrite Hei Tiki/ Taranaki (early 19th century) Est. $3,000 – $6,000

IN FOCUS

VALUATION SERVICES COMPREHENSIVE HOME CONTENTS, SINGLE-OWNER COLLECTIONS, CORPORATE COLLECTIONS, INSTITUTIONAL COLLECTIONS

INSURANCE INDEMNITY, FAMILY DIVISION, A SSET ASSESSMENT, FINANCIAL REPORTING PURPOSES Services provided for professional advisers (trustees, solicitors, liquidators and consultants). Up-to-date market knowledge is available via our in-house specialists. Home visits arranged by appointment. We offer national and international services. CONTACT JESSICA PEARLESS +64 9 524 6804 jpearless@webbs.co.nz

Reproduction of Fine Arts

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IN FOCUS

IMPORTANT WORKS OF ART

TUE 1 DEC 2009, 6.30PM EVENING VIEWING WED 25 NOV, 6.00PM – 8.00PM IMPORTANT WORKS OF ART VIEWING Limited to Impor tant Works of Ar t on these days only, Fine jewellery and Design sales will not be available for viewing

TUE 24 NOV, 9.00AM – 5.30PM WED 25 NOV, 9.00AM – 5.30PM VIEWING WED 25 NOV, 6.00PM – 8.00PM THUR 26 NOV, 9.00AM – 5.30PM FRI 27 NOV, 9.00AM – 5.30PM SAT 28 NOV, 11.00AM – 3.00PM SUN 29 NOV, 11.00AM – 3.00PM MON 30 NOV, 9.00AM – 5.30PM TUE 1 DEC, 9.00AM – 1.00PM

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.

SAM MITCHELL Untitled (Oh Michael Not Again) acrylic paint on perspex title inscribed, signed and dated 2006 440mm x 350mm $1,200 - $1,600

SHANE COTTON Blue/Black VI acrylic on paper title inscribed, signed and dated 2007 580mm x 765mm $7,000 - $9,000

3 16

ROBIN WHITE Michael, Allanâ&#x20AC;&#x2122;s Beach graphite on paper title inscribed, signed and dated 7/75 500mm x 290mm $15,000 - $25,000

I M P O RTA N T W O R K S O F A RT

A.LOIS WHITE St Francis of Assisi varnished watercolour on paper 410mm x 270mm $6,000 - $9,000

GARTH TAPPER The Lone Gumdigger oil and acrylic on board title inscribed and signed verso 505mm x 810mm $8,000 - $15,000

COLIN MCCAHON Kurow Hill charcoal on paper title inscribed, signed and dated 1972 215mm x 280mm Provenance: originally purchased Barry Lett Gallery, 1972 Note: Una Platts sent two works to the Gisborne Museum for purchase, but financial constraints prevented the acquisition of both. Â The current vendorâ&#x20AC;&#x2122;s mother, Doreen Costello, purchased this work. Mrs. Costello later became president of the Gisborne Museum and Ar t Gallery and was instrumental in establishing a new building there. She passed away this year aged 87. $18,000 - $25,000

I M P O RTA N T W O R K S O F A RT

COLIN McCAHON Untitled acrylic on paper signed and dated â&#x20AC;&#x2DC;67 270mm x 210mm Note: One of a series, commissioned for the possible cover of New Zealand Painting: An Introduction, Gordon H. Brown and Hamish Keith, Collins, 1969 $18,000 - $25,000

COLIN McCAHON Waterfall acrylic on board signed and dated ‘64 195mm x 115mm Provenance: Gifted by Colin McCahon to Sandra Cockerill, former Secretary to Peter Tomory, the Director of theAuckland Ar t Gallery, 1956-1965, at Christmas 1964 $15,000 - $20,000 I M P O RTA N T W O R K S O F A RT

COLIN MCCAHON Northland ink on paper title inscribed, signed and dated April â&#x20AC;&#x2DC;59 610mm x 470mm $45,000 - $65,000

PETER STICHBURY Untitled acrylic on linen title inscribed, signed and dated 1999 verso 610mm x 610mm $20,000 - $30,000

I M P O RTA N T W O R K S O F A RT

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PETER ROBINSON Binary lambda digital print on dibond aluminium 2080mm x 1180mm $8,000 - $12,000

JUDE RAE Still Life 123 oil on linen signed and dated 2002 and inscribed SL123 verso 660mm x 917mm $10,000 - $15,000

Jude Rae has been titling her still life paintings SL followed by a number for many years. They are part of an ongoing series of explorations of objects, light and space. To describe them purely as still lifes is to pigeon-hole them too neatly into a classical genre. Traditional still lifes, especially the Dutch 16th-century Vanitas paintings, depict fruit, fish, stemware, flowers, candles and skulls and are awash with symbolism. The elapsing time of life, the endless tick tick tick towards decrepitude and death: food rots, flowers wilt, candles burn down or blow out, only the bones remain. Steering away from such heavily symbolic subject matter, Rae has instead employed a range of domestic objects: plates, cups and bowls in her earlier works and bottles and vessels in her later. Those familiar with her work will recognise some of them, such as the elegant high-necked mustard vase, the translucent green cylinder and the brown glass flagon. Newer items are added from time to time such as a cache of gas cylinders discovered at the dump and, here, the strangely banal plastic bottle that may contain unknown fluid of dubious origin. The placement of these objects affords endless fascination and the black form in particular, which she reuses time and again, throws what we know about scale into turmoil. Are the objects small, or oversized? Why are they placed so particularly, placed just so? The human brain finds connections; objects are grouped together in allegiance, the distance between them cosy or uncomfortable. And what of the surface they inhabit: cool, mottled, grey and reflective like â&#x20AC;&#x2122;50s laminate? Is it tilting ever so slightly towards us? Are the objects suspended in an absolute moment of tension, moments away from sliding off the picture plane to land crashing at our feet? That Rae is a painter of consummate skill is obvious; the more we look upon the objects so painstakingly placed, the more we experience a disjuncture where their painterliness begins and ends.There is a delightful shimmer in her brushstroke that sets the pieces vibrating with a barely contained energy: a still life in constant motion. Emma Fox I M P O RTA N T W O R K S O F A RT

JENNY DOLEZEL Green Painting ( I Love You Too) oil on canvas title inscribed, signed and dated 2007; title inscribed, signed and dated 2007 verso 1500mm x 1100mm $15,000 - $25,000

JUDY MILLAR Untitled oil, wax and acrylic on two stretched canvasses signed and dated 2007 verso 2260mm x 925mm $10,000 - $15,000 I M P O RTA N T W O R K S O F A RT

CHRIS CHARTERIS Wasaeka whalebone, muka 760mm x 110mm Purchased: Janne Land, Wellington, 2005 $5,500 - $7,500

GORDON WALTERS Untitled ink and pencil on paper dated 3.3.76; signed and dated 1976 verso 640mm x 475mm $50,000 - $70,000

I M P O RTA N T W O R K S O F A RT

GRETCHEN ALBRECHT Black and Red Colour Bands acrylic on canvas signed, original Denis Cohn Gallery label affixed verso 1800mm x 1100 mm $20,000 - $30,000

DICK FRIZZELL Self Portrait oil on board title inscribed, signed and dated 21/1/87 1780mm x 900mm $20,000 - $30,000 I M P O RTA N T W O R K S O F A RT

TONY FOMISON

TONY FOMISON Incident in the Capital City oil on hessian on board, inscribed #239; title inscribed and signed in ar tist’s hand verso and inscribed #239 500mm x 355mm $35,000 - $45,000

Incident in the Capital City parodies one of the most powerful politicians in the history of New Zealand politics. Sir Robert Muldoon, former Prime Minister and Leader of the National Party from 1975 to 1984, is its central character: powerful and hard nosed. The painting is contemporaneous with Muldoon’s term of office when New Zealand was experiencing economic suffering due to the hangover from the 1973 energy crisis, the loss of our biggest export market when Britain entered the EEC and rampant inflation. Combine this with social and economic issues such as the Springbok tour, trade unionism, nuclear policy and wage freezes, and you have a plethora of issues for Fomison’s scorn. It was the time of Muldoon’s political strategies such as ‘Think Big’, which relied on pumping money into large industrial projects, hoping for a trickle-down effect, and his cradle-to-grave resolution to maintain the welfare state. He was one of New Zealand’s most polarising politicians: for every one who loved him, someone else reviled him. For some he was Piggy Muldoon, whose arrogance nearly destroyed the economy and society; others were members of Rob’s Mob, who revered him as an international statesman who stood up for the ordinary bloke. Singularly unchallenged, Muldoon had a reputation for being combative. He was an easy target for the comedians of the day, with his paralysed facial feature and wheezing laugh. It was easy to make fun of him, but many people in political positions and the media feared confronting him openly. Muldoon famously declared that he had left New Zealand no worse off than when he found it, and his unrepentant influence is still felt in politics today. The painting effectively parodies both the man and the issues he stood for. For Fomison, an artist on the margins of society who immersed himself in the Polynesian community, partially because of his discomfort with his own, the character of Muldoon would have been an anathema. He has shown him with his famous face atop a box, akin to a child’s toy, dangling a hapless victim by its foot. Below, an unnoticed character symbolises the nation’s people Muldoon was elected to protect. Is he holding the great man up, or is he huddled in his shadow? For an artist preoccupied with the darker side of life and a maker of myths, this painting is a refreshingly light-hearted poke at authority. The fact that time has passed and the characters are no longer with us, makes it no less a powerful commentary on our political and social history. Emma Fox

I M P O RTA N T W O R K S O F A RT

PAT HANLY Pure Painting enamel on hardboard title inscribed, signed and dated â&#x20AC;&#x2DC;77 450mm x 450mm $30,000 - $40,000

RICHARD KILLEEN Dancing Woman with Yellow Chair oil on board signed and dated ‘69 400mm x 400mm Provenance: Private collection, Auckland, purchased from the ar tist in 2001 $16,000 - $25,000

Dancing Woman with Yellow Chair was produced early in Richard Killeen’s career, after he graduated from Elam School of Fine Arts in 1966.This work lays out elements of his style that later developed into the cut-outs more commonly associated with the artist today. Dancing Woman with Yellow Chair explores a new reality as the traditional rural Kiwi lifestyle gave way to a new modern urban way of life; the suburban dream. The forms, graphically inspired and reduced to the most basic geometric shapes, foreshadow Killeen’s later development and his eventual revolt from the confines of the picture plane. Emma Fox

I M P O RTA N T W O R K S O F A RT

SHANE COTTON

SHANE COTTON Shooter and Silvereye oil on canvas title inscribed, signed with ar tist’s initials S.W.C. and dated 2002, and inscribed HE TAUHOU METE KAIPUPUHI KEI ROTO I TE KARI O ENENE; title inscribed, signed and dated 2002 verso 1400mm x 1400mm $55,000 - $75,000

Contrasting Christian symbolism with Maori imagery, Shane Cotton seeks to draw parallels between the customs of his own iwi, Ngapuhi, and those of the European settlers, creating what he has referred to as a ‘bi-spirituality’. In this work, Shooter and Silvereye, the images, isolated in their irregular, cellular capsules, though seemingly disconnected, are grounded in Cotton’s typical arsenal of iconography. Dividing the composition is a serpentine amalgamation of green and orange forms which invoke a distorted, camouflaged kowhaiwhai. A traditional koru symbol completes the partition. Hovering above, a waka is held within a crimson text bubble, while a shooter aims his gun in their direction, threatening to burst their bubble and send the canoe and its passengers hurtling through the black void. The position of the gunman in relation to the waka is not necessarily intentional, though it is ironic. The stance of the gunman is indicative of a clay pigeon shooter rather than of a soldier. This concept of shooting for sport, a classic British pastime, is an oblique reference to the impact of pakeha traditions in New Zealand. Across the partition, a native New Zealand bird, a silvereye, is coupled with mysterious indeterminate shapes and a stencilled white rose. The Maori text along the bottom reads: ‘He Tauhou Me Te Kai Pupuhi, Kei Roto Te Kari O Erene’ followed by the English translation of the title Shooter and Silvereye. Cotton makes no attempt to definitively connect these scenes into a cohesive whole. They are akin to fragments an archaeologist would find on a site and require a similar effort in their interpretation. With endless possibilities, the painting can assume any number of meanings, reliant on the perspective of the viewer. In Cotton’s works from this series, reminiscent of his early cellular works, images float in an other-worldly realm, simultaneously structured and deconstructed. “Indeterminate and organic in structure, the paintings are like surrealistic dreamscapes, making even greater allowance for the workings of chance and the role of the subconscious not only in the viewer’s determination of meaning but in the artist’s actual construction of the image.” 1 With this combination of compelling colour and imagery, Shooter and Silvereye seems exempt from the concepts of time and space. Sarah McCrory 1. Strongman, Lara, “Ruarangi, The Meeting Place Between Sea and Sky, A Consideration of Shane Cotton’s Work 1993 - 2003”, Shane Cotton (City Gallery, Wellington, 2004) p.29

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RALPH HOTERE

RALPH HOTERE Working Painting for Big Panel pigment and dye on canvas title inscribed, signed and dated Dunedin ‘70 verso and inscribed Auckland City Art Galler y, Big Paintings Exhibition ‘71, 4 panels ea 10ft x 5ft verso Exhibited: Group Show 70, CSA (Canterbury Society of Ar ts) Gallery, 14–29 November 1970. (No 20 is in the catalogue; No 19 is Working Painting for Large Panel.) 1775mm x 910mm $60,000 - $80,000

On 9 February 1971, the doors of Auckland City Art Gallery opened on Ten Big Paintings, a ground-breaking exhibition of works by ten New Zealand artists. The gallery had commissioned the works, providing each artist with a number of uniform stretched canvasses (each ten feet by five feet) that would hang together as his or her ‘big painting’. Working Painting for Big Panel is a study for one of the canvasses supplied to Ralph Hotere. Exhibited in the Group Show for 1970 (CSA Gallery, Christchurch), the painting functions beautifully in its own right, while relating to and incorporating elements of the artist’s earlier work: a fine circle that pushes against the sides of the canvas echoes those present in the Black Paintings (1968–69); rectangle and triangle forms at the head and foot recall the subtle geometrics of the Zero series (1966–67); and the tones of the painting may be found in Hotere’s Sangro works (1962–64). Colour is undoubtedly the most striking feature of this perfectly balanced abstraction. The fiery orange loop seems to bore into its rich purple ground, buoyed by the triangle beneath it, but held in place by a horizontal band at its head. An orange circle on purple formed Hotere’s cover design for Come Rain Hail (1970), Hone Tuwhare’s second collection of poetry. The book included the poem Hotere, Tuwhare’s meditation on the art of his friend, which closes with the lines:

But when you score a superb orange circle on a purple thought-base I shake my head and say: hell, what is this thing called aroha Like, I’m euchred man. I’m eclipsed?

This work presents us with an instance of transcendence, in which the boundaries between the divine and the earthly are dissolved, or are shown simply to be illusory. Francis McWhannell 38

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JOHN PULE

JOHN PULE Hopo Viki enamel, graphite, ink and oilstick on two canvasses title inscribed, signed and dated 2007 1520mm x 2420mm $40,000 - $60,000

John Pule moved from the tiny island nation of Niue to New Zealand in 1964 and grew up surrounded by the multicultural community of Grey Lynn. It was not until his first visit back to Niue in 1991 that he began to explore the Niuean tradition of painting on bark cloth, or hiapo. John Pule’s works deliberately echo these early examples, of which Hopo Viki is a more recent example. His paintings are illustrations of a nation irrevocably changed by the arrival of the missionary.They are personal visions from a displaced Niuean attempting to understand and interpret events that shaped the lives of his family and the wider community. Hopo Viki has moved on from the traditional compositional elements of tapa and tatau. The grid is absent, the composition freer, and the two panels of repetitive narrative present ideas throughout the wider composition. The five nebulous blue spheres that mirror one another in the two canvasses appear almost like floating clouds: globulous blocks of colour that link the panels and bring depth and a three-dimensional quality to the work. The vertical black leafy vines create a sense of fluidity which is further enhanced by the dripping of excess paint from the blue areas. Emerging from the vines are finely articulated renderings of vegetation, executed in ink rather than paint, which add a delicate component to the more assertive objects in the piece. Scattered throughout the work are illustrations that act as mnemonic aids to literal and abstract concepts: groups of people ‘congregating’ around various structures and small churches, alongside landform silhouettes and illustrations effortlessly stripped from the New Testament. The entry of Christ into the Pacific was for Pule “… a dark subject, even though Jesus is supposed to generate light” ¹. The Christian message undermined traditional beliefs, affecting every aspect of life from dress to sexual practice. These references to the Christian missionary’s influence on Niue are juxtaposed against more traditional Niuean representations of nature: birds consuming fish, mountains, semi-monstrous creatures and geometric shapes which are stamped across the surface. The journey, both logistical and spiritual, speaks of an intensely personal experience. Emma Fox 1. Mallon, Sean and Fulimalo, Pereira, Speaking in Colour: Conversations with Artist’s of Pacific Island Heritage, Te Papa Press, Wellington 1997, pg.89

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BILL HAMMOND

BILL HAMMOND Boulder Bay II acrylic on canvas title inscribed, signed and dated 2001 1460mm x 2150mm $170,000 - $220,000

Boulder Bay is a real place, around the rugged volcanic headland from the famous surf beach Taylor’s Mistake (Te Onepoto). Exposed to the tearing easterlies that make sea swimming an exercise in survival, it is a place for walking and exploring rock pools. The area has also been a proposed site for the conservation of the endangered white-flippered penguin. Holiday homes built here in the 1880s stand in the way of the proposed tourism and conservation venture, which would enable tourists to view the penguin’s night-time wanderings. How would they feel if they were confronted instead by the oft-described ‘humaniforms’ variously loitering around the bay? The strangely elegant and vaguely disturbing winged and beaked creatures carry their shadows balanced precariously on their heads like daemons. Spectators of the odd dance above them, primitive creatures writhe in the sky. They are prehistoric beings in various stages of development: the pterodactyl, the liver fluke and the sea monkey. The largest three figures are softly clothed in summer drapery, pastel-toned frocks falling decorously to the knee: these three seemingly more sophisticated than the ravening hordes below and the drifting pack above. The dominant figure holds a ball, evoking summer games and frivolity; the figure to the right spreads her arms, such as a child might, suggesting flight. Hammond has restrained the palette and allowed the painting’s individualised greeny-blue washes to activate the otherwise raw section of the canvas. Unlike Hammond’s darker paintings, the tonal shift to softer hues of the body of work produced between 2000 and 2003, evoke a gentler atmosphere, less threatening and more serene. Whilst the imagery still disturbs with its strangeness, it is easy to warm to these more gentle depictions.The sea at Boulder Bay is often this same teal green. Its salty depths are jewel bright and on a good day the clear high sky evokes the chill of the air, which is never far away once you are out of the sun. Like the climate, Hammond’s landscape is a study in extremes, both beautiful and terrible. Emma Fox

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WILLIAM SUTTON

WILLIAM SUTTON Landscape Synthesis oil on canvas signed and dated ‘80 815mm x 1730mm $30,000 - $40,000

Though landscape painting, as a genre, wasn’t officially defined until the 15th century it is one of the oldest and most established forms of art. Initially focused on realistic representations of the natural world, the scenes became more deconstructed and abstract in the 20th century. William (Bill) Sutton’s body of work provides a clear, microcosmic example of this progression. His early works, sweeping panoramas of the country in and around Christchurch, impart a grandiose sense of space and depict the country from a semi-aerial perspective, as though the viewer is hovering above the patchwork fields and paddocks. Sutton unfolded these traditional scenes with a softness and calm that at once comforts the viewer and makes him feel at home. In his later works, Sutton responded to abstraction, producing series such as Landscape Synthesis, of which this work is a part. Here Sutton fragmented the landscape as though it were shards of glass. The canvas is divided into horizontal strips that from a distance evoke a desert mirage quality. The warm tones of ochre, blue and white keep the work calm amid the potential chaos of the deconstructed scene. There are still elements of earth, land and sky, but they no longer remain within their designated hierarchy. Spots of white cloud intermingle with solid blocks of ochre earth, forcing the viewer to look not for a single scene but numerous potential views. Although there is no defined perspective, Sutton maintains the impression of vastness. There is a sense of freedom and exhilaration lacking in his earlier works, as though the viewer were flying through the landscape rather than viewing from above. The new feeling of energy and vivacity emanating from these later paintings imbues them with a contagious sensation of joy. There are few countries that lend themselves so spectacularly to landscape painting as does New Zealand. Whether the viewer is considering his early or later works, there can be no doubt that William Sutton has a profound ability to represent the breath-taking aura of New Zealand. Sarah McCrory

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FRANCES HODGKINS

FRANCES HODGKINS The Farmer’s Daughter (Portrait of Annie Coggan) oil on canvas, laid onto board signed Provenance: Gifted by the ar tist to Annie Coggan and passed by descent to Nancy Moore (nee Coggan) and by descent to the present owners. Exhibited: Frances Hodgkins 1869 to 1947, 17 July - 14 August 1990, Whitford and Hughes, London, England Illustrated: in the aforementioned Exhibition catalogue #13. Note: Seven significant works from the collection of Nancy Moore, including Still Life: Self Portrait, c.1935, were acquired by Te Papa Tongarewa in 1999. 725mm x 595mm $250,000 - $350,000

Between 1928 and 1931, Frances Hodgkins’ painting entered a particularly inventive and productive phase referred to by the London dealer Arthur Howell as her Four Vital Years. The Farmer’s Daughter belongs to this period and can be dated securely to 1929–30. There are, in fact, two versions of this subject both showing the same sitter and painted about the same time when Hodgkins was living at her friend and patron Geoffrey Gorer’s country cottage called ‘The Croft’ at Bradford-on-Tone, Somerset. It was one of many portraits of her friends and acquaintances made at the time. The other version was owned by the art collector and dealer Lucy Wertheim who bought several portraits of young women by Hodgkins including The Sisters and The Bridesmaids, both now in the Auckland Art Gallery. The sitter for The Farmer’s Daughter has been identified as Annie Coggan who lived on a nearby farm and had the task of keeping an eye on the cottage when Gorer and his wife were absent. Annie Coggan was a regular visitor to the cottage along with her daughters Nancy and Joan who feature in the oil of the same period called Village Girls. Annie Coggan became a friend who supplied food and supplies for Hodgkins when she stayed at ‘The Croft’ and was described by her as having ‘the billionaire’s standard of provisioning’. Hodgkins has painted Annie as a fresh-faced country woman set against a pastoral landscape of farm buildings, fields and trees. She wears a white dress and runs her hands through her hair which is loose and falls down round her shoulders. A prominent red rose adorns her dress and carries symbolic connotations of English beauty. Judging by a contemporary photograph of Annie, Hodgkins did not much bother about achieving a physical likeness; instead Annie appears as more youthful and ornamental than she does in the photo. Hodgkins sought a spontaneous and unsophisticated quality in the portrait perhaps reflecting the ideas of the Surrealist artists and theorists. In this painting and related portraits, she looked closely at the works of the Parisian artist Marie Laurencin (1885 – 1956) then much admired for her pseudo-naïve, charming and decorative images of women and girls. Laurencin emphasised the eyes, enlarging them and giving them the melting expressions of sweetness and sentiment echoed in Hodgkins.The exposed neck and décolletage continue the association with Laurencin which is translated into an English idiom where the rural setting and healthy lifestyle give wholesomeness as well as sensuality to the image. The way Hodgkins projects her sitter against the pastoral landscape recalls her still life subjects of the same period where the motifs are assembled in front of landscape elements. The paint application is similar to ‘still life in a landscape’ works like Berries and Laurel also painted at Gorer’s cottage about 1930. Her portraits were usually not commissions but records of friendships, as was the case with Rita Angus. In this instance, she gave the portrait to Annie Coggan who handed it down to her daughter Nancy. Michael Dunn

Illustrated left: Frances Hodgkins and Annie Coggan, Bradford-on-Tone, Somerset, undated.

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SERAPHINE PICK Six Women oil on canvas signed and dated 2000 380mm x 280mm $7,000 - $10,000

RICHARD KILLEEN Past, Present and Future acrylic lacquer on aluminium title inscribed, signed and dated July 1978 verso 1210mm x 1210mm $20,000 - $30,000

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PAUL HARTIGAN

PAUL HARTIGAN The Phantom enamel on board title inscribed, signed and dated 1973 verso 1830mm x 1220mm Exhibited: The Cartoon Show, Auckland Ar t Gallery 15 Dec 2001 - 1 April 2002. Elam Centenary Exhibition, Auckland Institute and Museum, Auckland, 1990. Illustrated: Michael Dunn, New Zealand Painting: A Concise History, Auckland University Press, 2003 p.174. Bambi², ed Mary-Louise Browne, UNITEC Auckland, 2002 p.6. $50,000 - $80,000

Paul Hartigan’s The Phantom captures the spirit of the Pop Art movement that was beginning to blossom in New Zealand in the early 1970s. Indeed, Hartigan was one of the first New Zealand artists to embrace the central tenets of Pop and to adopt an international outlook when the domestic art scene was still dominated by regionalism, underpinned by an elemental focus on the New Zealand landscape. In doing so, Hartigan rebelled against his teachers, including Colin McCahon, Garth Tapper and Robert Ellis who all promoted a strong New Zealand perspective, and sought out the comparative globalism of artists like Pat Hanly. Completed during an era of immense social, political and cultural change, Hartigan’s The Phantom speaks of a young artist’s desire to connect with current British and American Pop through the artistic discourse of such revered artists as Alan Jones, Peter Blake, Jim Dine, Jasper Johns, Andy Warhol and Robert Indiana. Visually arresting, Hartigan’s The Phantom features large expanses of unmodulated purple, orange and pink complete with thick black outlines. Executed in slick enamel paint, tightly cropped and presented on a larger-than-life scale, Hartigan’s glossy comic-book figure possesses the necessary credentials of a seemingly commercial style combined with a subject matter taken directly from popular culture to label it a ‘Pop Art’ painting. As such, The Phantom clearly evokes the tenets of Pop Art which, as a movement, sought to celebrate popular culture with its trashy glamour, its transitory fads and its obsession with celebrities and commodities, elevating the popular images and signs of this culture into the realm of high art. However, in the case of Hartigan’s The Phantom (as in many works by some of his American contemporaries), one of the central functions of the painting is to undercut these aspects of social triviality, banality and trash with pointed observations on the darker side of a seemingly innocuous culture. In a similar manner to that of Roy Lichtenstein, whose comic-book figures were comprised of hand-painted Ben Day dots, Hartigan’s numerous areas of dripping paint immediately draw attention to the artist’s hand and the process of construction, successfully negating the possibility for the spectator to be wholly subsumed into a pictorial illusion.The drips of paint further serve to add a dimension of pathos to Hartigan’s comic-book hero. Concentrated in the area around the Phantom’s eye-mask, the drips come to function as the tears of the superhero, casting a poignant comment on New Zealand society that heralded unemotional, stoic bravado as the epitome of potent masculinity. It was clear that Hartigan’s The Phantom, which was exhibited as part of The Cartoon Show at the Auckland City Art Gallery in 2001, had lost none of its appeal and punch over the course of 30 years with John Daly-Peoples testifying to its enduring status by claiming that “The Phantom was a major image used by Pop artists from the 1960s, but it was Paul Hartigan who used it first in New Zealand followed by other artists such as Dick Frizzell and Richard Wolfe. Hartigan’s Phantom… has become the iconic image of New Zealand Pop Art of the 1970s”. Jemma Field

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STEPHEN BAMBURY

STEPHEN BAMBURY “Of the Properties of Materials” rust and acrylic on two aluminium panels title inscribed, signed and dated 2007 verso 1200mm x 600mm $35,000 - $45,000

The form of the diptych – two apparently equally sized panels coming together along a central seam, be it in either vertical or horizontal disposition – has been a leitmotif in Stephen Bambury’s oeuvre almost from the beginning of his painting practice. In “Of the Properties of Materials”, the two panels touch at the central point of two vertically oriented panels. The point at which they meet might be read as a horizon line around which the panels are reflected or at least appear to mirror each other and, whilst it is true that the essential characteristics of the composition suggest this, each panel is subtly but critically distinct. The skewing of Bambury’s geometry is apparent at the edges where the painting’s coloured corners swell beyond the implied orthogonal structure. This painting assumes Bambury’s more recent material culture where micaceous iron filings are combined with emphatic acrylic hues. The rust has a visual slowness against the animation of the coloured corners. Its absorbency of light and its insinuation of a quietly shifting organicism have been explored mainly in the groups of works known as Cartesian Circles and Insert Crosses though, like all of Bambury’s diverse material possibilities, they migrate from group to group over time. This vertical diptych speaks very clearly to Bambury’s central notion – that of seeking a ‘resolution of duality’. The painting is divided into upper and lower panels, the disposition of colour along the left and right-flanking corners and the swelling and recessional dynamics of those colours, the vertical and horizontal axis of the cross form. On and on through his painting practice, Stephen Bambury compresses apparent opposites into relationship only to make one coherent and beautiful whole from the sum of the parts. Emma Fox

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SHANE COTTON

SHANE COTTON Tekau Ma Ono oil on canvas signed with ar tists initials S.W.C and dated 1994 1820mm x 1680mm Illustrated: Shane Cotton ed. Linda Tyler, Hocken Library (1998) pg. 36. $130,000 - $180,000

Shane Cotton was the 1998 recipient of the prestigious Frances M. Hodgkins Fellowship at Otago University in Dunedin. A year away from his responsibilities as a lecturer of Maori Visual Arts at Massey University gave him the opportunity to develop a remarkable series of paintings that were exhibited together at the Hocken Library upon the completion of his fellowship. Tekau ma ono developed out of the series of works which explore political and cultural history in New Zealand using folk art imagery. The naïve and naturalistic imagery has become, in his hands, part of the imagery that underpins the best of Cotton’s oeuvre. His rich iconography is intertwined with his work’s visual appeal, and strong compositional construction, creating a collection of paintings whose images have strong connections to our identity. A motif he utilised is that of the reinterpretation of the Ringatu figurative plant paintings in the Rongopai meeting house near Gisborne. The pot plant “… is an image that carries associations of land containment, nurture and ownership. The image works on a political and spiritual level.”¹ Tekau ma ono is amongst the most complex of these depictions. Formalised in the manner of an espaliered tree, the plant’s natural growth pattern rigidly adheres to an unnatural format. The branches form shallow shelves, the “…elongated branches recalling Gordon Walters’ treatment of the koru”.² Each branch ends in a koru bulb which itself contains a small landscape, a vignette, part of the vast library of iconographic images Cotton employs time and again: mountains, branches and the breaking dawn. The radiating branches also take on aspects of horizon lines, ruled lines in a notebook, or the ribbed roof line of the meeting house, along which are depicted landscape elements and text. The format also brings to mind the structure of a family tree, and Cotton has stated that the lines also “represent the individualisation of the Maori Lands Act which attempted to destroy the communal basis of Maori life”.³ The sepia hues characteristic of the works from this series lend an aura of age and gravity, while the repetition of the visual imagery encourages the viewer to truly consider how entwined and yet distinct the pakeha and Maori cultures have become. The Auckland Art Gallery holds perhaps the most recognisable of these paintings, the Untitled Chrysanthemum (Auckland Art Gallery Toi o Tamaki, purchased 1994) with the large pot and free-form plant, which now become more formalized in Tekau ma ono. Works such as Tekau ma ono represent Cotton’s exploration of the cultural and social history of Aotearoa. The Maori adaptation of pakeha domestic images, such as the potted plant, into their visual library during the 19th century was undeniably a departure from traditional carving motifs. Cotton’s appropriation of this iconography into modern practice is perhaps an attempt to reconcile the past with the present. In the midst of the Maori land settlements prevalent during the past decade they are certainly a profound reminder of what our own legacy will be for future generations. Emma Fox 1.Tyler, Linda. Shane Cotton, Hocken Library, 1998, p. 35. 2. Ibid, p. 35. 3. Ibid, p. 11.

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RALPH HOTERE

RALPH HOTERE Polaris burnished, ground and corrugated stainless steel and acrylic in a sash window frame title inscribed, and inscribed Ex No. 6, original RKS Gallery exhibition label and original Long Beach Museum of Ar t, California label affixed verso Exhibited: Three From New Zealand, March 18 - April 29, 1990, Long Beach Museum of Ar t, Long Beach, California $80,000 - $120,000

Much of the work that comprises Ralph Hotereâ&#x20AC;&#x2122;s extensive and illustrious oeuvre has been conceived and executed in response to social, environmental and political issues on a domestic and international scale. Painted in 1989, Polaris is one of a group of works belonging to a series by the same name that Hotere completed in relation to the destructive danger of the nuclear warheads of the Polaris missile. First built and launched in 1960 during the Cold War, Polaris missiles continued to be carried as part of the nuclear armament of both the United States Navy and the British Royal Navy up until the mid-1990s. In the creation of Polaris, Hotere has employed a number of different materials, including stainless steel, wood and paint, which are harmoniously melded together to realise an impressively powerful work. A rectangular section of corrugated iron is burnished with a blowtorch to spell out the title of the work, while also serving to create a linear pattern of marks that are evocative of the distinct mushroom-cloud shape of a detonated nuclear bomb. Adding to the visual effect of the painted explosion are the rough, trawled areas of violet-pink paint that spray out from either side of the corrugated panel just below the lettering. As well as serving a pictorial function, the areas of burnt iron are simultaneously aesthetic with a lustrous, iridescent finish. Catching and refracting the light outside of the panel, these passages establish a visual communication with the outside world that complements the political content of the work. The painted backdrop of Polaris is realised in vibrant red and raven black and is richly textured, bathing the central panel of corrugated iron in a whirl of brushstrokes. Against this hive of painterly activity, Hotere encloses the work in solid kauri, appropriating a demolition sash window frame to act as a framing devise for the painting. Having become something of a Hotere signature over the years, the use of the sash adds an element of the New Zealand vernacular to a work that is, for the most part, global in outlook. In doing so, Hotere succinctly connects the global to the local, bringing international issues into the New Zealand consciousness. Jemma Field

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GOTTFRIED LINDAUER

GOTTFRIED LINDAUER Portrait of Hera Hunia, Princess Sarah oil on canvas signed; signed and dated 1884 verso, inscribed pinx in ar tist’s hand verso 845mm x 675mm $120,000 - $160,000

Alongside Charles Frederick Goldie (1870 – 1947), Gottfried Lindauer (1839 – 1926) believed that the indigenous Maori people were dying out and that it was his artistic duty to preserve in paint, the existence of this ‘noble’ race. Lindauer painted numerous portraits of individuals and also recorded a number of pastimes and activities of the Maori such as tattooing, weaving, plaiting and digging with traditional implements. Despite the somewhat negative press that both Lindauer and Goldie have received for their attitudes and beliefs concerning the Maori, many now see their works as taonga as they protect inimitable ancestral images of koroua and kuia, which are of sacred importance to the Maori. Lindauer’s portrait of Hera Hunia (c1850 – 1913) is a characteristic example of his approach to portraying Maori figures. As is common in many of Lindauer’s portraits, Hera Hunia is presented to the viewer in three-quarter length and full-frontal view against a plain, painted backdrop. The smooth meticulous brushwork is tight and controlled, obviating any evidence of the artist’s hand with the result that the portrait possesses a photographic clarity and a perceived authenticity and validity. Dressed in a cloak and adorned with jewellery of bone and pounamu while sporting a prominent huia feather in her hair, Hera Hunia stares out of the picture plane in a wistful, contemplative manner. The appearance of the revered huia feather, which was used by the Maori to adorn warriors and the deceased, in conjunction with the greenstone jewellery and shark-tooth earring, attests to the power and stature of Hera Hunia. Indeed, the sitter was of an illustrious lineage as the daughter of Kawana Hunia, chief of the Ngati Apa, Rangitikei, and granddaughter of Te Hakeke, Te Rauparaha’s great rival and arch enemy. Hera Hunia was generally known as Princess Sarah and, although she never married, she maintained a position of prominence in the Hawke’s Bay where she joined her mother’s people, the Ngai Te Upokoiri at Ngatarawa. Lindauer has paid fastidious attention to translating her individual features and the idiosyncratic elements of her dress and jewellery as well as the details of her moko. The portrait is set against an indeterminate ground and framed by a soft light, and the spectator’s attention is focused explicitly on Hera Hunia. Lindauer’s painterly finesse, combined with the strength and poise of his sitter, provides this work with an absorbing timelessness and shows Lindauer at his best in his transcribing of the people that he encountered while travelling through 19th-century New Zealand.The present portrait was presented by Hera Hunia to Donald McLean, cousin of Sir Donald McLean of Maraekakaho, and, by descent, the painting passed to its previous owners. Jemma Field

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COL. CYPRIAN BRIDGE

COL. CYPRIAN BRIDGE Attack on Pamoare’s Pa, 30th April, 1845 watercolour 123mm x 190mm $10,000 - $15,000

The pioneering era of New Zealand’s history was fraught with conflict and difficulty. The resistance of the Maori to European settlement in the North, though well documented, is often biased and therefore inaccurate. This is certainly the case regarding the major British/Ngapuhi conflict which was reportedly instigated after the Ngapuhi invasion of a small settlement at Kororareka in March 1845, and which resulted in the first large-scale British march inland. This struggle was known simply as ‘The War in The North’. Most information describing this war comes from officer reports and personal diaries, but there is a fascinating portion of information gathered from artistic depictions of key battles and victories which augments the written records. Two artists are responsible for these visual representations: Colonel Cyprian Bridge and Lance-Sergeant John Williams. Colonel Cyprian Bridge came to Auckland in 1845 aboard the Slains Castle in command of the 58th Regiment to assist in the assault against Hone Heke. Lance-Sergeant John Williams was a subordinate in Bridge’s contingent, though little is mentioned regarding his involvement in this war. Although works by both artists are invaluable historical documents and have been used to illustrate this, the first pakeha war, from as early as 1859, specific information about the works and their creation is incredibly rare and at times unreliable. This is primarily due to the rampant misattribution of works, usually in favour of Bridge, whilst Williams is relegated to the position of a glorified copy-artist. Roger Blackley suggests some of this confusion is partly the fault of the Bridge family, citing an account of the Turnbull collection when it was owned by H.B. Bridge, Cyprian Bridge’s son, that appeared in the New Zealand Free Lance (30 October 1909, p. 4), which claimed Bridge was the only artist from the 58th Regiment during the conflict, with Williams mentioned only briefly as a sort of artistic assistant to Bridge. Some have even suggested that Williams and Bridge shared a sketchbook in the field, though there is no actual evidence to support such a theory. However, there is some evidence to suggest Williams did work in a reproductive manner at times. Several of his works, though clearly signed by Williams, are also inscribed with the original artist’s name, the most common example being a sepia study of Ohaiawai (from the Nan Kivell collection) which Williams himself inscribed, From a Sketch Taken on the Spot by Major Bridge 58th Regiment. “Apparently on the basis of this one credit line, all other drawings and watercolours by Williams in the Nan Kivell collection have been ascribed to John Williams after Cyprian Bridge.” To further complicate matters, there are occasionally two or three versions of the same scene produced between the two, this watercolour being but one example. Though unsigned and untitled, an attached document indicates the work is a representation of the Attack on Pamoare’s Pa, 30th April, 1845. The Alexander Turnbull Library currently holds the Williams version of the battle and there does not seem to be any evidence to suggest who the painter is and who the copyist. Recent scholarship has progressed considerably in its effort to untangle this web of confusion, but what is ultimately important to remember is that both Bridge and Williams provide priceless perspectives of this war from both a military and an historic standpoint. Williams’ relationship with Bridge is never mentioned, though it is very probable that both men knew of and saw each other’s work, and realistically probably copied freely off one another. In the end, they were both soldiers with a penchant for drawing and watercolour who provided some of the earliest surviving images of New Zealand. Sarah McCrory 1. Roger Blackley, Lane-Sergeant John Williams, Military Topographer of the northern war, Art New Zealand, number 32 spring 1984

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COLIN McCAHON

COLIN MCCAHON Northland oil on canvas signed and dated 15.9.62 Reference: Colin McCahon Database (www.mccahon.co.nz) Record Number CM001430 810mm x 810mm $80,000 - $100,000

Featuring a reduced palette and a boldly simplified composition, Colin McCahon’s Northland from 1962 offers the viewer a sombre, contemplative and harmonious yet dynamic canvas. Dominated by earthy yellow and inky black, Northland nevertheless manages to possess a myriad of variant shades as the colours bleed and merge. The tracks left by McCahon’s brush are highly visible and imbue the painting with an added visual dimension, activating the canvas through the rich stains of pigment. Indeed, McCahon’s technique in the execution of this series was responsible for the final textured appearance of paintings: “the canvas was made sopping wet and on this oil paint was used, but only after most of the oil had been soaked out first by putting it on paper.This gives a very matt finish to the final painting, but it has to be done very quickly”. In line with the reductionist ethic of colour in the painting, form has received a similarly simplified approach. The rolling hills and wide expanses of the Northland region have been distilled into two cursory semicircular shapes which appear to extend and unfold beyond the picture plane. The undulating contours of the golden shape at the top of the canvas and the more distinctly ovoid shape sprouting from the bottom of the canvas are characteristic form for the Northland series, serving as McCahon’s highly idiosyncratic shorthand for mountainous structures. The present painting is one of a series that showed McCahon returning to the landscape of Northland after the geometric abstractions that had prevailed in the paintings from the Gate series of 1961. Painted from memory and recollection, the Northland paintings establish a direct link to the earlier Northland Panels of 1958 that had been completed following McCahon’s return to New Zealand from America. Of his return and subsequent painting, the artist stated: “We went home to the bush of Titirangi. It was cold and dripping and shut in – and I had seen deserts and tumbleweed... the Salt Lake Falls and the Faulkner country... My lovely Kauris became too much for me. I fled North in memory… I was just bursting for wide open spaces.” This often-quoted passage succinctly illustrates McCahon’s love of the New Zealand countryside: the artistic stimulation and refuge that it provided him. All of this is evidently present in the scumbled clarity of Northland. Jemma Field

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RALPH HOTERE

RALPH HOTERE Song of Solomon mixed media on four teen sheets of paper each individual sheet signed with initials R.H. and with Cilla McQueen’s initials C.M.Q; title inscribed, signed by Hotere and McQueen and dated ‘91 on each panel verso 630mm x 490mm each, 1324mm x 3675mm overall Exhibited: Hotere, Out of the Black Window: Hotere’s work with New Zealand Poets, City Gallery, Wellington, June-July 1997. Hotere Country: An Exhibition Featuring Ralph Hotere’s Song of Solomon, Village Ar ts, Kohukohu, Hokianga 10 October - 5 November 2009. Reviewed: Keith Stewar t, Ambushed by a Masterpiece, Sunday Star Times, April 1997. Illustrated: Gregory O’Brien, Hotere, Out of the Black Window: Hotere’s Work with New Zealand Poets (Godwit, 1997) pg. 140-141. Ar t News, Spring 2009, vol 29, No.3, pg 24. Stingray: Nor thland Ar ts and Culture, Spring 2009, issue 4, pg 8. $160,000 - $200,000

Created in response to the 1991 Gulf War, this is a haunting multi-panel painting full of paradoxes. It operates like an antiphonal project, a choral work built on statement and response, between monochromatic chord structures and printed text and between opposing levels of textual content. Wedged into 14 panels the painting unfolds through an alternation of thick bands or blocks of sprayed black paint with glaring white-paper blanks. The tragic grandeur of the work’s major tonal progression is modulated by a host of bleedings, scuffs, speckles, arcs of silver dots, and scripted annotations. The improvisational diversity of these playful surface effects appears to go against the painting’s overridingly bitter and melancholy pall. A staccato string of words, ‘cut out’ one might guess, from military reports and press releases covering the Gulf War, run like two through-lines in the top and bottom sequence of panels. The word strings act as fixed horizon lines amidst a plurality of graphic levels that jump and drop in syncopated order. The plain-text or ‘courier’ font of the printed words holds the communications technology of earlier wars with their typewritten despatches from the front together with the plain-text of contemporary data screens and email systems. This is Cilla McQueen’s text at work in the Hotere matrix. McQueen’s lexical collage functions like a reality principle to Hotere’s broodingly romantic graphic and painterly rhetoric. It is as if, through breaks in battlefield smoke or post-war toxic haze, and shown up by detonations and muzzle flashes on the skyline, McQueen’s chains of words tear through the aesthetic dazzle of the military sublime. Photographs and videos that we followed on CNN at the time seduced us with their telemetric and optical wizadry. Tracer bullet tattoos of white across night-vision green, slow exfoliations of black and grey from destroyed buildings and bridges became familiar imagery in the living room. The asyntactical repetition of McQueen’s words, following one another randomly and dumbly mimics the kind of psychic shutdown that can act as one form of defense against unmanageable trauma. Perhaps McQueen and Hotere, in a sense, have responded to Adorno’s rhetorical question, “Can there be poetry after Auschwitz?” What sort of art and poetry can accompany our contemporary and all too extensive knowledge of war and atrocities? Perhaps only something that works through a sort of affectless enumeration, a machinic refusal to play with delectations of word choice and tonal chromatics. This is the sort of protection from trauma that Freud alluded to in his discussion of ‘the compulsion to repeat’. The McQueen vocabulary which cites ‘main gambit box airburst shift communications schrapnel [sic] jam chamber’ and ‘smart blood break count bodybag holymilk operations kill strategy factory reprisal’ is answered in a dreamlike manner by Hotere’s handwritten fragments from the Song of Songs, the ancient Hebrew text of seduction and lament for an elusive lover who approaches in the night. The lover calls, “Arise my love, my fair one and come away”, “For lo, the winter is past and the rain is over and gone”. The work therefore talks to itself, and thus becomes many works in one, but whether its borrowing of the new testament stations of the cross format or the old testament poetry of desire and lament provide the work with the confidence of redemptive purpose amid desolation has deliberately been left unresolved. Allan Smith I M P O RTA N T W O R K S O F A RT

ANN ROBINSON Te Rito Pod 45% lead crystal signed and dated 2006, and inscribed NZ #24 190mm x 350mm x 245mm Provenance: Formerly in the private collection of the ar tist; Private Collection, Wellington Exhibited: New Zealand Icons, Auckland City Ar t Gallery 2006; Elegance FHE G2 Gallery August /September 2006 $28,000 - $35,000

Although she occasionally branches out, very successfully, into one-off sculptural pieces, Ann Robinson has always put the traditional forms of the vase and the bowl at the centre of her practice. Since first developing her glass casting technique during the 1980s of adapting the lost-wax method used for casting bronze she has created an ever-expanding range of bowl and vase forms many of which she continues to repeat and refine. One major variant of the classic bowl form with circular rim is what she calls the ‘pod’, a canoe-like elliptical shape with pointed ends, standing on a circular stem. As the name suggests, Robinson’s pod evokes the form devised by nature for the protection of seeds and carries connotations of generation, growth and new life. Pod forms first entered her work in the mid 1990s; some have plain surfaces while others are decorated either on the sides or at the pointed ends, as with the Te Rito Pod of which this 2006 piece is a fine example. ‘Te rito’ is the Maori word for the overlapping V-shaped leaves at the base of the flax plant, harakeke, so that the incised design (rendered with great authority and delicacy) reinforces the symbolic associations of the pod. It is one of many decorative designs Robinson draws from the natural environment (especially plants) that are carved into the wax ‘blanks’ at an early stage of the complex process of glass casting (those unfamiliar with the technique can read about it on her website www.annrobinson.co.nz). Robinson’s development as a glass artist has gone hand in hand with the expanding availability of different colours from her innovative supplier Gaffer Glass, an Auckland firm which now exports lead crystal glass suitable for casting world-wide. More than 40 subtly differentiated colours are now available, almost all of which Robinson has utilised. If I am not mistaken, this particular piece uses the colour called pale jade green, possibly with some grey mixed in. It has a wonderful aqueous quality, hovering uncertainly between green and blue according to the available light. As in many of her more recent pieces the wide rim is polished to a mirror-like clarity allowing the tiny air bubbles trapped in the glass to be seen, like peering into a glass of champagne with (in John Keats’s lovely phrase) “beaded bubbles winking at the brim”. It is (to quote Keats again), “ a thing of beauty and a joy forever” Peter Simpson

MICHAEL PAREKOWHAI Atarangi powder coated aluminium 2003, four pieces 200mm x 805mm x 100mm overall size 100mm x 105mm x 100mm (white) 100mm x 400mm x 100mm (pink) 100mm x 300mm x 100mm (green) 100mm x 805mm x 100mm (brown) Illustrated: Michael Parekowhai, ed. Michael Lett and Ryan Moore (2007) pg. 351 $12,000 - $16,000

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A.LOIS WHITE Untitled Nude acrylic on paper signed on ar tistâ&#x20AC;&#x2122;s label verso 500mm x 395mm $15,000 - $25,000

DON BINNEY Te Henga oil on canvas title inscribed, signed and dated 1967 1060mm x 860mm $85,000 - $120,000

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GRETCHEN ALBRECHT Blue Passage acrylic on canvas signed and dated 74; title inscribed and dated 1974 verso 1130mm x 1555mm $16,000 - $18,000

MILAN MRKUSICH Untitled Dark acrylic on canvas title inscribed, signed and dated 1985 verso 1600mm x 1600mm $40,000 - $60,000

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PETER SIDDELL Ponsonby Ridge oil on canvas signed and dated 1994 345mm x 1500mm $65,000 - $85,000

Peter Siddell is well known for his highly detailed depictions of Auckland’s distinctive surrounds. An early-morning paper round that he did as a child left on him a lasting impression of the city which formulates much of his contemporary practice. In this composition, two historic buildings on Auckland’s Ponsonby ridge are set against a fictional backdrop. The buildings are rearranged to satisfy Siddell’s compositional needs and, whilst realism has never been Siddell’s singular goal, there is an undeniable familiarity in the work. We know the distinctive buildings and it takes a moment to realise they are subtly misplaced. We know they lie on the eastern side of the road, but not in their present positions. We know too, that the ridge falls away to the sea, but the harbour view below is not how it should appear. The scene, too, is bereft of life, cars, boats, animals, power lines; it is silent, emptied out. This pervading emptiness does not render the work desolate, as might be expected; instead there is a sense of possibility.The scene is beautifully executed, evoking tranquillity not often found in the hustle and bustle of the city. Siddell presents us with an idealised image of the kind of place in which we all want to live, suffused with golden light and a calm vista. Looking at Siddell’s views of Auckland is, in short, like being in the twilight zone. They’re reassuringly disquieting, and their beautiful contradiction compels our attention with a delightful, if somewhat unnerving, magnetism. Emma Fox

PETER SIDDELL Passage oil on board signed and dated 1976 390mm x 210mm $7,000 - $9,000

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BRENT WONG

BRENT WONG Siren acrylic on canvas signed; title inscribed, signed and dated 1970 verso 901mm x 1220mm $90,000 - $120,000

Writing about Brent Wong’s painting in 1972, Patrick Hutchings referred to “a fine balance between realism and surrealism” in his art. The current painting is a perfect example of this duality in Wong’s early and iconic works. For the beach, the cliffs and the colonial house with its gabled rusty iron roof all bear the unmistakeable signs of the closest observation from nature. His hand has traced with loving care the erosion of the cliffs buffeted by sea winds and the wear on the roof of the house exposed to sea salt and spray with its patch of new iron as evidence of a repair. We note, too, the tiny finials and the smokeless chimney. Then the overpowering strangeness of the scene begins to impact on us as we wonder at the cramped location of the house confined in an uncomfortably small space between encroaching cliffs, the extreme proximity of the paling fence and the isolation of the dwelling. The unearthly blue of the sea with its snow-white waves has a presence more threatening than comforting in its perfection beneath the completely cloudless sky. It has a magnetic allure that attracts us towards it but with an underlying sense of danger. Above, hovering at the juncture between sea and sky is an architectural fantasy, part space ship part monument that could almost have escaped from a Star Wars movie. Here any residue of realism has disappeared and we enter the surrealist world of the imagination and the subconscious. This fantastic form in its sophistication of design and manufacture confronts the barren reality of Wong’s image of his homeland and acts as a tantalising symbol of more sophisticated and advanced cultures elsewhere. Siren-like it calls to us and speaks seductively of beauties that are absent here and whose lack lures many from these shores. It defines the ongoing dilemma for the artist and his audience whether to stay in this stark unformed land or leave and risk the uncertainties of cultural displacement. Drama, melancholy and fear all come together to make this a masterly and intriguing image that lingers in the mind and touches rarely reached regions of the subconscious. Michael Dunn

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PHILIP CLAIRMONT

PHILIP CLAIRMONT Departure of the Soul acrylic on jute canvas signed, ar tist’s gallery stamp affixed verso 910mm x 1490mm $25,000 - $35,000

Possessing an other-worldly allure, Philip Clairmont’s Departure of the Soul is accomplished in a high-key palette and offset against a field of sooty black. Attention is immediately drawn to the expanse of white on the lower third of the canvas, embedded in which is a lone eye. Indeed from the roughly brushed Stygian ground, emerges a pallid female face. Half obscured by a plethora of bright-green, violet, orange and pink streaks of paint, her solitary eye stares confidently and directly out of the canvas. In a resemblance of peacock feathers, these vibrant pigments cut swathes in the inky backdrop, crawling up behind the figure’s head and stretching over the expanse of the work. The face itself is seemingly cleaved in half by an encroaching patch of black so that it unfolds and spills out beyond the edge of the canvas. Undulating and disintegrating, the face holds a number of parallels with Picasso’s abstracted female portraits, the faces of which regularly enjoy rippling contours that split and divide the overall form. In contrast to Picasso’s often-limited use of colour, lies Clairmont’s virtuoso handling of colour. A good example of this is found in the bottom left corner of the painting where ice-cream colours are interspersed with black swirls in psychedelic profusion. Clairmont’s use of animated, arbitrary colour has often been cited by critics as an example of the influence of the German Expressionists such as Ernst Ludwig Kirchner and Franz Marc. While it is undeniable that these artists used colour similarly as an emotional force rather than a representational tool and that form was often fractured and distorted, Clairmont’s work was not conceived for the purpose of rebellion against the established political and artistic order. Rather it is the manifestation of his searing vision and his internal tumult. As one of Clairmont’s later pieces, Departure of the Soul is marked by the artist’s progression towards a comparatively simplified composition and a more restricted palette. This is not to diminish the chromatic intensity of the work, however, and Clairmont’s unique ability to use heightened pure colour is clearly evident in this work, which cherishes a fundamental luminosity. Concurrently, Departure of the Soul exudes a frenetic energy that is characteristic of Clairmont’s most proficient works and testament to the clarity of his vision and his speed of delivery. The resultant potential for the painting to morph into a chaotic chromatic patterning is, however, obviated by the artist’s delicacy of handling, which bequeaths the work an exciting, rough, raw power. Jemma Field

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THEO SCHOON

THEO SCHOON Portrait of Rita Angus oil on board 658mm x 580mm Provenance: Formally in the Collection of ar tist Doris Lusk. Private Collection, Christchurch. Illustrated: Art New Zealand No 107, Winter 2003 p83; Art New Zealand No. 25, Summer 1982 - 83 p23. $30,000 - $40,000

Rita Angus is best known to us as she saw herself, or wanted to be seen, in the many self-portraits she made throughout her career. In her self-portraits, she sometimes adopted a persona that allowed her to project an aspect of her complex character not obvious to the casual acquaintance. Schoon’s portrait of Angus, by contrast, presents the sitter as she appeared to an astute and sympathetic observer who was a personal and trusted friend. We know that Schoon and Angus probably first met in Christchurch in 1939 when he was briefly enrolled at the Canterbury College School of Art. As well as art they shared interests in pacifism, yoga, meditation and Buddhist thought. In fact, Schoon made another portrait of Angus showing her sitting in the lotus position. Schoon later knew Angus in Wellington where he was working as a commercial photographer during the early 1940s. He attracted Angus because of his lively personality and background – he had lived in Java while growing up and had studied at the Rotterdam School of Art. He was young, handsome, charismatic and exotic. Despite his misogyny and overt homosexuality that prejudiced him against most women artists, he saw in Angus a genuine artistic talent. She began a fine portrait of Schoon in 1941 which demonstrates the regard in which she held him, but left it unfinished. Later Schoon was a welcome visitor when she was living in a cottage near Christchurch. Their friendship continued even though Schoon adopted a more modernist stance and distanced himself from the painted portraits he made in his youth. He did continue, however, to take photographic portraits throughout his career including many self-portraits. Although Schoon’s portraiture has not yet been adequately researched, we know that he was accomplished in the idiom both with brush and camera. He made a fine black and white photographic portrait of Angus in late 1943 while visiting Christchurch.This shows her with the identical hairstyle and facial lines as those in the painted portrait, suggesting they were executed about the same time. The portrait could possibly have been executed in her studio with her materials. Like the photograph, it is focused on the head and there is a dark-blue background with nothing to indicate her life as a painter. Schoon painted quickly and confidently from life with little correction or revision showing her face tilted down and giving an impression of introspection. The restricted palette with a deep-blue background recalls Picasso’s Blue Period paintings and generates a similar mood: we see Angus appearing somewhat isolated and vulnerable. It is an intimate portrait with a surprising sensitivity to the psychological dimension of the sitter. There is little artifice about the composition, especially with sketchy arms hanging down and cropped off abruptly. It was a work not made for commercial reasons but as a manifestation of friendship and mutual respect and was apparently not exhibited during Angus’ lifetime but did once belong to Doris Lusk. It is a portrait that is important on a number of levels: historic, artistic and personal. Michael Dunn

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RITA ANGUS

RITA ANGUS Portrait of Anton oil on canvas signed 565mm x 390mm $40,000 - $60,000

Rita Angus is renowned for her many self-portraits and portraits of friends such as the much-celebrated Portrait of Betty Curnow, 1942. Portraits and studies of family members, including her brothers and sisters are also prominent. Jean, Rita’s younger sister to whom she was very close, features in a number of these studies. The present portrait called simply Anton depicts Jean’s son who was born in 1941. Rita, who often stayed with Jean and her husband Fred Jones, doted on Anton. He first appears in her watercolour Mother and Child of 1942, now in the Auckland Art Gallery, as a baby in his mother’s lap.The present portrait shows Anton aged about five or six and, although undated, must have been painted circa 1946–47. At this time, Rita was living alone in a cottage on the Aranoni Track near Sumner. She often stayed with Jean and her family for weekends, perhaps for company, and for longer periods when Fred was away on business providing relaxed hours for sketches and studies. She used the signature Rita Angus to which she reverted in 1946 when, after her divorce, she stopped using her married name Rita Cook. The work is listed as Anton in her inventory of oil paintings. Angus was at her most active as a portraitist in the 1930s and 1940s. She did not undertake formal portrait commissions; instead she made works for personal reasons of sitters she knew, respected or loved. Her painted portraits of children are comparatively rare though they include familiar works like the unforgettable double portrait Fay and Jane Birkenshaw and the Head of a Maori Boy both dating to the late 1930s. Here she depicts Anton seated on what looks like a bench, shown in a three-quarter view, though the face is depicted from a combination of viewpoints: the contour of the nose, lips and jaw make a profile, while the cheek and brow seem to have been viewed from a different angle. This composite approach was used in some of her later landscapes. Anton gazes away from the viewer and appears somewhat detached. His short-back-and-sides haircut and buttoned-up shirt and shorts give the appearance of a schoolboy whose true energy and spirit have been constrained by social norms and expectations. The tense way he holds his hands to his thighs gives the impression he will jump up and run away as soon as he is allowed freedom from posing. As so often with Angus, the figure is stylised, as shown by the firm contours and simplified modelling used to emphasise form. The folds in the jumper are abstracted and form repeating patterns of light and dark. The overall effect of the portrait is one which captures the essential qualities of boyhood in 1940s’ New Zealand. Michael Dunn

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RALPH HOTERE

RALPH HOTERE Nineteen-Eighty-Four stainless steel, paper and acrylic title inscribed, signed and dated 83:84; original Roger Hicken frame stamped with initials R.H. 770mm x 770mm Provenance: Purchased Marshall Seifer t Gallery, Dunedin. Private Collection Dunedin. Private Collection, Auckland. $60,000 - $80,000

The year 1984 is forever associated with images of Big Brother and the decline of democracy due to George Orwell’s anti-communist novel 1984. While the reality was not quite as dire as Orwell had feared it would be, it was nonetheless a watershed year, both locally and globally. Internationally, the tensions between Russia and the American President Ronald Reagan were increasingly stretched, a famine of epidemic proportions was raging through Ethiopia, and the constant conflicts in Beirut and Kosovo left most of the Western world more than a little uneasy. Closer to home, New Zealand was suffering through the last vestiges of Robert Muldoon’s controversial government and his disastrous handling of the currency crisis. Significantly, it was a period when New Zealanders were fiercely debating the issue of nuclear power, a matter that would ultimately lead to one of the defining moments for New Zealand as a nation. It is in this broader climate that Ralph Hotere created his work Nineteen-Eighty-Four, a painting from the Polaris series. The motivation behind the series came from sources both international and personal. In 1984, the nuclearpowered ship POLARIS visited New Zealand, bringing the threat of devastation by nuclear warheads closer to being a reality. In his personal life, Hotere had taken a trip to Europe in the early 1960s, visiting the grave site of his brother who was killed while serving as a member of the WWII Maori Battalion. This experience moved him deeply and spawned the Polaris and the Sangro series in 1962. He was politically active in environmental and social issues, both local and international, and his beliefs were inevitably translated into his works. This work, comprised of steel, paper and acrylic, is typical of his works from the early 1980s. Bound in a Roger Hicken driftwood frame (Hicken’s initials are carved on top), Nineteen-Eighty-Four is also part of Hotere’s ‘window’ series, a group of works that explore the various preconceived notions of the inherent function of a window. Typically, a window is a vehicle for exposing the outside world; however, Hotere’s windows tend to both obscure and reflect rather than to reveal. Here the polished steel is partially obscured by three blocks of paper applied to the centre of the work. The strong compositional element, the clear ‘T’ shape, is the stylised shape of the Polaris missile. The scratched steel and paper juxtapose a rough texture with the smooth fluidity of the polished steel, which is permitted only to mirror the periphery. If the viewer is standing directly in front of the work, it is possible to see only images reflected along the fringe. For the majority of New Zealanders, the way forward was clear, and this work makes a powerful anti-nuclear statement. Emma Fox

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SHANE COTTON Night Sky Over Ayers Rock, Light Below Uluru oil on canvas title inscribed, signed and dated 2004; title inscribed, signed and dated 2004 verso 750mm x 1090mm $25,000 - $35,000

PETER ROBINSON Low Interest / High Interest oil stick and acrylic on two wooden panels title inscribed; signed and dated â&#x20AC;&#x2DC;95 verso 705mm x 1100mm $25,000 - $35,000

TONY FOMISON Kei Whea Tuku Whanau? Where is My Family? oil on canvas panel title inscribed and dated ‘79; inscribed: Elva: don’t reframe this painting in the ar tist’s hand verso 560mm x 760mm $45,000 - $65,000

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DICK FRIZZELL Post Office enamel on board title inscribed, signed and dated 17/2/82 1003mm x 1000mm $12,000 - $18,000

ALLEN MADDOX Untitled acrylic and oil on canvas signed with initials A.M. and dated 27.12.91 900mm x 950mm $12,000 - $16,000

REUBEN PATERSON Karapuutoro glitter, gloss enamel and polyurethane varnish on canvas title inscribed, signed and dated â&#x20AC;&#x2DC;07 verso 1015mm x 1015mm $12,000 - $18,000

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TONY FOMISON Roads Out To The Coast a View You Have to Climb Up To oil on canvas board title inscribed and signed and inscribed Roads out to the Coast: a view you have to climb to / Started 5.2.86 Driving Creek Coromandel / T. Fomison verso Provenance: Private Collection, Auckland Exhibited: Tony Fomison: My Work Myself, Manawatu Ar t Gallery, Palmerston Nor th, 1987 300mm x 401mm $20,000 - $30,000

GORDON WALTERS Rauponga No.1 acrylic on canvas signed and dated â&#x20AC;&#x2DC;85 verso 920mm x 685mm $40,000 - $60,000

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JOHN PULE Taulani oil on canvas title inscribed, signed and dated 2003 2020mm x 1815mm $25,000 - $35,000

STEPHEN BAMBURY â&#x20AC;&#x153;Like Density Colour is a Reality in Itselfâ&#x20AC;? resin and acrylic on two aluminium panels title inscribed, signed and dated 2001 verso 390mm x 780mm $15,000 - $20,000

JOHN WALSH Okorahanga Tce oil on board title inscribed, signed and dated 2002 verso 786mm x 1185mm $11,000 - $13,000

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ALLEN MADDOX Untitled acrylic and oil on timber panel 1980mm x 760mm $16,000 - $20,000

PAUL DIBBLE Boat on Fish of Maui bronze, 3/3 signed, dated 2008 and inscribed NZ 3/3 MAUI 410mm x 580mm x 320mm $8,000 - $12,000

RALPH HOTERE Port Chalmers Oputae Cut burnished stainless steel title inscribed, signed and dated â&#x20AC;&#x2DC;89 604mm x 700mm $60,000 - $70,000

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MICHAEL HIGHT Haldon oil on canvas title inscribed; title inscribed, signed and dated 2003 760mm x 2100mm $30,000 - $35,000

DICK FRIZZELL Chapel of the Snows oil on canvas title inscribed, signed and dated 26/8/2006; and inscribed Chapel of the Snows 760mm x 960mm Illustrated: Dick Frizzell The Painter. A Godwit Book published by Random House, New Zealand. 2009 p.296 $30,000 - $35,000

GAVIN HURLEY Sea Horse oil on hessian title inscribed, signed with ar tist’s initials GH and dated ‘07 verso 560mm x 700mm $7,000 - $10,000

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ANDREW McLEOD No Dignity digital print signed and dated 2004 420mm x 290mm $3,000 - $5,000

PETER ROBINSON Thumbprint cardboard, tape and stain 680mm diameter x 90mm $800 - $1,200

ANDREW McLEOD Lust Under the Sea digital print 2/2 670mm x 490mm $4,000 - $6,000

PETER ROBINSON Exclamation Mark cardboard, tape and stain 770mm x 120mm x 120mm $1,500 - $2,000

PETER ROBINSON Big Al Kaida oil on on paper title inscribed Exhibited: Heide Museum of Modern ar t, Melbourne 8 April - 4 July 2004, Travelling to Victoria, Tasmania, Queensland New Zealand, July 2004 - July 2006 1400mm x 990mm $15,000 - $25,000 I M P O RTA N T W O R K S O F A RT

RALPH HOTERE Winter Solstice Carey’s Bay gold leaf and acrylic on glass title inscribed, signed and dated ‘93; inscribed Judy, Happy Birthday, Love Ralph, 20/11/93 verso 215mm x 175mm $15,000 - $20,000

KARL MAUGHAN Sidone Avenue oil on canvas title inscribed, signed and dated 7/06/2006 verso 1370mm x 1370mm $20,000 - $30,000

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LOUISE HENDERSON Leaves and Foliage oil on board signed 610mm x 910mm $5,000 - $8,000

JOHN WEEKS Mangakeowa Gorge oil on board original John Leech Gallery Cer tificate of Authenticity signed by Allan Swinton affixed verso 630mm x 850mm $25,000 - $35,000

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CAPTAIN THOMAS ROBERTSON A Dismasted Sailing Ship Under Tow At The Mouth Of The Tamar River, Tasmania oil on canvas laid down onto board signed 572mm x 835mm $20,000 - $30,000

JOHN F PARSONS Portrait of a Dancing Girl with Tambourine oil on canvas signed and dated 1888 1000mm x 750mm $5,000 - $7,000

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CHARLES BLOMFIELD The Pink Terraces together with The White Terraces oil on canvas (pair) signed 315mm x 415mm 315mm x 420mm $25,000 - $35,000

JOHN BARR CLARKE HOYTE The Pink and White Terraces watercolour 393mm x 640mm $10,000 - $15,000

FRANCES HODGKINS Milking Time, Holland watercolour signed and dated â&#x20AC;&#x2DC;97 130mm x 180mm $16,000 - $24,000

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EVELYN PAGE Still Life with Flowers oil on on canvas signed 395mm x 323mm $35,000 - $45,000

BILL HAMMOND Pack of Five oil on plywood title inscribed, signed and dated 1999 750mm x 525mm $45,000 - $65,000

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RALPH HOTERE Drawing for Aurora, A Painting On Rusted Corrugated Iron watercolour, colour pencil, enamel and ink on paper title inscribed; signed and dated Por t Chalmers V1 â&#x20AC;&#x2DC;86 865mm x 560mm $18,000 - $24,000

RALPH HOTERE Te Whiti To the People: Feb 1880; Te Whiti Series ink and watercolour on paper, title inscribed, signed and dated ‘72 and inscribed TE WHITI To the people Feb. 1880 “If the bayonets of the soliders should dazzle your eyes, my people - be not afraid” To Reporters June 1879 “When I speak of the land, the sur veys, the ploughmen and such small matters - the pencil of the reporters fly with the speed of the wind - but when I speak of the words of the spirit they say this is the dream of a madmen” John Caselberg, the sayings of Te Whiti; signed with ar tists stamp affixed verso 520mm x 390mm $15,000 - $25,000 I M P O RTA N T W O R K S O F A RT

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SARA HUGHES Crash #3 acrylic on linen title inscribed; signed and dated 2006 900mm x 1850mm $9,000 - $12,000

JOANNA BRAITHWAITE Egg Man in the Moon oil on canvas title inscribed, signed and dated 2004 verso 1115mm x 1375mm $9,000 - $12,000

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JIM SPEERS Palace Radio 2 acrylic, vinyl & fluorescent light 1350mm x 1350mm x 220mm $10,000 - $15,000 Jim Speersâ&#x20AC;&#x2122; Palace Radio 2 eloquently embodies warmth; it resonates with a homely glow of soft, dappled peach, pink and yellow. The light boxes are a prominent part of Jim Speersâ&#x20AC;&#x2122; practice and investigate a unique approach to light, colour and surface in a somewhat painterly manner through sculpture. Parodying commercial signage, the light boxes reflect an interest in the everyday banality of life, they shimmer discreetly and the formality of the square composition is distilled through the softness of the milky outer perspex shell. The light works, which Speers began to make in the 1990s, evolved from a fascination with the memory of passing a simple street sign or shop front. Speers took this notion and attempted to develop the idea into sculptural entities, forming a contextual shift and a conversation with often-overlooked architectural features. Initially all constructed by hand, the works often incorporated graphic motifs made from adhesive vinyl on the outside or inside of the perspex. Eventually Speers adopted a more fabricated approach to the light box series of works, having each piece commercially constructed. The palette of each work was often developed with a degree of constraint because the application of colour was restricted by what was commercially available, referring to the idea of the everyday. The works created after the change to factory construction allowed for a slicker, more refined appearance. Palace Radio 2 was made in 2004, a year that represents a dynamic period for Speers who won the Wallace Art Awards Paramount Award the same year. Jessica Pearless

NIKI HASTINGS - MCFALL Bus Stop - Poutasi synthetic lei flowers, light 600mm x 200mm $4,500 - $6,500

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IAN SCOTT Small Lattice No.154 acrylic on canvas title inscribed and signed verso inscribed 429 920mm x 920mm $6,000 - $9,000

SARA HUGHES Software lightbox 1180mm x 1180mm x 160mm Provenance: Purchased from Vavasour Godkin Gallery, 2004 $15,000 - $20,000

110

PAUL DIBBLE The Big Screen bronze signed and dated â&#x20AC;&#x2DC;97 230mm x 200mm x 125mm Exhibited: Brooke Gifford, Christchurch 1997 Illustrated: Fran Dibble, Paul Dibble, David Bateman 2001, p.105 $10,000 - $15,000

NZ 1990 COLLECTION, A LITHOGRAPH PORTFOLIO Published on the occasion of the New Zealand sesquicentennial Philippa Blair, Aeroplane Angel: Gavin Chilcott, Opiated Jars and Heart Pot: Jenny Dolezel, Love Pictures: Rober t Ellis, Kupara: Fatu Feu’u, Pale Auro: Dick Frizzell, Just Outside Taumaranui: Pat Hanly, Butterfly Vacation: Christine Hellyar, Germinal: Ralph Hotere, A Union Jack?: Robyn Kahukiwa, Waitangi: Mary McIntyre, Moa Summer: Richard McWhannell, Untitled: Paratene Matchitt, Taumatakahawai: Selwyn Muru, Untitled: John Reynolds, Blind Prophet: Kura te Waru Rewiri, Whakapapa: Barbara Tuck, Repetitions: Denys Watkins, Parkinson’s Study: Ruth Watson, An Introduction to Gamir y: Jane Zusters, Stepping Off the Planet twenty colour lithographs 33/50 all title inscribed, signed and dated 1989 or 1990 560mm x 760mm sheet sized $20,000 - $30,000 I M P O RTA N T W O R K S O F A RT

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112

MICHAEL HIGHT Canvastown oil on canvas title inscribed, signed and dated 2007 610mm x 1520mm $16,000 - $22,000

KARL MAUGHAN Table Flat oil on canvas title inscribed, signed and dated verso 915mm x 1215mm $13,000 - $18,000

JEFFREY HARRIS

From Dream oil on linen title inscribed, signed and dated 2003 - 2004 2290mm x 1740mm $12,000 - $18,000

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NEIL DAWSON Untitled acrylic on steel and metal mesh 780mm x 1120mm $5,000 - $7,000

JOHN PULE Untitled acrylic, oil and ink on canvas signed and dated 2008 455mm x 605mm $5,000 - $7,000

TOSS WOOLLASTON Old Shed Moutere watercolour signed; title inscribed verso 380mm x 560mm $5,000 - $7,000

100

SERAPHINE PICK Untitled (Green) oil on canvas signed and dated Nov 1996 1670mm x 1210mm $18,000 - $25,000

101

SAFFRON TE RATANA L.Kd.forU.C1, P.K.4.R.1 mixed media on canvas title inscribed, signed and dated Nov. â&#x20AC;&#x2DC;02 verso 2140mm x 1220mm $4,000 - $6,000

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102 DENIS Oâ&#x20AC;&#x2122;CONNOR Rathcoola Dreaming three colour photographs mounted on dibond aluminium, edition of 5 title inscribed, signed and dated 2005 and inscribed My Two Arms the One Length 2005; The Irish Harp is Not Constructed but Car ved Out of a Single Tree Like a Canoe 2005; I Came Home I Had Grown Sick of my Accent 2005 verso 1000mm x 1300mm 1300mm x 1000mm 1000mm x 1300mm $3,000 - $5,000

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116

TONY LANE Four Angels oil and gold leaf on gesso panel signed with initials TL and dated 4.01; title inscribed, signed and dated 2001 verso 1940mm x 1360mm $20,000 - $25,000

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ROBERT ELLIS Maungawhau, Mt Eden mixed media on paper title inscribed, signed and dated 7 April 2002 and inscribed Te I pua mataaho 995mm x 700mm $6,500 - $8,500

JOHN REYNOLDS Study for the Useless Portrait of Shadows III oil paint marker, oil and acrylic on canvas title inscribed, signed and dated 2003 verso 600mm x 450mm Provenance: Originally purchased Sue Crockford Gallery, Auckland $3,500 - $4,500

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BILLY APPLE Rainbow seriograph, 3/195 signed and dated â&#x20AC;&#x2DC;65 594mm x 496mm $3,000 - $5,000

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SHANE COTTON Makeover oil pigments (make-up) on canvas title inscribed, signed and dated 2002; title inscribed, signed and dated 22 Nov 2002 verso 600mm x 600mm $4,000 - $6,000

MICHAEL SMITHER Black Beach 18 oil on board signed with initials MDS and dated â&#x20AC;&#x2122;74; title inscribed and dated â&#x20AC;&#x2DC;74 on original John Leech Gallery label attached verso 390mm x 158 mm Provenance: Purchased John Leech Gallery, 1974 Exhibited: John Leech Gallery, September 17th - October 4th, 1974 $5,000 - $7,000

109

JEFF THOMSON Map of Australia screenprinted steel, 6/15 signed and dated 2006 620mm x 850mm $4,000 - $5,000

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JEFF THOMSON Map of New Zealand screenprinted steel, 12/15 signed and dated 2008 1700mm x 740mm $5,500 - $7,500

111 A COMPLETE SET OF BARRY LETT GALLERY MULTIPLES Don Binney, Pacific Frigate Bird; Rober t Ellis, Motorways; Pat Hanly, Inside the Garden; Ralph Hotere, Red on Black; Michael Illingwor th, Tawera; Colin McCahon, Nor th Otago Landscape; Milan Mrkusich, Passive Element; Ross Ritchie, Three; Michael Smither, Wave Invading Rockpools; Gordon Walters, Tawa; Toss Woollaston, Patrick Lucas; Mervyn Williams, Midas Finds His Soul 12 screenprints 560mm x 460mm sheet size $13,000 - $18,000

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MAGNIFICIENT JEWELS FINE ANTIQUE & MODERN JEWELLERY SPLENDID LOOSE DIAMONDS IMPORTANT WRIST & POCKET WATCHES

WED 2 DEC 2009 TWO SESSIONS, 2.00PM & 6.00PM EVENING VIEWING WED 25 NOV, 6.00PM – 8.00PM VIEWING WED 25 NOV, 6.00PM – 8.00PM THU 26 NOV, 9.00AM – 5.15PM FRI 27 NOV, 9.00AM – 5.15PM SAT 28 NOV, 11.00AM – 3.00PM SUN 29 NOV, 11.00AM – 3.00PM MON 30 NOV, 9.00AM – 5.15PM TUE 1 DEC, 9.00AM – 5.15PM WED 2 DEC, 9.00AM – 12.30PM (SHARP)

LOTS 200 - 228 WRIST & POCKET WATCHES LOTS 229 - 232 ACCOUTREMENTS LOTS 233 - 386 FINE JEWELLERY & LOOSE DIAMONDS Illustrated left: Magnificient 5.14ct fancy intense yellow and white diamond ring, Lot 315 Magnificient fancy intense pink and white diamond ring, Lot 331 Art Deco bow brooch, Lot 324 Diamond and pink tourmaline necklace, Lot 242 BUYER’S PREMIUM A buyer’s premium of 12.5% will be charged on all items in the Fine Jewellery & Watches section of this catalogue. GST 12.5% is payable on the buyer’s premium only.

2.00PM AFFORDABLE, ESTATE & MODERN JEWELLERY LOTS 1000 - 1250

203 D UNHILL, A Lady’s 18ct Yellow Gold Wristwatch Set With Diamonds.

Ref: 34-10077. Circular outline case with integrated gatelink bracelet. Quartz movement. The face entirely pavé set with diamonds. Sweep second. The bezel ring and first 10 centre links of the bracelet set with further diamonds. $7,500 - $8,500

see colour illustration page 123

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

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.

200 O MEGA, A Gentleman’s De Ville Automatic Wristwatch.

Rectangular case with bevelled lugs in stainless steel. Burnished dark grey face with white batons. Brown lizard strap. $200 - $300

201 A Rolled Gold Cased Art Deco Period Wristwatch.

Rectangular outline case, convex lens, pierced geometric lugs. Silver face with Arabic numerals and subsidiary seconds. Manual mechanical movement. Brown leather strap. $275 - $375

202 P RAESENT, An 18ct Yellow Gold Cased “Aeromatic” Triple Calendar Moonphase Wristwatch.

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Circular outline case, silver face with Arabic numerals, sweep second, date hand and windows for day, month and moonphase. Bumper style automatic movement. C.1948. Black leather strap. $1,000 - $1,200

204 R OLEX, A Gentleman’s 18ct Yellow Gold Cased “Cellini” Wristwatch.

Ref: 4112, s/n W002486 (c.1995). Circular outline, white face with Roman numerals in gold relief. Manual mechanical movement. Brown crocodile strap. As new appearance. $3,750 - $4,250

see colour illustration page 123

205 T AG HEUER, A Gentleman’s Chronograph Professional Diver’s Watch.

Stainless steel case and bracelet, quartz movement. Blue face with luminous batons, sweep second, date window and subsidiary chronometric dials. Stop and return buttons in the band. Rotating outer bezel ring. $650 - $850

206 S EIKO, A Gentleman’s `Bell Matic’ Wristwatch.

Stainless steel semi-tonneau case and bracelet. Matt silver face with polished batons, sweep second, day/date window and rotating inner chapter ring for alarm-set activated by a button in the band. With original box. $300 - $400

207 O MEGA, A Gentleman’s `Seamaster 30’ Wristwatch.

Circular outline case of stainless steel. Silver face with polished batons and Arabic quarters. Manual mechanical movement. Black leather strap. $275 - $475

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203 209

210

204

227

226 F I N E J E W E L L E RY & WAT C H E S

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208 R OLEX, 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. $4,000 - $5,000

see colour illustration page 123

209 J AEGER-LE COULTRE, A Lady’s Cocktail Watch Set With Diamonds.

Circular outline case and integrated mesh bracelet of 18ct white gold. Manual mechanical movement with crown to back. Silver face with Arabic quarters and polished batons. The bezel enclosed by a continuous border of single-cut diamonds. With original box. $1,000 - $1,400

see colour illustration page 123

210 L ONGINES, A Classic Watch Of Art Deco Design Set With Diamonds.

Circular outline case and strap of 14ct yellow gold enhanced with engine turning. The bezel set with diamond indexes. Manual mechanical 17 jewel movement. Silver face with minute markers. Unisex size and design. $3,000 - $3,500

see colour illustration page 123

212 C HOPARD, A Lady’s Wristwatch Set With Diamonds.

Ref: 13/6302 from the “Classique” Collection. 18ct yellow gold rectangular outline case. White face with Roman numerals enclosed by a bezel set with diamonds. Quartz movement. Black crocodile strap. As new appearance. With original box. Valuation available on request. $6,500 - $7,500

see colour illustration page 123

213 E XACTUS, A Lady’s Pendant Watch Set with Diamonds.

214 C YMA, A Gentleman’s 18ct Yellow Gold Cased `Navistar’ Autorotor Wristwatch.

see colour illustration page 123

Rectangular outline, stepped lugs, convex lens. Silver face with Arabic quarters and recessed rectangular subsidiary seconds, manual mechanical movement. Black lizard strap. Engraving verso. $275 - $375

216 B ULOVA, A 10ct Gold Filled Cased Wristwatch.

Rectangular outline with faceted lugs. Silver face with Arabic numerals and subsidiary seconds. Manual mechanical movement. Brown leather strap. $275 - $375

217 T IFFANY & Co, a Gentleman’s Stainless Steel Cased Wristwatch.

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Circular outline case, silver face with polished batons and sweep second. Brown leather strap. $450 - $550

215 W HITTENAUER, A 10ct Gold Filled Art Deco Cased Wristwatch.

211 A Particularly Good and Unusually Heavy 18ct Yellow Gold Cased Open Face Split Second Chronograph Pocket Watch.

Keyless 3/4 plate lever. White enamel face with Roman numerals, subsidiary dials for continuous seconds and elapsed time, sweep split seconds hands operated by a button on the band. Stop and return operated by depressing crown. Signed Wales & McCulloch, 20 Ludgate Hill. Movement also signed, numbered 3485 and engraved with Kew Observatory Certification. A substantial, quality timepiece. In going condition, but return a little sticky. 188g. $3,500 - $4,500

Circular outline case of 18ct white gold, the bezel and bale set with round cut diamonds. Inverted silver face with polished batons. Manual mechanical movement. Suspended by an 18ct white gold box-link neck chain. Gemologist’s report and valuation available on request. $1,200 - $1,500

Circular outline case, silver face with concentric engine turned centre. Roman numerals. Quartz movement. Matching stainless gatelink bracelet. $1,200 - $1,500

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223 Front

223 Back

224 Front

224 Back F I N E J E W E L L E RY & WAT C H E S

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363 247

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365 386

249 126

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239 240 342

288

336

246

261

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346 256

285

373

229

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218 O MEGA, A Boy’s 9ct Yellow Gold Cased Wristwatch.

Circular outline case, silver face with Arabic numerals and subsidiary seconds. Manual mechanical movement. Brown leather strap. $500 - $700

223 J AEGER-LE COULTRE, A Gentleman’s Rare Platinum Cased Tourbillon-2 Reverso Wristwatch.

Ref: 217-64-40 and numbered 63/500. Elegant grey face with cut-away silver to the subsidiary seconds, power reserve and minute band. Silver Arabic numerals in low relief. The manual mechanical 25 jewel movement housed in solid 18ct white gold enhanced with “cotes Soleillees” decoration radiating from the tourbillon carriage, visible under the reverso crystal back. Black crocodile strap with platinum deployant clasp. With green-wood box, outer presentation case, books and papers dated Oct. ‘04. Unblemished new condition. $85,000 - $95,000

see colour illustration page 125

219 A QUASTAR, A Gentleman’s Automatic “Regate” Wristwatch.

Stainless steel semi-tonneau case and bracelet. Silver face with day-glow sweep second, polished baton quarters and five progressive apertures for race count-down of 5 minutes. Reset by a button in the band. The indication changing from blue to red for each passing minute. $300 - $400

220 G RUEN, A Gentleman’s Triple Calendar Chronograph Automatic Wristwatch.

Circular outline stainless steel case and bracelet. White face with dot indexes, sweep second, date hand, day/month windows, moon phase and subsidiary chronometric and 24 hour dials. Tachymetric bezel ring. Crown and chronometer buttons all screw-down. $1,000 - $1,200

224 B REGUET, A Gentleman’s Classique Tourbillon Wristwatch.

Ref: 3350BA/12/286, case No 3310E and numbered 500. Circular outline 18ct yellow gold case with signature milled edge. Manual mechanical 21 jewel movement. Guilloche dial with off-set chapter ring and exposed tourbillon carriage. Crystal back. Black crocodile strap with 18ct yellow gold buckle. With original papers dated May 1996, figured walnut box and outer presentation box. As new unblemished appearance. A splendid timepiece. $70,000 - $80,000

see colour illustration page 125

221 B REGUET, A Gentleman’s Classique Day/ Date/Moonphase Wristwatch.

Ref: 3330BA/11/286 case 1480B. Circular outline 18ct yellow gold case with signature milled edge. Automatic movement, sapphire end stone to crown. Guilloche dial with offset chapter ring and shaped apertures for moonphase, day and date. Black leather crocodile strap with 18ct yellow gold buckle, as new unblemished appearance. With original papers. $25,000 - $28,000

see colour illustration page 125

225 T IFFANY & CO., A Gentleman’s Automatic Certified Chronometer Diver’s Watch.

Mark T-57, SKU 4502094/Movement 8983. Circular outline case and integrated bracelet finished in grey vulcanised rubber parcoating. Grey face with polished Roman numerals, sweep seconds and date window. Rotating minute ring operated by second crown. Automatic movement visible under crystal back with original box, papers, chronometer certificate and guarantee showing purchase in New Zealand 14/2/08. As new, unblemished with protective seals. $2,200 - $2,600

see colour illustration page 123

222 P ATEK PHILIPPE, A Gentleman’s All 18ct Yellow Gold Wristwatch.

Ref: 3745-1, s/n 2755222, movt.1321474, Geneva seal. Golden ellipse, transverse, bronze face with polished batons. Integrated textured mesh bracelet strap. C.1975. With original box. Excellent appearance. $8,000 - $9,000

see colour illustration page 123

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319 304

318 377

332

362

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345

314

290 321

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322

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226 B VLGARI, A Gentleman’s Automatic `Assioma’ Wristwatch.

Ref: AA485, L 2299. Substantial rectangular case and integrated bracelet of stainless steel. Charcoal grey face with Arabic meridians, polished batons, sweep seconds and date window, with original presentation box. As new, unblemished. $3,500 - $4,000

see colour illustration page 123

227 O MEGA, a Gentleman’s Seamaster Automatic Wristwatch.

`Aqua Tera’ Cal 2500, 2503.80.00, movement 80791983. Circular 39mm outline case and bracelet of stainless steel. Black face with polished batons, sweep second and date window. Co-axial chronometer water resistant to 150m. Crystal back. As new, unblemished with original box and papers. $3,500 - $4,000

see colour illustration page 123

228 A Lady’s 14ct Yellow Gold Cased Open Face Fob Watch.

Keyless cylinder, white face with pale blue chapter ring to Roman numerals enclosing a small floral motif. Engraved decoration to case. $300 - $400

ACCOUTREMENTS 229 A Pair of Cufflinks Set With Fancy Yellow and White Diamonds.

Octagonal outline in 18ct yellow gold pavé set with round modern brilliant cut fancy yellow and white diamonds in alternating triangular panels. TDW 1.26ct. Toggle fittings. Gemologist’s report and valuation available on request. $1,800 - $2,200

see colour illustration page 127

230 A Vesta Match Container of 9ct Rose Gold.

Circular outline with an engraved monogram. 13.1g. $200 - $300

231 A 9ct Yellow Gold Cased Propelling Pencil.

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“Bakers Perm-Point”, hallmarks for Birmingham 1962. 26g. $475 - $575

232 A Pair of Cufflinks Set With Diamonds.

Rectangular outline in 18ct white gold designed as four triangular panels pavé set with round modern brilliant cut diamonds, TDW 1.15ct. Gemologist’s report and valuation available on request. $1,600 - $2,000

see colour illustration page 141

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. 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. 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.

233 A Victorian Brooch Enhanced with Enamel.

Oval outline repoussé decorated with ropework and beading in yellow gold (approximately 15ct) to a central star motif in midnight blue enamel centred by a pearl. Verso a glazed locket compartment. With fitted box. $275 - $375

234 A Victorian Bar Brooch of 15ct Yellow Gold Set With Diamonds.

Decorated with ropework and beading to a circular central panel set with a cluster of seven old cut diamonds of very good quality for the period. With box. $350 - $450

235 A n Impressive Pendant Set With An Amethyst.

The 27 x 23mm rectangular mixed cut amethyst set in a pendant of 9ct yellow gold. $750 - $850

see colour illustration page 126

238 A Pendant Set With A Large Rose-Cut Diamond.

239 A Good Frog Brooch/Pendant Pavé Set With Diamonds.

18ct yellow gold set with some 5.46ct of round modern brilliant cut diamonds, the eyes set with cabochon blue sapphires. Fitted with both brooch pin and double bale for use as a pendant. Gemologist’s report and valuation available on request. $6,500 - $8,500

see colour illustration page 127

240 A Victorian Gold Bangle.

The 31mm wide hinged bangle of 15ct gold washed with gold of a higher carat, (approximately pure), the upper section decorated with engraved floral motifs within rope-edged borders. 35.8g. Gemologist’s report and valuation available on request. $1,000 - $1,200

see colour illustration page 127

236 A Victorian Gold Bangle Set With Diamonds.

The 28mm wide bangle of 15ct gold washed with gold of a higher carat, (approximately pure), is set with three early European cut diamonds within lozenge shaped frames surrounded by scroll borders. TDW approximately 0.72ct. 36.9g. Gemologist’s report and valuation available on request. $1,500 - $2,000

see colour illustration page 126

241 B UNDA, A Stylish Pair of Earstuds Set With White and Fancy Yellow Diamonds.

Modified rectangular outline in 18ct burnished white gold, one pavé set with round modern brilliant cut diamonds; the other pavé set with canary fancy yellow round modern brilliant cut diamonds. With original presentation box. Valuation available on request. $2,000 - $3,000

see colour illustration page 127

237 A Brooch Set With A Diamond of 1.81ct And Two Sapphires.

The knife-edge bar of platinum set with the diamond to the centre and a cushion cut blue sapphire at each end. The diamond assessed loose as 1.816ct, J, SI2, transitional brilliant cut, the sapphires of desirable vivid Royal blue of around 1ct each. With original box from Vermey’s of Johannesburg. Gemologist’s report and valuation available on request. $13,000 - $15,000

see colour illustration page 126

The pendant of 18ct yellow gold mirror image free-form plates; one plain polished, the other of nugget finish, between which is captured a 9 x 7mm oval rosecut champagne coloured diamond. $750 - $1,000

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242 A Magnificent Necklace of Diamonds With A Pink Tourmaline and Diamond Pendant Drop.

The necklace of articulated round and square links in pairs, set with round modern brilliant and baguette cut diamonds to a mid-section drop of two larger round modern brilliant cut diamonds and two baguettes to an oval cut pink tourmaline of vibrant appearance and actual weight 10.88ct; set within a border of further round brilliant cut diamonds. TDW 22.06ct of fine quality (F/G). Gemologist’s report and valuation available on request. $37,500 - $42,500

see colour illustration page 120

243 A Pendant Set With Diamonds.

Serpentine outline in 14ct white gold set with a graduated line of 7 round modern brilliant cut diamonds having a reported TDW 1.50ct. Suspended by a 14ct white gold bright-cut trace chain. Gemologist’s report and valuation available on request. $2,250 - $2,750

see colour illustration page 133

244 A Tennis Style Line Bracelet Set With Diamonds.

The articulated line of 44 chenier links in 18ct yellow gold each set with a round modern brilliant cut diamond. TDW approximately 2.00ct. Gemologist’s report and valuation available on request. $2,000 - $2,500

245 A Pair of Earrings Set With Diamonds.

Ribbed folded swirl design in 18ct yellow gold, each having a fan shaped panel pavé set with round modern brilliant cut diamonds. TDW around 0.80ct. 20g. $1,200 - $1,400

246 A Pair of Victorian Pendant Earrings.

Yellow gold (tests approximately 15ct) repoussé teardrop outline enhanced with ropework and beading, set with seed pearls and amethysts/almandine garnets? $650 - $850

see colour illustration page 127

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247 L APPONIA of Finland, A Handmade Necklace “Rain In The Mountains”.

Freeform sculptured pendant and chain in 18ct yellow gold enhanced with five articulated drops each suspending a moss agate polished bead. 40.84g. With original fur lined pouch. Gemologist’s report and valuation available on request. $2,500 - $4,500

see colour illustration page 126

248 A Heavy Necklace of 9ct Yellow Gold.

Solid belcher links, 470mm. 72.1g. $1,000 - $1,400

249 A Bracelet Set With Sapphires and Diamonds.

Designed as a tapered line of articulated links of silver set with a central graduated line of oval cut blue sapphires bordered by round modern brilliant cut diamonds. TSW 10.7ct, TDW 3.6ct. Gemologist’s report and valuation available on request. $4,500 - $5,500

see colour illustration page 126

250 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. $2,800 - $3,400

251 P IERO MILANO, A Chain Mesh Ring Set With Diamonds.

18ct white gold fiori design, each flowerhead set with a round modern brilliant cut diamond. With original box. $2,000 - $3,000

see colour illustration page 149

252 A Bracelet Set With Diamonds.

Designed as an articulated line of 18ct yellow gold links with raised x motifs to a mid-section of 11 flowerhead links, each set with a round modern brilliant cut diamond. TDW approximately 1.10ct. Gemologist’s report and valuation available on request. $1,500 - $1,800

275

340 352

243

265 317

280

279

339

281

361

316

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133

253 A Bracelet of 18ct White Gold Enhanced With Diamonds.

Tapered from the centre, textured roller links within herringbone borders, the mid-section set with a line of 12 round modern brilliant cut diamonds graduated from the centre. 37.9g. $1,500 - $1,800

254 A Double Albert Chain of Necklace Length in 9ct Yellow Gold.

259 A Black South Seas Pearl and Diamond Cluster Ring.

260 A Snap Bangle Set With Diamonds.

Paperclip links with `T’ bar and dogclip clasp. 530mm. 45.4g. $650 - $850

Hinged design in 18ct rose gold, the upper section of gold/silver doublet set with a line of 9 old cut diamonds graduated from the centre. TDW approximately 1.26ct. Gemologist’s report and valuation available on request. $1,800 - $2,200

see colour illustration page 126

255 A Charm Bracelet.

9ct Yellow gold suspending 21 Charms of not less than 9ct gold. 51g. $750 - $1,000

256 A n African Mask Pendant and Chain of 18ct Yellow Gold.

The mask of framed filigree, the chain of oval filigree and pierced plate links. 44g. $1,400 - 2,000

see colour illustration page 127

257 A Necklace Set with Seed Pearls and A Diamond.

Late 19thC/early 20thC. Designed as a line of circular links, each set with a seed pearl, the midsection suspending a graduated line of trefoil and leaf pattern drops set with seed and half-pearls, the central drop centered by an old cut diamond. Tests as approximately 15ct yellow gold parwashed with gold of a higher carat. Three or four small pearls deficient of nacre to upper section. $1,400 - $1,600

258 A Bracelet of Open Heart Motifs Set With Diamonds.

134

Designed as a line of 18 open heart shaped links, the mid-section of 9 links fully set with round modern brilliant cut diamonds to sections of plain polished links, all in 18ct white gold. TDW approximately 2.14ct. Gemologist’s report and valuation available on request. $2,000 - $2,800

The 12.8mm round Tahitian black pearl set in 18ct yellow gold within a split crescent border of baguette and brilliant cut diamonds of approximately TDW 0.60ct. Gemologist’s report and valuation available on request. $1,000 - $1,400

261 C ARTIER, A Ring Set With A Solitaire Diamond of Approximately 0.74ct.

The domed style band of 18ct yellow gold is semi rub-over set with the round modern brilliant cut diamond assessed as 0.74ct, G (or higher), VS1, Very Good Make. Signed Cartier 1993. Gemologist’s report and valuation available on request. $4,500 - $5,500

see colour illustration page 127

262 A Pair of Solitaire Diamond Earstuds of Approximately 1.75ct Total.

The round modern brilliant cut diamonds assessed as G/H, SI1/2 are set in 6 claw coronet mounts of 14ct white gold. Gemologist’s report and valuation available on request. $6,000 - $7,000

see colour illustration page 149

263 A Ring Set With A Princess Cut Diamond and Pink Sapphires.

Platinum, centred by a rub-over set Princess cut diamond of 0.43ct assessed as H, SI2, the shoulders channel set with lines of square cut pink sapphires. Gemologist’s report and valuation available on request. $2,750 - $3,250

see colour illustration. page 141. See also following lot

264 A Full Eternity Ring Set With Diamonds and Pink Sapphires.

Designed as a companion to the previous lot in platinum set with Princess cut diamonds and square cut pink sapphires. Gemologist’s report and valuation available on request. $750 - $850

see colour illustration page 141

265 A Striking Tiered Cluster Cocktail Ring Set With Diamonds.

Designed as a cascade of nine oval cluster settings in 18ct white gold to form a tiered lozenge outline, each cluster centred by a baguette cut diamond within a border of round modern brilliant cut diamonds. The diamonds of good quality having a TDW 1.62ct. Gemologist’s report and valuation available on request. $2,200 - $2,800

see colour illustration page 133

269 A Loose Round Modern Brilliant Cut Diamond of 2.09ct, H, VS2.

Described in GIA report 13542658 As H, VS2, Very Good Make. Gemologist’s report and valuation available on request. $34,000 - $36,000

see colour illustration page 137

270 A Tennis Style Line Bracelet Set With Approximately 5.8ct of Diamonds.

The 45 articulated links of 18ct yellow gold each set with a round modern brilliant cut diamond of good commercial quality. Gemologist’s report and valuation available on request. $4,500 - $5,500

see colour illustration page 127

271 A Ring Set With A Royal Asscher Cut Diamond of 1.89ct, H, VVS2.

The diamond inscribed on the girdle “Royal Asschercut” 20031823 and described by the supplier Hartfields (per HRD Certificate) as H, VVS2, is set in a hand made ring of platinum. $22,000 - $26,000

see colour illustration page 129

266 A Pair of Drop Earrings of Art Deco Design Set With Diamonds.

Each of three articulated panels of open geometric outlines fully bead set with round modern brilliant cut diamonds having a TDW 1.22ct. 18ct white gold. Gemologist’s report and valuation available on request. $1,400 - $1,800

see colour illustration page 149

272 A n Impressive Heart Motif Pendant and Chain Set With Fancy Yellow and White Diamonds.

The pendant frame pavé set with round modern brilliant cut white diamonds to a pierced gallery enclosing a domed heart pavé set with round modern brilliant cut fancy yellow diamonds. The twin row belcher link chain with barrel slide and rondells at intervals also set with diamonds. 18ct white and yellow gold. TDW 6.09ct. Gemologist’s report and valuation available on request. $8,000 - $10,000

see colour illustration page 141

267 A Striking Cocktail Ring Set With Fancy Yellow and White Diamonds.

Flowerhead design in 18ct white gold, the tiered petals alternately pavé set with fancy yellow and white round modern brilliant cut diamonds, centering on a round modern brilliant cut white diamond of 0.75ct. TDW 3.54ct. Gemologist’s report and valuation available on request. $5,000 - $6,000

see colour illustration

273 A Pair of Solitaire Diamond Earstuds of Approximately 1.50ct Total.

268 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. $2,000 - $2,500

The round modern brilliant cut diamonds assessed as H/J, SI1-2 are set in 14ct white gold. Gemologist’s report and valuation available on request. $3,800 - $4,800

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274 A n Attractive Ring Set With A Princess Cut Diamond of 1.04ct and Trilliant Cut Side Stones.

Centred by the Princess cut diamond assessed as 1.04ct H/I, VS1 with trilliant cut side stones of 0.39ct total assessed as H/J, SI1-2, set in 18ct yellow gold. Gemologist’s report and valuation available on request. $6,000 - $8,000

see colour illustration page 126

279 A Pair of Drop Earrings Set With Fancy Yellow and White Diamonds.

Each designed as a fall of two articulated sections, one set with a marquise cut fancy yellow diamond, the other with a pear shaped fancy yellow diamond; each surrounded by round modern brilliant cut white diamonds to a tapered panel pavé set with further diamonds and joined by a chenier set diamond. 18ct white gold. TYDW 1.88ct, Total All Diamonds for the pair 2.82ct. Gemologist’s report and valuation available on request. $3,750 - $4,750

see colour illustration page 133

275 A Five Stone Diamond Ring.

The band of 14ct yellow gold set with the diamonds in an arced row, graduated from the centre. The diamonds assessed as H, I1, Good Make have a stated TDW 1.53ct. Gemologist’s report and valuation available on request. $2,750 - $3,750

see colour illustration page 133

280 A Domed Heart Motif Cocktail Ring Set With Fancy Yellow and White Diamonds.

The domed heart shaped panel pavé set with fancy yellow diamonds of mixed cuts to a border of white diamonds. The split shank also set with white diamonds. 18ct yellow gold. Gemologist’s report and valuation available on request. $3,250 - $3,750

see colour illustration page 133

276 A Triple Cluster Ring Set With Sapphires and Diamonds.

18ct white gold, set with three oval cut Ceylonese blue sapphires and 26 round modern brilliant cut diamonds. Gemologist’s report and valuation available on request. $1,500 - 2,000

see colour illustration page 126

281 A Spectacular Necklace Set With Fancy Yellow and White Diamonds.

“Waterfall” design in 18ct white gold set with rows of round modern brilliant cut white diamonds together with panels and an articulated fall of fancy yellow diamonds of mixed cuts. The diamonds, some 508 in all, having a TDW 35.18ct. Gemologist’s report and valuation available on request. $27,500 - $32,500

see colour illustration page 133

277 A Dainty Pair of Drop Earrings Set With Diamonds.

Each designed as a fall of three flowerhead clusters of graduated size joined by open lozenge links, all articulated and set with round modern brilliant cut diamonds. TDW 2.35ct, 18ct white gold. Gemologist’s report and valuation available on request. $2,400 - $2,800

see colour illustration page 149

282 A Heart Motif Pendant Set With Diamonds.

278 A Five Band Diamond Ring.

136

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 cut diamonds, the lower bands with just round modern brilliant cut diamonds. TDW estimated as 1.78ct. Of good quality. Gemologist’s report and valuation available on request. $2,750 - $3,250

18ct white gold open design lattice work fully set with lines of round modern brilliant cut diamonds to the bale, set with further diamonds. Suspended by an 18ct white gold trace chain. TDW 1.17ct. Gemologist’s report and valuation available on request. $1,800 - $2,400

SPLENDID LOOSE DIAMONDS

B A. 327 A Loose Princess Cut Diamond of 3.32ct, I, VVS1.

C D

B. 269 A Loose Round Modern Brilliant Cut Diamond of 2.09ct, H, VS2. E

C. 323 A Loose Oval Cut Diamond of 3.01ct, D, VS2. D. 325 A Loose Cushion Cut Diamond of 3.03ct, I, VS1.

E. 286 A Loose Round Modern Brilliant Cut Diamond of 3.38ct, M, I.F. F. 326 A Loose Emerald-Cut Diamond of 3.01ct, G, VS1. F I N E J E W E L L E RY & WAT C H E S

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283 A Pair of Heart Motif Earrings Set With Diamonds.

288 A n Exceptional Emerald and Diamond Cluster Ring.

Each designed as a border of round modern brilliant cut diamonds enclosing a fan of diamond baguettes to a central raised pavé diamond panel. 18ct white gold. TDW 2.99ct for the pair. Gemologist’s report and valuation available on request. $2,750 - $3,750

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. $17,500 - $20,000

see colour illustration page 149. See also following lot

see colour illustration page 127

284 A Heart Motif Ring Set With Diamonds.

Designed as a companion to the previous lot, 18ct white gold set with 1.54ct of brilliant and baguette cut diamonds. Gemologist’s report and valuation available on request. $1,750 - $2,250

see colour illustration page 149

289 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. $35,000 - $45,000

see colour illustration page 145

285 A Bangle Set With A Line of Diamonds.

Hinged design in 18ct yellow gold, the upper section set with a line of 28 round modern brilliant cut diamonds having an estimated TDW 2.5ct of very good quality. Gemologist’s report and valuation available on request. $3,250 - $4,250

see colour illustration page 127

290 A Particularly Good Diamond Riviére Necklace of Finest Quality.

The 137 articulated links of 18ct white gold set with a line of round modern brilliant cut diamonds, graduated from the centre. The diamonds with a stated TDW 10.00ct are reported to be D-F, VVS-IF. Gemologist’s report and valuation available on request. $26,000 - $28,000

see colour illustration page 129

286 A Loose Round Modern Brilliant Cut Diamond of 3.38ct, M, I.F.

Described in accompanying report as 3.382ct, M, Internally Flawless, Fair Make. Gemologist’s report and valuation available on request. $32,000 - $35,000

see colour illustration page 137

287 A Tennis Style Line Bracelet Set With 8.06ct of Diamonds.

The 48 articulated links of 18ct white gold each set with a round modern brilliant cut diamond of good quality. Gemologist’s report and valuation available on request. $9,500 - $10,500

see colour illustration page 141

138

291 A n Edwardian Brooch/Pendant Set With Diamonds and Pearls.

15ct yellow gold/silver doublet articulated design of bow, open scroll to twin drops of unequal length outlined with lines of old cut diamonds and set with three pearls. Gemologist’s report and valuation available on request. $1,750-$2,250

see colour illustration page 149

292 A Ring and Matching Earstuds Set With Diamonds.

Each piece set with an emerald-cut diamond, four baguette and four round modern brilliant cut diamonds in a rectangular array in 18ct white gold. TDW 1.68ct. Gemologist’s report and valuation available on request. $2,000 - $2,500 (3)

293 A Bangle Set with Diamonds.

Hinged design in 9ct white gold, the upper section of split rail design enhanced with barleytwist 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. $5,500 - $6,500

297 An Aquamarine and Diamond Dress Ring.

298 A Pair of Creole Earrings Set With Baguette and Brilliant Cut Diamonds.

18ct yellow gold, close-set with a central line of baguette cut diamonds bordered by round modern brilliant cut diamonds. TDW 2.47ct. Gemologist’s report and valuation available on request. $2,200 - $2,800

see colour illustration page 141

299 A Ring Set With A Diamond of 1.74ct.

The round modern brilliant cut diamond graded loose as 1.742ct, M/O, VS2, GoodVery Good Make is set in a ring of 18ct white gold, the shoulders enhanced with 32 pavé set single-cut diamonds of approximately 0.50ct total. Gemologist’s report and valuation available on request. $8,000 - $9,000

see colour illustration page 149

294 A Pendant of Art Deco Design Set With Diamonds.

The open slightly convex rectangular frame of 18ct white gold outlined with diamonds enclosing a vertical row of three diamonds centred by the largest stone of 0.56ct. The diamonds all round modern brilliant cut with a TDW 1.46ct. Gemologist’s report and valuation available on request. $3,500 - $4,000

see colour illustration page 145

300 A Stylish Diamond Cluster Ring of Intriguing Design.

Centred by an emerald-cut diamond, close set by 8 trapezoid-baguette cut diamonds in an octagonal rub-over to give the illusion of a single large emerald-cut diamond. The bezel and shoulders of the 18ct white gold ring set with round modern brilliant cut diamonds.TDW 1.29ct. Gemologist’s report and valuation available on request. $3,000 - $4,000

see colour illustration page 126

295 A n Eternity Ring of 18ct Rose Gold Set With Four Princess Cut Diamonds.

Satin finish with rounded under profile, the diamonds close channel set in a line at the mid-point of the band. $650 - $850

296 A Ring Set With A Solitaire Diamond of 1.04ct.

The round modern brilliant cut diamond assessed as G/H, I1 is set in 18ct white and yellow gold. Gemologist’s report and valuation available on request. $3,750 - $4,750

The 12 x 9.8mm oval cut aquamarine set in a split-shank ring of 18ct white gold enhanced with 20 small round modern brilliant cut diamonds. Gemologist’s report and valuation available on request. $1,000 - $1,400

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301 A Ring Set With Brilliant and Baguette Cut Diamonds.

The band of 18ct white gold close-set with a central row of baguette cut diamonds within borders of round modern brilliant cut diamonds. TDW 1.40ct. Gemologist’s report and valuation available on request. $2,750 - $3,750

see colour illustration page page 145

302 A Loose Early European Brilliant Cut Diamond of 2.136ct, L, VS2.

The diamond described in Gemlab loose stone report 9F681. Good Make for the period. Gemologist’s report and valuation available on request. $8,500 - $9,500

303 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. $5,000 - $7,000

see colour illustration page 145

306 A n Impressive Emerald and Diamond Pendant.

The emerald-cut emerald of 11.93ct is set in 18ct white gold within a border of 24 round modern brilliant cut fine white diamonds, the back of the beautifully crafted setting set with a further 52 small diamonds. TDW 1.67ct. The bale of contrasting yellow gold. Gemologist’s report and valuation available on request. $10,000 - $15,000

see colour illustration page 145

307 A Dainty Art Deco Period Ring Set With Diamonds, Black Onyx and A Pearl.

308 A Channel Set Full Eternity Diamond Ring.

see colour illustration page 129

305 A Spectacular Necklace of Fancy Coloured Sapphires and Diamonds.

Designed as a line of pear, heart and oval cluster settings in 18ct white gold, each set with a coloured sapphire bordered by round modern brilliant cut diamonds and separated by links set with Princess cut diamonds. At the midsection is a girandole three line fall of similar clusters. The sapphires of blue, lilac, green, pink, yellow and orange hues are arranged in mirror pairs. TSW 40.8ct, TDW 6.88ct. Gemologist’s report and valuation available on request. $22,000 - $25,000

see colour illustration page 149

140

Platinum, fully set with round modern brilliant cut diamonds. $650 - $850

309 A Pair of Creole Earrings Set With A Chequerboard Lattice of Diamonds.

18ct white gold curved plate design set with Princess, baguette and round modern brilliant cut diamonds. TDW 3.56ct. Gemologist’s report and valuation available on request. $4,000 - $5,000

see colour illustration page 145

304 A Splendid Sapphire and Diamond Ring.

The stepped bridge of platinum set with an octagonal scissor cut sapphire of rare and desirable intense blue, estimated weight 3.65ct, together with 4 rectangular cut diamonds of fine quality (E/F, VS-SI) of TDW 1.76ct. Gemologist’s report and valuation available on request. $20,000 - $25,000

Rectangular outline in platinum (tested) bordered by black onyx enclosing geometric ajouré set with senaille cut diamonds to a central pearl. $800 - $1,200

310 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. $8,500 - $9,500

see colour illustration page 145

263 334

333

264

311

347 313 298

338 232 272

357 378

356 267

329

287

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311 A Dress Ring Set With A Cognac Coloured Diamond of 2.04ct. Together With White Diamonds.

The cushion outline brilliant cut diamond assessed as Fancy Brown, I1, Very Good Make is set in 18ct white gold within a border of round modern brilliant cut white diamonds, the shoulders set with baguette and brilliant cut white diamonds. TDW approximately 3.20ct. Gemologist’s report and valuation available on request. $6,500 - $7,500

see colour illustration page 141

316 A Line Bracelet Set With Fancy Yellow and White Diamonds In Heart Motifs.

The 22 articulated heart shaped links of 18ct white gold each set with a heart shaped brilliant cut fancy yellow diamond within a border of round modern brilliant cut white diamonds. TDW 8.2ct of which 5.84ct are the yellow diamonds. Gemologist’s report and valuation available on request. $8,500 - $9,500

see colour illustration page 133

317 A Stylish Ring Set With A Fancy Intense Yellow Diamond of 1.03ct.

The octagonal modified brilliant cut diamond described in G1A report 16780103 as 1.03ct, natural F.I.Y, VS2, is set in a ring of 18ct white gold enhanced with lines of small round modern brilliant cut white diamonds of good quality. TDW 1.36ct. Gemologist’s report and valuation available on request. $11,000 - $13,000

see colour illustration page 133

312 An Attractive Diamond Cluster Dress Ring.

Centred by a round modern brilliant cut diamond of 0.71ct (H,SI2) surrounded by 8 further round modern brilliant cut diamonds, the shoulders and underbezel set with further brilliants in lines and clusters. 18ct white gold. TDW 2.78ct. Gemologist’s report and valuation available on request. $6,000 - $7,000

see colour illustration page 149

313 A Ring Set With A Solitaire Diamond of Approximately 2ct.

318 A Splendid Bangle Fully Pavé Set With 24.14ct of Diamonds.

The round modern brilliant cut diamond set in a four-claw mount of 18ct white and yellow gold. Gemologist’s report and valuation available on request. $8,500 - $9,500

15.3mm wide rounded profile in 18ct white gold, hinged design, fully pavé set with some 872 round modern brilliant cut diamonds of good quality. Gemologist’s report and valuation available on request. $14,000 - $18,000

see colour illustration page 141

see colour illustration page 129

314 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. $11,000 - $13,000

see colour illustration page 129

315 A Magnificent Fancy Intense Yellow Diamond of 5.14ct Set In A Ring With Two White Diamonds.

The rectangular modified brilliant cut diamond described in G1A report 15709176 as natural F.I.Y., SI2, is set in 18ct white gold with two heart shaped shoulder diamonds of stated total 1.55ct assessed as F, VS2/SI1. Gemologist’s report and valuation available on request. $125,000 - $135,000

see colour illustration page 120

142

319 A Stylish Ring Set With A Pear Shaped Diamond of 1.65ct Together With Other Diamonds.

Triple split shank design in platinum set with lines of pink and white brilliant cut diamonds to a pear and a trilliant cut diamond. The pear cut of 1.65ct stated to be E, SI2; the trilliant 0.44ct G, SI1. TDW 2.38ct. Sales Certificate from Partridge Jewellers with description and value. $17,000 - $20,000

see colour illustration page 129

320 A n Elegant Line Bracelet Set With Over 6ct of Diamonds.

Designed as a line of 40 articulated box links in 18ct white gold, alternately set with three channel set baguette cut diamonds or four invisibly set Princess cut diamonds. The diamonds of excellent quality (F/G, VS2+) have a TDW 6.30ct. Gemologist’s report and valuation available on request. $7,500 - $10,000

see colour illustration page 129

321 A n Exceptional Sapphire and Diamond Cluster Ring.

The oval cut blue sapphire of rare colour and brilliance, estimated to weigh 5.20ct is set in 18ct white gold within a border of 10 round modern brilliant cut diamonds having an approximate TDW 2.85ct of fine quality (G, VS2). Gemologist’s report and valuation available on request. $20,000 - $25,000

see colour illustration page 129. See also following lot

322 A n exceptional Pair of Sapphire and Diamond Cluster Earrings.

Oval outline in 18ct white and yellow gold, each set with an oval cut blue sapphire of rare colour and brilliance within a border of 10 round modern brilliant cut diamonds. TSW approximately 5.65ct, TDW approximately 3.60ct. Designed as companions to the previous lot. $15,000 - $18,000

see colour illustration page 129

325 A Loose Cushion Cut Diamond of 3.03ct, I, VS1.

Described in GIA report 16328000 as I, VS1, Very Good/Good Make. Gemologist’s report and valuation available on request. $52,000 - $55,000

see colour illustration page 137

326 A Loose Emerald-Cut Diamond of 3.01ct, G, VS1.

Described in GIA report 16401469 as G, VS1. Excellent/Very Good Make. Gemologist’s report and valuation available on request. $70,000 - $75,000

see colour illustration page 137

327 A Loose Princess Cut Diamond of 3.32ct, I, VVS1.

Described in GIA report 14254454 as I, VVSI, Very Good/Good Make. Gemologist’s report and valuation available on request. $65,000 - $70,000

see colour illustration page 137

328 A Striking Bracelet Scatter Set With Over 20ct of Diamonds.

16mm wide mesh links set with 214 diamonds of mixed cuts. TDW 20.20ct. Gemologist’s report and valuation available on request. $18,000 - $22,000

see colour illustration page 145

329 A Pair of Solitaire Diamond Earstuds of 2.5ct Total.

The round modern brilliant cut diamonds of I/J colour are set in 18ct white gold. Gemologist’s report and valuation available on request. $8,500 - $9,500

see colour illustration page 141

323 A Loose Oval Cut Diamond of 3.01ct, D, VS2.

Described in GIA report 13542756 as D, VS2, Good Make. Gemologist’s report and valuation available on request. $80,000 - $90,000

see colour illustration page 137

324 A n Elegant Art Deco Period Bow Brooch Set With Diamonds and Sapphires.

The ribbon-bow of 18ct white gold enhanced with ajouré is set with lines of old cut diamonds and French cut blue sapphires to suit the design. $6,000 - $7,000

see colour illustration page 120

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330 A Striking Bracelet of Pink and Yellow Sapphires With Diamonds.

The 21 links of 18ct white gold alternately set with a rectangular cut pink or yellow sapphire bordered by round modern brilliant cut diamonds and separated by links set with a Princess cut diamond. TSW 6.33ct, TDW 2.47ct. Gemologist’s report and valuation available on request. $2,800 - $3,600

see colour illustration page 149

331 A Magnificent Cluster Ring Set With A Fare Fancy Intense Pink Diamond of 0.69ct. Together with Other Pink and White Diamonds.

The central radiant cut diamond described in G1A report 14291691 as natural F.I.P., SI2, is set in 18ct yellow and white gold within a border of round modern brilliant cut pink (4P) diamonds of total 0.37ct and an outer border of round modern brilliant cut white diamonds of total 1.10ct. The shoulders enhanced with further small diamonds. Gemologist’s report and valuation available on request. $125,000 - $135,000

see colour illustration page 120

332 A Ring Set With A Solitaire Round Modern Brilliant Cut Diamond of 2.00ct, F, SI2.

The diamond described in HRD report 06027107001 as F, SI2, Very Good/Good Make, is set in a ring of platinum. Gemologist’s report and valuation available on request. $25,000 - $28,000

see colour illustration page 129

334 A Ring Set With A Fancy Yellow Heart Shaped Diamond of 2ct.

The diamond described in GIA report 5111044104 as natural fancy light yellow, SI1, Good Make is set in 18ct white gold within a border of round modern brilliant cut white diamonds, the split shank shoulders enhanced with further lines of diamonds. TDW 3.02ct. Gemologist’s report and valuation available on request. $12,000 - $15,000

see colour illustration page page 141

335 A n Art Deco Brooch Set With Diamonds and Sapphires.

Lozenge outline in platinum set with early modern brilliant and single cut diamonds, centred by the largest stone, together with square cut blue sapphires. Gemologist’s report and valuation available on request. $1,000 - $1,500

see colour illustration page 126

336 A n Eternity or Wedding Ring Set With Seven Princess Cut Diamonds.

18ct yellow gold, set with a line of 7 Princess cut diamonds having a TDW 1.07ct. Gemologist’s report and valuation available on request. $2,000 - $2,500

see colour illustration page 127

337 A Ring Set With A Princess Cut Diamond of 1.19ct, F, VS2.

The diamond described in HRD report 20044004902 as F, VS2, Good Make is set in a substantial mount of platinum with two accent baguette cut diamonds of similar quality and total 0.245ct. Gemologist’s report and valuation available on request. $9,000 - $10,000

see colour illustration page 149

333 A Bangle Set With A Row of Diamonds of Total 5.72ct.

The 18 round modern brilliant cut diamonds of good quality (F/G, VS2-SI1), of matched size (approximately .32ct each) are channel set in the upper section of a hinged bangle of 18ct white gold. Gemologist’s report and valuation available on request. $12,000 - $14,000

see colour illustration page 141

144

338 A Traditional Three Diamond Bridge Ring.

The round modern brilliant cut diamonds of matched size and of good quality (estimated H/I, VS2, Good Make) are set in 18ct white and yellow gold. TDW 1.42ct. Gemologist’s report and valuation available on request. $3,500 - $4,000

see colour illustration page 141

289

(SUITE)

382

310

354 301

366

306

289

(SUITE)

383

303

294

309

328

372 F I N E J E W E L L E RY & WAT C H E S

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339 A Pair of Earrings Set With Fancy Yellow and White Diamonds.

Domed cartouche outline in 18ct yellow gold pavé set with fancy yellow diamonds of mixed cuts to a border of round modern brilliant cut white diamonds. TDW 4.71ct. Gemologist’s report and valuation available on request. $5,000 - $6,000

see colour illustration page 133

340 A Good Diamond Full Eternity Ring.

18ct white gold fully set with 18 round modern brilliant cut diamonds of good quality and TDW 3.10ct. Gemologist’s report and valuation available on request. $4,500 - $5,500

see colour illustration page 133

345 A Ring Set With A Solitaire Diamond of Approximately 2.30ct.

The round modern brilliant cut diamond assessed as G/I, VS1/2 Very Good Make is set in a ring of 18ct white and yellow gold. Gemologist’s report and valuation available on request. $32,000 - $35,000

see colour illustration page 129

346 A n Edwardian Pendant Set With Opals and Diamonds.

Designed as a spreader, articulated knife edge bar and oval drop in 15ct yellow gold with a trace chain. The spreader set with an oval 8 x 6mm black opal cabochon, the bar with two small round diamonds and the finial drop with an oval 13.5 x 10mm black opal cabochon. The opals showing intense blue/green/indigo colour play. Gemologist’s report and valuation available on request. $2,500 - $3,000

see colour illustration page 127

341 A Ring Set With A Solitaire Princess Cut Diamond of Approximately 1.7ct, E, SI2.

The diamond described in EGL report 2662759542 as 1.70ct, E, SI2, Very Good/ Good Make, is set in a hand made ring of platinum. Gemologist’s report and valuation available on request. $14,000 - $16,000

see colour illustration page 149

347 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. $14,000 - $18,000

see colour illustration page 141

342 A n Attractive Marquise and Trilliant Cut Three Stone Diamond Ring.

Centred by the Marquise cut diamond estimated as 1.35ct, F/G, SI1-2 (enhanced) with trilliant cut side stones of approximately 0.70ct total, F/H, SI1-2, set in a ring of 18ct yellow gold and platinum. Gemologist’s report and valuation available on request. $8,750 - $9,750

see colour illustration page 127

343 A Loose Emerald-Cut Diamond of 2.027ct, K, VVSI.

The diamond graded loose and assessed in Cahill report CC8770. $10,000 - $12,000

348 A Ring Set With A Solitaire Princess Cut Diamond of 1.01ct, F, VVS1.

The diamond, described in HRD report 66700 as 1.01ct, F, VVS1, Good Make is set in a ring of platinum. Gemologist’s report and valuation available on request. $9,000 - $12,000

see colour illustration page 149

349 A Five Stone Diamond Ring.

344 A n Impressive Bracelet of Art Deco Design Set with Diamonds.

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Designed as a line of twelve 18ct white gold links of convex cartouche panel or rectangular convex outline enhanced with ajouré pavé and line set with some 312 round modern brilliant cut diamonds to suit the design. TDW approximately 6ct. Gemologist’s report and valuation available on request. $6,500 - $7,500

The round modern brilliant cut diamonds of matched size (approximately 0.20ct each) assessed as H, SI2 are partially rub-over set in a rope style ring of 18ct yellow gold. TDW approximately 1.00ct. Gemologist’s report and valuation available on request. $1,400 - $1,800

350 A Pair of Elegant Oval Outline Earrings Set With Diamonds.

The domed oval earrings set with raised lines of diamonds above channel set rows to give a striped pavé effect. 18ct white gold. TDW 2.60ct for the pair. $2,500 - $3,000

see colour illustration page 133

355 A Bow Brooch Set With Diamonds.

The 18ct white gold ribbon bow enhanced with four flower heads all set with round single-cut diamonds. $1,000 - $1,400

356 A Pair of Heart Motif Drop Earrings Set With 5.9ct of Diamonds.

The bridge of platinum set with three round modern brilliant cut diamonds graduated from the centre. TDW approximately 1.32ct, assessed as G/H/I, S/1-2. Gemologist’s report and valuation available on request. $3,000 - $4,000

Each designed as a two circular panel fall to an articulated heart motif drop in 18ct white gold, set with round modern brilliant , baguette and Princess cut diamonds to suit the design. Clip with folding posts to suit pierced or un-pierced ears. Gemologist’s report and valuation available on request. $6,500 - $7,500

see colour illustration page 149

see colour illustration page 141. See also following lot

351 A Traditional 3 Stone Diamond Ring.

352 A Ring Set with a Solitaire Marquise Cut Diamond of Approximately 1.7ct.

The diamond set in a simple mount of 18ct white and yellow gold. Gemologist’s report and valuation available on request. $5,750 - $6,750

see colour illustration page 133

353 A Ring Set with A Fine White “Victorian Cut” (Rectangular Mixed Cut) Diamond of 1.03ct.

The diamond described in GIA report 14583433 as F, VS2, very good make, 1.03ct is set in a ring of platinum with six small fancy intense pink shoulder diamonds. The diamond laser inscribed VC#106, Family, eternal & love, visible only under microscopic magnification. Gemologist’s report and valuation available on request. $9,000 - $10,000

see colour illustration page 149

357 A Heart Motif Drop Pendant/Enhancer Set With 3ct of Diamonds.

Designed as a companion to the previous lot in 18ct white gold set with round modern brilliant cut, baguette and Princess cut diamonds. Gemologist’s report and valuation available on request. $3,250 - $3,750

see colour illustration page 141

358 A Pair of Princess Cut Solitaire Diamond Earstuds of Approximately 1.05ct Total.

359 A Bangle Pavé Set With Princess Cut Diamonds.

18ct white gold tapered and hinged design, the upper section invisibly pavé set with some 6.8ct of Princess cut diamonds bordered by round modern brilliant cut diamonds. TDW 8.29ct. Gemologist’s report and valuation available on request. $3,000 - $4,000

see colour illustration page 149

354 A Ring Set With Two Rows of Diamonds.

The band of 14ct white gold tapered from the centre, set with two rows of round modern brilliant cut diamonds having an estimated TDW 2.00ct. Gemologist’s report and valuation available on request. $2,000 - $2,500

see colour illustration page 145

The diamonds assessed as I/J, I1 are set in 14ct white gold. Gemologist’s report and valuation available on request. $2,000 - $2,500

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360 A Loose Diamond of 1.50ct.

The round modern brilliant cut diamond assessed as H, VVS1, very good make. Gemologist’s report and valuation available on request. $14,000 - $16,000

361 A Buckle Motif Bracelet Enhanced With Diamonds.

14ct yellow gold rope link mesh with white gold buckle and tongue enhanced with lines of round modern brilliant cut diamonds, 10 in all, with an estimated TDW 0.51ct of good quality. 36.9g. Gemologist’s report and valuation available on request. $2,500 - $3,000

see colour illustration page 133

362 A n 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 close-set 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. $27,000 - $30,000

see colour illustration page 129

365 A Pair of Sapphire and Diamond Cluster Earstuds.

Oval outline in 18ct white gold, each centred by an oval cut deep blue sapphire set within a continuous border of round modern brilliant cut diamonds. Gemologist’s report and valuation available on request. $3,750 - $4,750

see colour illustration page 126

366 A Bangle Pavé Set With 6.92ct of Diamonds.

Rounded profile hinged design in 18ct white gold, the upper section pavé set with some 203 round modern brilliant cut diamonds of good quality. Gemologist’s report and valuation available on request. $8,750 - $10,750

see colour illustration page 145

367 A Ring Set With A Solitaire Diamond of Approximately 0.70ct.

368 A Pair of Solitaire Diamond Earstuds of 0.92ct Total.

363 A Necklace Fully Set With Sapphires and Diamonds.

Designed as an articulated line of 62 oval clusters in 18ct white gold, each of an oval cut blue sapphire within a border of round modern brilliant cut diamonds. Gemologist’s report and valuation available on request. $9,000 - $12,000

see colour illustration page 126

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The round modern brilliant cut diamonds assessed as G/H, VS2-SI1 are set in 18ct yellow gold. Gemologist’s report and valuation available on request. $2,500 - $3,000

369 A Three Stone Diamond Ring.

364 A Late 19th/Early 20th Century Flowerhead motif Brooch Set With Diamonds and Pearls.

Yellow gold/silver doublet domed tiered design set with old cut diamonds and pearls. Removable pin and folding bale for alternative use as a pendant. $900 - $1,200

The round modern brilliant cut diamond assessed as M, VS1, Very Good Make, is set in 18ct yellow gold. Gemologist’s report and valuation available on request. $1,250 - $1,500

The round modern brilliant cut diamonds graduated from the centre of stated weight 0.65ct, with side stones of approximately 0.25ct each, estimated G/H, SI1-2, Good Make; are set in 14ct white gold. TDW approximately 1.65ct. Gemologist’s report and valuation available on request. $2,800 - $3,800

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370 A n Octagonal Outline Diamond Cluster Dress Ring.

18ct white gold, the raised central section pavé invisibly set with round modern brilliant calibre cut diamonds to a pierced gallery and outer border of further diamonds. The shoulders channel set with small baguette cut diamonds. TDW 0.78ct. Gemologist’s report and valuation available on request. $1,500 - $2,000

see colour illustration page 126

371 A Ring Set with A Solitaire Princess Cut Diamond of 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. $6,000 - $6,500

375 A Loose Marquise Cut Diamond of 1.007ct.

376 A Tennis Style Line Bracelet Set With Diamonds.

see colour illustration page 145

373 A Ring of Belle Époque Design Set With Diamonds, Rubies and Black Onyx.

Convex oval outline in 18ct yellow gold pierced work foliate motifs set with round modern brilliant cut diamonds to concentric inner oval borders of diamonds, French cut rubies and carved black onyx enclosing an oval cut diamond of fine quality (0.43ct F/G, VS2+). The shoulders enhanced with further diamonds. Gemologist’s report and valuation available on request. $5,500 - $6,500

see colour illustration page 127

374 A Pair of Creole Hoop Earrings Set With Diamonds.

150

18ct yellow gold, each set with a line of 10 round modern brilliant cut diamonds. TDW approximately 0.90ct for the pair. $1,000 - $1,400

Designed as a line of 42 articulated links of 18ct yellow gold, each set with a round modern brilliant cut diamond of TDW 3.40ct (stamped). Gemologist’s report and valuation available on request. $2,750 - $3,750

377 A n Impressive Diamond Cluster Ring Centred By A Stone of Approximately 2.60ct.

The central round modern brilliant cut diamond estimated as K/L, VS2 is set in 18ct white and yellow gold within a border of round modern brilliant cut diamonds bisected by two baguette cut diamonds. TDW approximately 3.52ct. Gemologist’s report and valuation available on request. $18,500 - $22,500

see colour illustration page 129

372 A Pair of Snowflake Pattern Drop Earrings Set With Diamonds.

Each designed as an articulated fall to a circular cluster of box settings in 18ct white gold set with Princess cut diamonds. TDW 3.12ct for the pair. Gemologist’s report and valuation available on request. $4,250 - $4,750

The diamond described in Gemlab report 9C155 as: J/K, SI1. Gemologist’s report and valuation available on request. $2,500 - $3,000

378 A Splendid Necklace Set With Over 25ct of White and Champagne Coloured Diamonds.

Designed as a line of alternating 18ct white and yellow gold links set with either white or champagne round modern brilliant cut diamonds to a central three diamond drop suspending a flowerhead cluster of nine white diamonds of which the largest stone is 0.79ct (H, VS2+). Comprehensive Gemologist’s report and valuation available on request. $27,500 - $32,500

see colour illustration page 141

379 A Pair of Solitaire Diamond Earstuds of Approximately 1.08ct Total.

The round modern brilliant cut diamonds assessed as J/L SI2, Good Make are set in 14ct yellow gold. Gemologist’s report and valuation available on request. $2,000 - $2,500

380 A n Attractive “Pinky” Ring Set With A Solitaire Diamond.

Designed as a quadruple band of yellow and white 18ct gold, the inner white gold bands rising to form a split shank capturing a round modern brilliant cut diamond of around 0.35ct. $700 - $800

381 A Ring Set With A Solitaire Diamond of Approximately 1.2ct.

The round modern brilliant cut diamond set in a ring of 18ct yellow gold. Gemologist’s report and valuation available on request. $3,600 - $4,200

382 A Good 3 Stone Emerald-Cut Diamond Ring.

The stepped bridge of 14ct white gold set with three emerald-cut diamonds of fine quality (F/G, VS1/2), centred by the largest stone (.30/.45/.30ct), the shoulders enhanced with lines of Princess cut diamonds. TDW approximately 2.15ct. Gemologist’s report and valuation available on request. $3,750 - $4,750

see colour illustration page 145

385 A Pair of Creole Hoop Earrings Set With Diamonds.

The `U’ shaped hoops of 14ct yellow gold each set with 10 round modern brilliant cut diamonds. TDW approximately 0.90ct for the pair. $1,000 - $1,200

386 A Striking Ring of Avant-Garde Contemporary Design.

Created by the winner of Australian Jewellery Awards, Nardia Neuman, in 18ct yellow gold, jarrah wood, diamonds and rutilated quartz. A unique one-off piece. $4,000 - $5,000

see colour illustration page 126

383 A Pair of Drop Earrings Scatter Set With Baguette Cut Diamonds.

Each designed as two open cartouche panels outlined with round modern brilliant cut diamonds in 18ct white gold, enclosing baguette cut diamonds set at scattered angles. TDW 5.01ct. Gemologist’s report and valuation available on request. $5,500 - $7,500

see colour illustration page 145

384 A Ring Set With A Solitaire Fine White Diamond of 0.81ct.

The round modern brilliant cut diamond described in Gemlab loose stone report #2D496 as F, VS1, Very Good Make is rub-over set in a simple ring of platinum. Gemologist’s report and valuation available on request. $4,500 - $5,500

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DECORATIVE ARTS, MODERN & TRADITIONAL DESIGN THU 3 DEC 2009, 6.00PM EVENING VIEWING WED 25 NOV, 6.00PM – 8.00PM

VIEWING WED 25 NOV, 6.00PM – 8.00PM THUR 26 NOV, 9.00AM – 5.30PM FRI 27 NOV, 9.00AM – 5.30PM SAT 28 NOV, 11.00AM – 3.00PM SUN 29 NOV, 11.00AM – 3.00PM MON 30 NOV, 9.00AM – 5.30PM TUE 1 DEC, 9.00AM – 5.30PM WED 2 DEC, 9.00AM – 5.30PM THUR 3 DEC, 9.00AM – 12 NOON LOTS 400 - 455 MISCELLANEOUS LOTS 456 - 485 NEW ZEALAND INTEREST LOTS 486 - 513 POTTERY & CERAMICS LOTS 514 - 543 STERLING SILVER & SILVER PLATE LOTS 544 - 589 GLASS & PORCELAIN LOTS 590 - 660 ORIENTAL LOTS 661 - 788 FURNITURE & DÉCOR ITEMS BUYER’S PREMIUM A buyer’s premium of 15% will be charged on all items in the Modern & Traditional Design section of this catalogue. GST 12.5% is payable on the buyer’s premium only. Phone and absentee bids to be placed no later than 12 noon on day of sale. All lots illustrated online at www.webbs.co.nz

MISCELLANEOUS 400 A n Old Wood Carved and Painted Papier Mache Female Saint Kneeling Figure with glass eyes and raised on a shaped plinth. Note: some age related faults inc. some paint loss. H.870mm. $2,000 - $2,500 401 A n Old Wood Carved and Painted Papier Mache Bearded Saint Kneeling Figure with glass eyes. H.870mm. Note: some age related faults inc. some paint loss. H.870mm. $2,200 - $3,000

See Illustration page 156

402 A Wood Carved and Painted Christ Figure on a Crucifix the crucifix with gilded grille decoration enclosed by red painted panels. H.985mm. W.572mm. $800 - $1,200 403 A Canopy For A Religious Statue (A Baldachin) red and gesso painted, the pyramid shaped canopy structure supported by four columns each foliate carved in relief the four corners of the canopy, defined by spires crowned by fleur-de-lis conjoined by pierced moulded foliate panels to the front and sides with a stylised cross atop the canopy, the embellishments with black painted and gilded effects. The structure supported on a rectangular plinth. Note; some minor structural wear and tear some paint loss. W.600mm. D.500mm. H.1440mm. $900 - S1,200

See Illustration page 156

404 A Wood Carved Figure of Joseph Holding Baby Jesus with a paint finish and raised on a shaped plinth, the eyes of glass. Note: some age related faults inc. some paint loss. H.900mm. $1,600 - $2,200

See Illustration page 156

405 A n Old Wood Carved Figure of Gabriel with glass eyes and raised on a domed and shaped plinth. Note: some age related faults inc. some paint loss. H.815mm. $1,200 - $1,800

See Illustration page 156

406 A Vietnamese Wood and Gesso Saint Small Figure the bearded figure wearing a red robe, which is partially tucked at the waist. H.320mm. $400 - $600 407 A Pre-Hispanic Pottery Head Circa 800-200BC the red clay head modelled with pierced ears and impressed eye and mouth details. Recovered in North Guerro, Mexico. H.60mm. $100 - $150 408 A n Early 19th Century Portrait of a Regency Gentleman on Ivory the watercolour is of a gentleman in black coat and cravat seated in front of a red curtain. Ormolu mount set inside a leather cased box. Circa 1820. Attributed to Thomas Hargreaves. Image dimensions L.95mm. H.120mm. $800 - $1,000

409 A Victorian Pair of Gilt Decorated Lacquer Wine Coasters with some age related wear. Diam.130mm. H.45mm. $80 - $140 410 A 19th Century Victorian Scottish Silver-Mounted Dirk with a utility knife and fork sheathed in a leather scabbard, the silver mounts embossed with flowering thistles decorations, the wood carved handles with Celtic designs and metal dots inlay topped by cairngorms (the utility knife minus its cairngorm), the dagger (L.415mm) with a single-edged blade (L.285mm) which has a scalloped back. Circa 1860. $500 - $1,000

See Illustration page 165

411 A 19th Century Victorian Scottish Silver-Mounted Bullock Horn Snuff Mull and Suspension Chain the horn tip sheathed in silver thistle leaves surmounted by a silver thistle flower head set with a purple stone (possibly glass), the horn surface decorated with a large cairngorm on a thistle and foliate engraved silver mount, the snuff box with a hinged cover embossed with thistle decoration, the cartouche area vacant, and set with a cairngorm. Circa 1860. $400 - $800

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See Illustration page 164

See Illustration page 165

412 A Victorian Mother of Pearl Shell and Gilt-Metal Cased Scent Bottle Stand and Ring Stand the hinged shells opening to reveal two clear glass scent bottles mounted on a central metal carry stem, standing on an alabaster circular base. H.175mm. Sold with a mother of pearl shell ring stand or dish supported by metal vine mounts on an alabaster base. $300 - $400 413 A 19th Century Papier Mache Snuff Box the lid decorated with a portrait of a young woman. Note: some age related faults, the base with a chipped rim. Diam.90mm. $80 - $120 414 A 19th Century Treen and Cane Lime Container with incised decoration. Note: some age related faults. H.190mm. $50 - $80 415 A 19th Century Papier Mache and Leather Spectacles Case painted with a seated lady portrait. L.136mm. W.70mm. $100 - $140 416 A Victorian Mother of Pearl and Tortoise Shell Desk Standish the rectangular stand raised on bun feet and with two glass funnelled ink bottles. Note: some minor faults. L.228mm. W.154mm. $150 - $250 417 A Pewter Lidded Vessel the hinged circular cover with a thumb grip. H.280mm. $80 - $120 418 A Gothic Style Stationary Box and Matching Blotter Cover the domed wood casket and blotter cover with giltmetal mounts. Box L.240mm. W.135mm. H.182mm. $250 - $350

420 A Victorian Miniature Foot Stool in Mahogany raised on four squat bun feet, the upper covered in a fine wool worked floral tapestry which has minor wear. L.218mm. W.158mm. H.65mm. $80 - $140 421 A Victorian Rosewood and Brass Bound Writing Slope the writing slope surface with inlay replacement, inset brass carry handles to the sides, shaped brass escutcheon. L.455mm. W.255mm. H.160mm. $200 - $300 422 A Mid 19th Century Mercury Banjo Barometer in Mahogany, signed G. Giaccomelli, Belfast with ebonised detailing, the barometer below a humidity dial, thermometer and a small bullseye mirror. H.990mm. $800 - $1,200 423 A Mid 20th Century Pocket Sextant by F. Barker & Son Ltd London presented in a leather case. $400 - $600

See Illustration page 164

424 A Fine English Husun Sextant made by Henry Hughes of 59 Fenchurch Street London and made for John Bliss of New York, the original certificate dated for 1939, serial number 23192. The sextant with a 6” radius and reading to 10”. Appears to be complete including original oil bottle with contents in a fitted mahogany case. Sold with a United States of America Customs Form, Clearance of Vessel to a Foreign Port for the ‘ESSO BOLIVA’ and three signed United States Coast Guard Certificates Of Discharge to Merchant Seaman relating to Seaman William E. Kubitz. $1,000 - $1,800

See Illustration page 160

419 A Simon and Halbig 33 Inch K Star R Doll the bisque head with blue paperweight eyes, the open mouth with four teeth, jointed composition body possibly repainted, good replacement wig and clothes. H.870mm. $500 - $700

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155

404

476

156

403

405

748

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477

515

570

514

523

622

627

665

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643

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425 A n Early 20th Century Carey of London Vernier Sextant with the original certificate from the National Kew Observatory Richmond Surrey, serial number 3110. The brass frame is Japanned with vernier adjustable tangent screw and clamp, 6 1/2” radius named CAREY, LONDON divided on silver with vernier showing 10”, also engraved R. Horne R. N. Provenance: the sextant was owned by Richard Horne D.S.O. the commamnder aboard H.M.S. ‘ORION’ at the Battle of Jutland. He was mentioned in despatches by Sir John Jellicoe and Vice-Admiral Sir Matyn Jerram in his remarks of officers recommended for honours for the service in the Battle of Jutland ‘as an officer of great ability, who conned the ‘ORION’ throughout the action with ability and skill’. Fitted in original mahogany case. $1,600 - $2,200

See Illustration page 160

426 A Late 19th Century Vernier Sextant with original Kew Observatory, Richmond, Surrey Certificate dated 1897, the sextant with a 6 1/2” radius by A & N.C.S.L. divided on silver and reading to 10”. Fitted in a mahogany case, the lid engraved with the owner’s name ‘R.Watson’. Provenance: Robert Watson was Chief Officer of the Motorship ‘PORT TAURANGA’ between 1945/46. The vessel was sold to the USS Co in 1948 and renamed ‘KOPUA’. $1,200 - $1,800

See Illustration page 160

427 A 19th Century Navigators Solid Brass Roller Type Parallel Rule stamped U.W.W. Birmingham. $160 - $250 428 C .P.Grimley & Sons Ltd Birmingham Large Masthead Spirit Lamp with brass fittings and grey paint finish. H.655mm. $300 - $400 429 A Circular Large Copper Urn with Inverted Tray Cover the base with a brass tap and a pair of decorative brass handles, one stamped ‘12’, the cover also with matching handles. Note: fault to handle. H.310mm. Diam.310mm. $80 - $150

430 A Sweet Manufacturers Copper and Brass Boiler/Cauldron ex Heards Factory Parnell Auckland the deep pouring vessel with a double skin base and supported on cast iron legs. H.770mm. Diam.890mm. $400 - $600 431 A Painted Wood Naïve Model of an Ocean Vessel, named ‘S S EMERSON’ BOSTON supported on a cradle stand. Note: minor faults. L.600mm. H.320mm. Inc. cradle. $300 - $500 432 A Fine Vintage Pond Model of a Sloop the hull painted white and the varnished wood deck rigged with sails. Presented on a cradle stand. H.1250mm. L.1210mm. $800 - $1,200

See Illustration page 160

433 A Wood Constructed Half Model Yacht on Kauri wood varnish finish. L.1120mm. W.266mm. $130 - $200 434 A Cased Fine Quality English Side by Side Double Barrel Shotgun by P. Webley & Son serial number 37335, mahogany stock, double triggers, and decorated with fine scrolling foliate engraving, the barrel named P. Webley & Son 78 Shaftsbury Ave, London. The gun presented in original leather case with rods and other cleaning equipment. The case with original owners label T.S Fordham 17 Lancaster Park Richmond, Surrey. $1,000 - $1,500

See Illustration page 165

435 A n Excellent Pair of French Leather Boots and Wood Boot Trees the leather with high patination, each boot tree of three sections. Circa early 1900s. $600 - $800

See Illustration page 164

436 A Bjornstad & Co Bern Vintage Ice Pick the well patinated handle carved with initials R. M. A. L.1010mm. $250 - $400 437 A Brass and Copper Bugle with a silver plated mouth piece. $100 - $150 438 A Large Bell Weight in Bronze the handle impressed ‘500’. H.250mm. $350 - $450

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439 A Set of Six Graduated Bell Weights in Brass Largest H.120mm. $250 - $350 440 A Vintage English Sword with Basket Grip Guard L.965mm. $150 - $200 441 A Cut Steel Decorated Dress Sword L.1040mm. $100 - $150 442 A 19th Century Pair of French Blades with brass hilts. One bladed engraved Pihet Freres. L.632mm. $200 - $300 443 A Large Bladed Kris in Wood Scabbard with engraved silver collars. L.785mm. $80 - $120 444 A Short Sword with Brass and Steel Mounts in a Shagreen Scabbard the sword with a shagreen grip, some of the brass banding decoration absent, the brass mounts with raised foliate designs. Note: faults and losses. L.700mm. $350 - $350 445 A George Court & Sons Karangahape Road Jockeyâ&#x20AC;&#x2122;s Jacket and Cap in maroon, and gold with blue sleeves, the cap in maroon. $60 - $80

450 A Large Polar Bear Skin complete with head and jaws, clawed paws and tail, supported on canvas edged in red felt. Note: some deterioration to skin. H.2830mm. W.2680mm. $3,000 - $4,500

See Illustration page 172

451 A Cased Papua New Guinea Bird of Paradise the mounted bird in tawney white plumage with a yellow upper head and black throat in a glazed simplistic case. Case H.515mm. L.520mm. W.412mm. $600 - $800

See Illustration page 160

452 A Victorian Cased Trophy Perch Fish caught at Alton Weir by W. Rolf and weighing in at 3lb 8oz, and displayed in a glazed front case, as if swimming amongst pond weeds. Case L.605mm. W.260mm. H.455mm. $500 - $800

See Illustration page 176

453 A Victorian Cased Trophy Tench Fish displayed in a glazed front case, as if swimming amongst pond weeds. Case L.710mm. W.260mm. H.468mm. $500 - $800 454 A Victorian Cased Trophy Brown Trout Fish the huge fish displayed in a glazed front case, as if swimming amongst river weeds. Case L.950mm. W.160mm. H.425mm. $500 - $800

446 A Red Fox Stole in very good condition. $100 - $150

455 A n Assortment of Six Large Sea Shells including a throrny oyster (L.120mm), a tonna shell (L.205mm), a triton (L.410mm), king helmet (L.250mm). $400 - $600

447 A Fur Stole with pockets and fully lined. $100 - $180

NEW ZEALAND INTEREST

448 A Lined Sable Fur Coat with pockets. $200 - $300 449 A Snow Leopard Skin the head section with one glass eye, the other now absent. L.1250mm. Sold with an assortment of snow leopard tail segments. $500 - $800

456 A n Elephant Tusk, ex Lion Breweries Collection the surface with some patination and the tusk with a tooled leather suspension collar. Inside L.approx 870mm. Widest 115mm. $1,200 - $2,000

See Illustration page 165

457 A 20th Century Pair of Cast Bronze Lions, ex Lion Breweries Building, Khyber Pass New Market seated on their haunches. H.860mm. $1,000 - $1,800

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424

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661

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463

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775

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533

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458 A Victorian Ornate Figural Table Centrepiece by Elkington & Co, ex Grand Hotel Auckland the substantial plated cast piece of Anglo-Indian influence, the four classical maidens representing Africa, Asia, The Americas and Australasia each on one bended knee and with an arm lifted to support a floral pierced central bowl which inturn may have supported a glass bowl (now absent) on a stepped or tiered and pierced lotus shaped base, decorated with foliate designs in relief, supported on lion paws to the fore and rear, the shaped base extending to the sides and each supporting a figural cherub candle stand. The oval cartouche engraved “GRAND HOTEL AUCKLAND”. Marks for 1877. Ex Lion Breweries Collection. Note: some loss of plate minor faults. L.800mm. W. 500mm. H.310mm. $2,500 - $3,500

See Illustration page 165

459 A Substantial Victorian Brass Gong Suspended from Silver Plate-Mounted Ivory Tusks, ex Grand Hotel Auckland, of Anglo-Indian influence, the large circular metal gong is chain suspended between a large pair of elephant’s tusks, each with a silver-plate collar to secure the chain, supported on a shaped mahogany large plinth raised on bun feet, the plinth surface with a brass plaque engraved “GRAND HOTEL AUCKLAND”. Ex Lion Breweries collection. Note: some faults inc. loss of striker and striker stand. H.1130mm. L.1240mm. W.590mm. $5,500 - $7,500

See Illustration page 176

460 A New Zealand Colonial Period Portrait in Oil on Canvas of a Gentleman, ex Lion Breweries Collection not signed, the unidentified gentleman painted wearing a small black bow tie over a white shirt under a Victorian black jacket. Note: with damage. Unframed H.682mm. W.545mm. $150 - $250 461 A New Zealand Colonial Period Portrait in Oil on Canvas of a Woman, ex Lion Breweries Collection not signed, the unidentified woman painted wearing a mop cap and a lace collar trimming a severe black gown. Unframed H.682mm. W.545mm. $400 - $500

462 A New Zealand Colonial Period Portrait in Oil on Canvas of a Gentleman, ex Lion Breweries Collection not signed, the unidentified elderly gentleman, sporting a grey beard and painted wearing a black cravat over a white shirt under a Victorian black jacket. Note: with some damage. Unframed H.682mm. W.545mm. $400 - $500 463 A New Zealand Breweries Limited Cast Metal Advertising Sign, ex Lion Breweries Collection cold painted, featuring raised NZB lettering within a shield, enclosed by wheel with the raised wording ‘NEW ZEALAND BREWERIES LIMITED’ above a ribbon displaying the wording ‘Brewers to the Nation’, and decorated with raised hops and grain sheaves. Note: some minor paint loss. L.835mm. W.582mm. $1,000 - $1,500

464 A New Zealand Breweries China Cup, Two Saucers and a Jug the jug with some faults. Ex Lion Breweries collection. $20 - $30 465 A Framed ‘H.M.S. New Zealand’ Print presented by the proprietors of THE “THREE CASTLES” TOBACCO and CIGARETTES. Frame L.658mm. H.538mm. $100 - $160 466 T hree Wood Carved Spoons by Levi Borgstrom 1970 - 1979. $60 - $100

See Illustration page 165

467 L evi Borgstrom Wood Carved Large Serving Spoon 1970 - 1979. L.365mm. $60 - $100

See Illustration page 165

468 L evi Borgstrom Wood Carved Large Scoop Serving Spoon 1970 - 1979. L.268mm. $60 - $100

See Illustration page 165

469 Levi Borgstrom Wood Carved Ladle 1970 - 1979. L.210mm. $60 - $100

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See Illustration page 165

470 Levi Borgstrom Wood Carved Scoop 1970 - 1979. L.120mm. $60 - $100 471 Levi Borgstrom Wood Carved Scoop 1970 - 1979. L.155mm. $60 - $100 472 A New Zealand Woods Inlay Small Rectangular Box the hinged cover with a central kahikatea diamond inlaid with rewarewa squares and surrounded by kohekohe, mahoe, totara burr, puriri and wha rangipiro. L.245mm. W.142mm. H.65mm. $200 - $400 473 A New Zealand Woods Inlay Flame Kauri Turned Pedestal Fruit Bowl the shallow bowl curved exterior with oval inlays of figured timbers, and supported on a stepped circular base. H.195mm. Diam.255mm. $100 - $200 474 A New Zealand Burr Timber Turned Pedestal Fruit Bowl possibly kauri with a rich depth of colour and soft patination. H.165mm. Diam.250mm. $100 - $200 475 A Folk Art Maori Mother and Child Portrait Painted Kauri Wall Plaque the circular surface painted with the mother tattooed with a moko, the child secured by a tagged cloak to her back. Signed M. Chomson. Diam.300mm. $100 - $150 476 A n Excellent Wood Carved and Painted Maori Figure of a Poi Dancer clutching wood carved poi suspended on vegetable fibre, the unknown carver capturing the the swirling movement of her flax piu piu. H.420mm. $700 - $850

See Illustration page 156

477 A Large Patu in Burr Kauri possibly an example of colonial souvenir ware or for presentation. L.515mm. W.195mm. $300 - $450

See Illustration page 156

478 A Woven Featherwork Kete the woven kete in 2 pair twining and with a single plaited handle in white coloured wool/ cotton. The kete features a rim of white feathers and white feather stripes interspersed between mottle caramel coloured feathers, the interior satin lined in light brown. Card inside reads: “Woven Featherwork - Nancy Banks Whakarongtai Marae”. L.165mm. W.185mm. Y14943 $200 - $400

See Illustration page 164

479 A South Island Slate Stone Blade recovered 1964 from a 19th Century Taranaki battle site near New Plymouth. Y registration not required. L.255mm. W.120mm. $250 - $300 480 A Maori Basalt Stone Fishing Sinker the vesicular basalt sinker shaped from a waterworn cobble, wider at one end than the other and with a pecked wide groove around the central circumference. Both ends have pitting. The sinker has an old paper label tied around the central groove. ‘In grass on hut terrace c.+150ft on North side Peach Island W.Harb. Coll....W.G....56’. L.152mm. D.78mm. W.87mm. Y14037 $300 - $600 481 A Maori Stone Adze Head of dark grey basalt, the blade end has been damaged and modified by hammerdressing and light grinding. The butt portion and poll has been ground and has areas of heavy haft polish. Rounded rectangular cross-section. Provenance: recovered Makara Beach 1964. L.117mm. D.36mm. W.48mm. Y14038 $150 - $200 482 A Maori Stone Adze Head of dark grey microgabbro, rectangular cross-section with a short, steep bevel, ground on four sides, the poll hammerdressed only. Note: a section of the blade is missing and the opposite corner has been damaged. L.148mm. D.23mm. W.58mm. Y14039 $140 - $200 483 A Maori Dark Grey Igneous Stone Adze Head of rectangular cross-section and ground on front, back and sides, the poll hammerdressed with light haft polish and hammerdressing on the sides, steep bevel. Blade corner damaged and there is clear use-wear on blade front and three chips on the edge. Areas of red/ brown staining. L.145mm. D.23mm. W.51mm. Y14040. $140 - $200

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484 A Maori Stone Adze Head of very dark grey gabbroic lithology and of rectangular cross-section, finely ground on front, back and sides, the poll unmodified, fine hammerdressing on back above the bevel, the bevel on front and back coarsly machine ground. L.156mm. D.28mm. W.69mm. Y14041 $140 - $200 485 A n Advertising Wilson & Co Hygienic Slicer for Wilson’s Cooked Corned Beef in Cast Iron and White Enamel patent number 358702, of tall rectangular section on a spreading low rectangular base, the meat slab height adjuster winder to the side in working order. Note: some faults inc. enamel chipping. H.295mm. $100 - $200

POTTERY & CERAMICS 486 A N.Z. Brick Co. New Lynn Brown Salt Glaze Chimney Pot of tall cylindrical shape with ribbing supporting pipe shaped open ended horizontal vent. Impressed maker’s marks. H.980mm. $400 - $500 487 J .Frazer Cordial Maker Rangiora Three Fish Pictorial Transfer Aerated Water One Gallon Crock in stoneware with original metal carry handle. Note: rim chip. $100 - $200 488 T homson Lewis & Co Wellington One Gallon Stoneware Crock the decorative transfer ‘Manufacturers of Golden Ale, Aerated Waters & Cordials Gold Medal London 1898 Branches Petone, Wanganui & Otaki’, with original coiled wire carry handle. $100 - $200 489 A Doulton Lambeth Floral Transfer Decorated Salt-Glazed Stoneware Covered Water Filter and Tap in brown, green and cobalt blue salt-glazes. Impressed stamp. Note: beading loss to the tap. H.350mm. $450 - $600

See Illustration page 164

490 A Doulton Lambeth Salt-Glazed Stoneware Covered Water Filter and Tap the body decorated with eight stags and foliate borders in low relief. Impressed mark. H.380mm. $600 - $900 166

See Illustration page 164

491 A Royal Copenhagen Denmark Birds Wall Plaque the rectangular large tile featuring two stylised birds, raised in low relief and painted in matt browns with black effects, surrounded by glossy blue and iron glazes. H.296mm. W.230mm. $300 - $500 492 L en Castle Stoneware Lipped Bowl the interior walls with vertical incised decoration, iron red and ash glazed. Impressed mark. H.100mm. Diam.250mm. $400 - $600

See Illustration page 164

493 L en Castle Stoneware Tapering Cylindrical Vase shino-style glaze. Impressed mark. Firing chip to base. H.260mm. $400 - $600

See Illustration page 164

494 L en Castle Stoneware Lipped Bowl iron under-glaze, wood ash over-glaze. Impressed mark. H.122mm. $400 - $600

See Illustration page 164

495 L en Castle Earthenware ‘Inverted Volcano’ Bowl Form the exterior with a black wash, the jagged rim with splashes and spills of the glossy molten lava red with black, a combination of the cadmium-selenium glazed interior, spilling over the matt black exterior slope. Impressed initials. L.850mm. W.85mm. H.80mm. $2,800 - $4,000

See Illustration page 176

496 N icholas Brandon Stoneware Sculptural Tall Bottle Form the tapering walls in copper red red glaze. H.1060mm. $800 - $1,000

See Illustration page 172

497 N icholas Brandon Stoneware Sculptural Tall Bottle Form the tapering walls in copper red red glaze. H.880mm. $700 - $900

See Illustration page 172

498 N icholas Brandon Stoneware Sculptural Tall Bottle Form the tapering walls in copper red red glaze. H.810mm. $600 - $800

See Illustration page 172

499 N icholas Brandon Stoneware Large Bottle Vase or branch pot, copper red glazed. H.490mm. $800 - $950

See Illustration page 172

500 B arry Brickell Green Salt-Glaze Stoneware Large Pouring Vessel or Ewer applied large strap handle and a short crown top pouring spout. Impressed cipher. H.325mm. $400 - $600

508 A Crown Lynn Frank Carpay ‘HANDWERK’ Wall Plaque the dished surface painted with a large folk art bird in brown and manganese with blue breast feathers, the wings as yellow striped curtains decorated with a heart and a circle enclosing a cross, the motif bordered by a deep blue wavey band, encircling. ‘HANDWERK’ mark and green tiki and stars CROWN LYNN marks. Note: firing fault to the rim. Diam.270mm. D.55mm. $1,800 - $2,200

501 W arren Tippett Earthenware Vase the wheel-thrown walls indented with two raised flower motifs, grey glazed over iron under-glaze. Impressed cipher. H.186mm. $80 - $120

502 C ampbell Hegan Stoneware Bottle Vase the wheel-thrown form sang-de-boef or oxblood glazed. Impressed cipher. H.227mm. $200 - $300

510 A Set of Ten of Crown Lynn Dorothy Thorpe Santa Barbara Pattern Golf Ball Handled Cups and Saucers sold with two additional cups. $400 - $600

503 A Hinau Pottery Large Shallow Bowl wheel-thrown and raised on ring foot, iron underglaze, ash over-glaze, the well with a chun style glaze. Impressed mark. Diam.385mm. D.66mm. $150 - $200 504 J ill Totty Phoenix Pottery Stoneware Wall Plaque the circular platter form hand painted decorated with a stylised rooster in blue and initialled JT, iron underglaze, wood ash overglaze. Dated ‘82. Diam.258mm. $40 - $80 505 A Robust Stoneware Spiral Ribbed Vase iron underglaze, ash overglaze speckled with iron. Incised mark, not identified. H.230mm. $180 - $220 506 F lorence Mary Goodsell Molle Timaru N.Z. Green Trickle Glaze Squat Vase small hairline to the rim. H.238mm. $100 - $200 507 A n Unmarked Studio Pottery Maori Motifs Vase 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 grey-green glazed. Possibly an experimental piece. H.240mm. $250 - $350

See Illustration page 165

509 A Set of Six Crown Lynn Dorothy Thorpe Santa Barbara Pattern Dinner Plates the surfaces with some scratching. Diam.263mm. $60 - $100

511 A Crown Lynn ‘Three Faces of Eve’ Lamp Base the slipcast sculptural form typically finished in matt ivory white glaze and with electric fittings (not tested). Unmarked. $500 - $800

See Illustration page 161

512 A Crown Lynn Pair of Polar Bear Bookends in Glossy Black Glaze impressed 152. H.96mm. $600 - $900 513 J oan Morrell (Wanganui) “Defeat of the Devil” Original Sculpted Bronze, signed the three dimensional theme shows the defeat of the devil by the Crucfixion nail impaled through a cast red bronze cupped hand, the hand being a wax impression of the artist’s hand. With the certificate of authenticity. L.125mm. H.78mm. $200 - $300

SILVER & SILVER PLATE 514 A Substantial New Zealand Sterling Silver Raised Dragon Open Bracelet by Patoni the four-clawed large dragon with well defined surface decoration applied to a dot punched silver ground. The rear stamped PATONI STERLING SILVER. $500 - $800

See Illustration page 157

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515 A Decorative New Zealand Sterling Silver Dragons Hinged Bracelet by Patoni the shaped surface embossed with dots and ovals and decorated with two applied Chinese influence dragons, each with a raised wing. The rear stamped PATONI STERLING SILVER. $400 - $600

522 A n Impressive Victorian Sterling Silver Oval Serving Platter with substantial foliate cast carry handles and rim decoration, the well decorated with foliate and floral engraving. London 1846, maker’s mark ‘BS’, possibly Benjamin Smith. L.775mm. W.520mm. Weight 4.2kg. $4,000 - $6,000

See Illustration page 157

516 A Sterling Silver Pakuranga Hunt Ladies Point to Point Trophy Chalice, 1902 won by Miss Stribley on Awatuna and presented by Mrs Rorke. Birmingham 1898, maker BB. H.170mm. $150 - $250 517 A Victorian Sterling Silver Wellington Cricketers Association Senior Cup or Chalice for the seasons 1889 - 1890, 1890 - 1891, won by the Phoenix Cricket Club and presented to Victor Waters Esq. The surface foliate and floral engraved, with engraved leafy sprigs on the beaded foot. London 1884. H.240mm. $200 - $300 518 A Victorian Sterling Silver Handled Mother of Pearl Paper Knife the decorative handle with vine engraving and stone inlay representing shamrocks. London 1897. $100 - $160 519 A Pair Sterling Silver and Enamel Inlay Arts and Crafts Bud Vases Birmingham 1906, maker J.F. H.110mm. $2,000 - $3,000

See Illustration page 161

520 A Victorian Sterling Silver Pierced Oval Small Basket raised on a pierced and reeded oval foot. London 1892, maker’s marks E.T. L.170mm. W.120mm. H.50mm. $100 - $200 521 A George III Sterling Silver Teapot the facetted walls decorated with a ribbon border below the rim, and an engraved decorative border to the lower body, the hinged and domed oval lid with an oval wood and silver finial. London 1788, maker Robt Salmon. Note: some minor faults. $1,000 - $1,500

See Illustration page 165

523 A Cased Sterling Silver Presentation Salver plain with chippendale border and raised on three scroll feet, the well with the engraving ‘Presented to G. C. B. Johnson Esq. Under Secretary of Department of Justice by the Officers of his Department on his Retirement from The Public Service. Dec 10th 1921.’ Sheffield 1919. Note: the velvet-lined octagonal case with some distress. Diam.418mm. $1,500 - $2,500

See Illustration page 157

524 A Set of Six Old English Pattern Tablespoons in Sterling Silver Sheffield 1926, makers CB & S. $600 - $1,000 525 A Cased Set of Six Sterling Silver Teaspoons script engraved ‘M’. Sheffield 1912. $60 - $80 526 Two Spanish Silver Water Jugs With faults. H.210mm. $100 - $200 527 A Spanish Silver Foliate Embossed and Engraved Oval Tray the shaped and embossed rim with some piercing. L.458mm. $400 - $800 528 A Silver Plate ‘CLARET’ Engraved Bottle Label with vine engraved decoration. $80 - $100 529 A Silver Plate ‘WHITE-WINE’ Engraved Bottle Label with vine engraved decoration. $100 - $150 530 A George III ‘WHISKY’ Engraved Bottle Label with border gadrooning and surmounted with acanthus in relief, date mark indistinct, maker TR. $150 - $180 531 A Silver Plate ‘MADEIRA’ Cut-Out Bottle Label with fruiting vine decoration. $80 - $120

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532 T wo 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. $240 - $280

540 A Crested Sterling Silver and Scott Bronze Medallion Spirit Measure Birmingham, the silver marks rubbed. H.52mm. Diam.72mm. $300 - $450

533 A 20th Century Irish Silver Dish Ring with a Blue Glass Liner the concave ring of pierced and embossed pictorial rural agricultural scenes with engraved detailing and effects. Dublin 1932, maker TW. H.105mm. Diam.178mm. $1,000 - $1,800

541 A Sheffield Plate Water Jug of oval section, the copper bleeding through the large engraved initials, the jug with a reeded handle. H.160mm. $100 - $200

See Illustration page 161

534 A Victorian Three Piece Teaset in Sterling Silver of oblong section, each with fluting to the lower body and gadrooning to the rims, raised on four bun feet, the creamer and sugar with reeded handles and gilt remnants to the interiors, the teapot with a wood handle (repaired) and lid finial. Sheffield 1893, makers J.D & S. $600 - $900 535 A Plated Athletic Football Club Trophy Cup, 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. $150 - $200 536 A Sterling Silver Sauce Ladle with a fiddle handle, engraved within a belt ‘Nil Desperandum’ and initials ‘DW’. London 1807, makers Richard Crosley & George Smith. $200 - $300 537 A George III Sterling Silver Marrow Spoon London 1793, maker H. Sander. $400 - $550 538 A George III Sterling Silver Marrow Spoon the bowl ‘K’ initial engraved. London 1771. $400 - $550 539 A Victorian Sterling Silver Christening Mug with fluting to the lower body, the foliate embossed cartouche area with fancy initials engraved, reeded scroll handle. London 1888, makers RM EH. H.82mm. $200 - $300

542 A Victorian Sterling Silver Mounted Claret Jug the hinged cover trophy engraved ‘Corpus Christi College Trial Eights 1865 University Long Vacation Scratch Fours 1866’ and named W. H. Grove. Birmingham 1864, makers C&W. Note: glass frit to the handle. H.235mm. $250 - $400

GLASS 543 A Victorian Sterling Silver Mounted Water Jug and Glass both of tapering cylindrical form with star burst decoration. Sheffield 1899. Jug H.240mm. $300 - $450 544 An Antique Initials Engraved Glass the initials etched within a shield. H.112mm. $40 - $80 545 Four Antique Stemmed Glasses $100 - $140

See Illustration page 176

546 A George III Pair of Wine Glasses with facetted, knopped stems and conforming bucket shaped bowls raised from domed angular feet. H.135mm. $200 - $300

See Illustration page 176

547 Two Antique Sherry Glasses with knopped stems. H.95mm. $50 - $80

See Illustration page 176

548 An Early Victorian Rummer H.115mm. $80 - $120

See Illustration page 176

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549 Five Assorted Antique Stemmed Glasses $200 - $300

See Illustration page 176

550 Two Georgian Wine Glasses H.130mm. $60 - $100

See Illustration page 176

551 F our Antique Jelly Glasses of assorted sizes and shapes. $100 - $140

See Illustration page 176

552 A Czechoslovakian Art Glass Paper Weight, signed H.35mm. $160 - $250 553 A Petit Fantome Table Lamp in Glass by Ligne Roset H.165mm. $70 - $100 554 A Grand Fantome Table Lamp in Glass by Ligne Roset H.250mm. $100 - $200 555 A Frosted Glass Large Egg Lamp by Ligne Roset H.475mm. $200 - $300

PORCELAIN 556 A 19th Century Imari Pattern ‘Real Stone China’ Footed Large Bowl with Handles the shaped everted rim with lustre trims, the surfaces decorated with floral sprigs and the deep well painted with flowers in an oriental urn in bold imari colours, the handles with gilded decoration. H.160mm. Diam.270mm. $300 - $450 557 A 19th Century Imari Pattern ‘Real Stone China’ Covered Sauce Tureen on Stand matching the previous lot, the surfaces decorated with floral sprigs, the saucer dish centre painted with flowers in an oriental urn in bold imari colours, the rims trimmed in orange lustre. $250 - $400

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558 A 19th Century Fifteen Piece English Fruit Set in an Imari Pattern the ten plates and five various compotes decorated with flowers and rockwork in underglaze blue and enamels. Backstamped Tonquin China. $600 - $1,000 559 A Belleek First Black Mark Twelve Piece Frosted Pink Coral Teaset including the matching tray, in frosted pink and ivory with gold accents, the three cups, (with saucers), creamer, sugar cover and teapot and cover with coral section handles in frosted pink. $600 - $800

See Illustration page 164

560 A 19th Century Chrystal Palace Art Union Copeland Parian Classical Figure of a Beauty standing and holding a lily bloom to her breast. Impressed M. Noble 1864. Note: old chip to big toe. H.425mm. $400 - $600 561 A 19th Century Copeland Parian Figure of a Classical Beauty standing as if lost in thought while clutching her flowing robes to her breast. Impressed mark. Note: base chip. H.430mm. $400 - $600 562 A Dresden Porcelain Faun Figures Group depicted sitting on a tree stump and clutching a tray of grapes in one hand, an infant faun and infant baby gambol about his body. Note: with some loss. H.250mm. $300 - $450

See Illustration page 161

563 K . Tutter Hutschenreuther Pair of Dancing Figures the costumes in pastel shades, one of the female dancers with an exposed breast. H.230mm. $250 - $350 564 K . Tutter Hutschenreuther Three Girls Dancing Figurine their short costumes in pastel shades, the joined figures perhaps dancing to the rhyme, ‘Ring a Ring of Roses’ and supported on a circular base. H.215mm. $250 - $350 565 T wo Victorian Porcelain Mugs one transfer decorated with the exterior view of the 1862 Exhibition, the other a christening mug, the lettering “Sydney Bach Smith Born April 16th 1878.” in gilt. $50 - $80

566 A n Attractive 19th Century Samson Armorial Porcelain Tankard the tube-lined reserves typically hand painted with stylised flowers in bright enamels, the largest containing a lion and an ox decorated coat of arms in gilt and enamels, and incorporating the motto ‘ESSE QUAM VIDERI’ which translates “To be, rather than seem to be.” Base marks. H.135mm. Diam.122mm. $200 - $350

571 A Royal Worcester Mask and Dolphin Handled Ewer of oval section shape # 789. The surface painted with daisies and grasses with fine gilt outlines and effects, the rear with a floral vignette on an ivory white ground. The molded handle, neck and short pedestal base finished in green and trimmed with gilt. Puce mark. Note: glaze scratch to the rear. H.325mm. $300 - $500

567 A Royal Worcester Floral Painted and Gilded Lobed Large Pot Pourri with Cover and Censor Cover shape # 1312, with gilded molded decoration to the pierced cover and encircling the jar shoulder below a short neck, the surface painted with begonias, anemones, forget-me-nots and sprigs of climbing asparagus on an ivory and peach blush ground, the rear painted with sprays of wild poppies, blue cornflowers and wheat ears on an ivory ground. Puce mark. H.220mm. $3,500 - $5,000

572 A Royal Worcester Sheep Painted Squat Vase, signed E Barker shape # 2491. The fore painted with two horned sheep grazing in heathland on a mossy ground, the vase trimmed in gilt. Puce mark. H.68mm. $400 - $600

See Illustration page 165

568 A Royal Worcester Lobed Ewer shape # 1507, the gilded handle and neck decorations resembling coral sections supporting a clam shell shaped mouth, gilt trimmed, the surface painted with cottage flowers with gilt effects on a blush peach ground. Puce mark. H.215mm. $350 - $500 569 A Royal Worcester Coiled Serpents Handled Pedestal Ewer Large Vase the shape # 1968 rubbed. The peach blush ground painted with thistles and wild daisies with raised enamel accents, the pedestal circular foot is supported on a square base and decorated with repeat designs in gilt on a vertegris ground, the vase trimmed in gilt. Green mark. Note: some rubbing to gilt. H.325mm. $350 - $600 570 A Royal Worcester Painted Castlescape Vase signed R. Rushrom shape # 287H, of a classical ovoid form with scrolling handles at the shoulder, the surface painted with a small oval landscape of sheep in a field and tall trees and beyond, a castle on a hilltop in autumn shades, enclosed by a gilded border, the remainder of the body with a speckled vertigris and gilded ground, the mouth interior tinged in a blush pink. Puce mark. Note: hairline to mouth. H.200mm. $600 - $950

573 A Royal Worcester Pair of Cattle Painted Small Vases, signed H. Stinton shape # 287H, of a classical ovoid form with scrolling gilded handles at the shoulder. Each similarly painted with two highland cattle on a mossy ground, the rear with a landscape vignette. The vases trimmed in gilt. Green mark. H.120mm. $2,500 - $3,500

See Illustration page 161

574 A Royal Worcester Roses and Butterfly Decorated Bowl shape # 1511, the floral sprigs of roses and for get-me-nots on a peach blush ground, the shaped rim with a gilded border. Puce mark. Diam.227mm. $100 - $200 575 A Royal Worcester Fruit Painted Gilt Handled Vase, signed H. Ayrton shape # 2710. The surface painted with peaches and purple grapes on a mossy ground, the rear painted with a sprig of raspberries, the rim and pedestal foot gilded. Black mark. H.225mm. $800 - $1,400

See Illustration page 176

576 A Royal Worcester Fruit Painted Lobed Squat Pot Pourri, signed J. Smith shape # 175H, the pot decorated with gilded molding, a panel painted with plums and black currants on a mossy ground, the rear panel vignette painted with raspberries, the circular cover molded and floral pierced and finished in gilt. Black mark. H.110mm. $600 - $900

See Illustration page 176

See Illustration page 157

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577 R oyal Worcester Fruit Painted Lobed Squat Covered Vase, signed A. Shuck shape # 155H, with small gilt handles. The surface painted with two plums and a bunch of green grapes on a mossy ground, the rear vignette painted with a purple berry sprig. Puce mark. Note: stopper stem repaired. H.120mm. $400 - $550

See Illustration page 176

578 A Royal Doulton Flambe Trout Figure, signed Noke modelled leaping from the water. H.305mm. $1,200 - $1,500

See Illustration page 176

579 A Royal Doulton Flambe Crouching Fox Large Figure L.210mm. $150 - $220

See Illustration page 176

580 A Royal Doulton Flambe Rabbit Figure, signed Noke L.105mm. $100 - $160

See Illustration page 176

581 A Royal Doulton Flambe Crouching Fox Small Figure L.138mm. $100 - $160

See Illustration page 176

582 A Royal Doulton Flambe Rural Cottage Landscape Scene Vase, signed Noke H.160mm. $350 - $450

585 A Walter Moorcroft Anemone Design Decorated Vase of tapering form, the encircling design painted on a varied cobalt blue green/ blue ground. Impressed marks including “POTTER TO HM. THE QUEEN” and painted initials. H.210mm. $700 - $900 586 A Walter Moorcroft Anemone Design Decorated Squat Circular Vase painted on a varied green/blue ground. Impressed marks including “POTTER TO HM. THE QUEEN” and painted initials. H.110mm. $400 - $650 587 A Walter Moorcroft Orchid Design Decorated Shallow Bowl with an everted rim, the interior painted with an encircling border of flowers on a varied blue/green ground. Diam.248mm. H.52mm. $400 - $650 588 A Crown Devon Humpty Dumpty on the Wall Figural Cookie Jar or Biscuit Barrel H. 200mm. $100 - $150 589 A Set of Three Beswick Wall Flying Kingfishers in graduated sizes. Note: wing repair to one bird. Largest L.195mm. $400 - $650

ORIENTAL

583 A Royal Doulton Woodcut Small Bottle Vase Note: some glaze scratches. H.115mm. $220 - $260

590 A Mid to Late Ming Period Kraak Porcelain Export Large Bowl painted with green and black stylised fish and red foliage motifs, on a crackled ground. Note: faults. Diam.350mm. H.90mm. $1,000 - $1,500

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584 A William Moorcroft Pomegranate Squat Baluster Vase the fruits painted on a varied deep blue ground. Impressed MOORCROFT MADE IN ENGLAND marks with painted initials. H.130mm. Diam.175mm. $300 - $400

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591 A Mid to Late Ming Period Blue and White Kraak Porcelain Export Large Bowl the curved wall painted with stylised foliate reserves encircling the well which is painted with a stylised phoenix bird in underglaze blue, on a crackled ground. Note: Diam.360mm. H.84mm. $1,000 - $1,500

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592 A 19th Century Exportware Porcelain Imari Double Gourd Vase the surfaces painted with bold floral designs, the circular reserves painted with with stylised bats on a russet red ground enclosed by cobalt blue borders. H.218mm. $500 - $800 593 A 19th Century Chinese Export Famille Rose Small Vase typically decorated with figural and floral reserves on a gilt ground with birds and butterflies and trimmed in gilt, supported on a wood carved stand. H.130mm. $100 - $150 594 A Satsuma Tall Vase the tapering cylindrical walls decorated with two pictorial panels depicting figures in pavillions, the costume patterns in gilt and enamels enclosed by floral reserves and diaper panels, with gilding and enamels. H.354mm. $500 - $600 595 A n 18th Century 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. H.148mm. $400 - $600 596 A Three Piece Kutani Ware Lidded Tea Bowl and Saucer each item decorated with three pairs of red and gilt stylised figures on a white ground, enclosed by gilded designs. Note; saucer with a hairline, a nibble to the cup rim. $200 - $300 597 A n 18th Century Chinese Export Ware Porcelain Charger the well with a lobed hexagonal panel hand painted depicting two deer in a rocky landscape in coloured enamels. Some hairline cracks and fritting to the rim. D.390mm. $400 - $600 598 A n 18th Century Chinese Export Ware Porcelain Lidded Butter Dish on Stand the oval shaped body hand painted with flowers and c-scrolls. W.150mm. $300 - $400

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599 A n 18th Century Chinese Export Ware Armorial Bowl hand painted with blue and gold crest and decorations. Note: rim restoration. Diam.110mm. $320 - $400 600 T hree Chinese Porcelain Tea Bowls in imari colours, each with a figure decorating the well. H.35mm. Diam.57mm. $30 - $40 601 T hree Chinese Blue & White Porcelain Tea Bowls and Saucer each with a figure decorating the well and with orange lustre trims, one cup with a rim nibble. H.38mm. $30 - $40 602 T wo Chinese Blue & White Porcelain Tea Bowls pavillions and landscape decorated, one cup with a rim nibble. H.40mm. $30 - $40 603 T hree Chinese Blue & White Porcelain Saucer Dishes featuring typical stylised lanscapes and foliate designs. Diam.100mm. $30 - $40 604 A Chinese Blue & White Porcelain Tea Bowl and Saucer decorated with stylised landscapes and with faults. $30 - $40 605 A n 18th Century Exportware Blue & White Porcelain Plate painted with stylised flower sprigs. Diam.275mm. $150 - $300 606 A n 18th Century Exportware Blue & White Porcelain Large Saucer Dish painted with stylised flowers on rock work. Diam.220mm. $150 - $250 607 A 15th Century Ming Blue and White Porcelain Bowl the bowl interior painted with blue underglaze decoration of eel-grass and typical scroll pattern on the exterior, a lotus petal pattern encircles the foot rim. Diam.155mm. H.74mm. $300 - $600

608 A 16th Century Ming Blue and White Porcelain Bowl, the exterior decorated with two stylised dragons chasing a flaming gem painted in underglaze blue, the rim interior with a diaper border. Diam.153mm. H.70mm. $200 - $350 609 A Ming Blue and White Porcelain Plate the everted rim painted with a diaper border, the dished interior painted with two stylised lions in underglaze blue. Diam.195mm. $200 - $300 610 A Ming Blue and White Porcelain Plate the everted rim with a serrated edge painted with a diaper border, the dished interior painted with with two stylised lions in underglaze blue. Diam.195mm. $200 - $300 611 A Chinese Wanli Blue and White Porcelain Covered Circular Box the exterior surfaces decorated with floral reserves painted in underglaze blue. Diam.85mm. H.70mm. $300 - $450 612 A Chinese Wanli Blue and White Porcelain Covered Circular Box, the base exterior surfaces decorated with fish reserves, the domed cover featuring two birds and foliate motifs painted in underglaze blue. Diam.90mm. H.70mm. $400 - $600 613 A Ming Blue and White Porcelain Jarlet scrolling foliate painted in underglaze blue. H.75mm. $150 - $300 614 A Ming Blue and White Jarlet underglaze blue painted foliate motifs on a pink clay body. H.52mm. $150 - $200 615 A Ming Blue and White Jarlet decorated with three underglaze blue painted stylised foliate reserves encircling the upper body. H.45mm. $75 - $120 616 A Ming Wanli Manganese Glaze Painted Jarlet with an underglaze painted decoration of two stylised deer or antelope amongst foliage. H.55mm. $100 - $200 617 A 12th Century Sung Celadon Jarlet Vase the surface with a slightly raised dragon pursuing a flaming pearl above a lower border waves and covered with olive green Celadon glaze. H.85mm. $175 - $300

618 A Sung Celadon Squat Jarlet H.50mm. $125 - $200 619 A n Attractive 15th Century Annamese Underglaze Blue Bowl with an everted rim, the well painted with a stylised floral floral motif, the rim interior and exterior surface decorated with painted encircling borders within ferriginous black bands underglaze. H.72mm. Diam.168mm. $200 - $300 620 A 15th Century Annamese Deep Bowl the exterior with a foliate decorated border, underglaze blue painted with in ferriginous black bands underglaze. Note: with cracks. H.110mm. Diam.134mm. $200 - $300 621 A 14th Century Sawankhalok Covered Jar the base with facetted sides which are convex in form, the cover with a fruit finial, the designs painted in ferriginous black underglaze and blue slip on the surface. H.80mm. Diam.100mm. $200 - $400 622 A 15th Century Annamese Jarlet underglaze blue decorated. H.70mm. $150 - $250 623 A 14th Century Sawankhalok Hexagonal Jar with a Circular Cover the reserves painted in underglaze blue, raised on a spreading foot. H.90mm. $200 - $250 624 A 14th Century Sawankhalok Covered Box or Jarlet the porcelaneous stoneware with incised scrolling decoration, brown glaze with a pale blue slip. H.70mm. $200 - $250 625 A 14th Century Sawankhalok Covered Box or Jarlet the surfaces foliate painted in underglaze blue-black. H.105mm. Diam.118mm. $200 - $300 626 A Pair of Chinese Bronze Censors with dragon and phoenix handles, the cover with a figural lion large finial, the floral and bird decorated urn body on integral tripod legs on a stepped circular base. H.400mm. $500 - $800

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627 A Decorative Japanese Bronze Dragon Vase in Brass the bronze three clawed dragon figure coiling around the engraved throat and shoulders of the flaring topped vessel, the pedestal base textured with stylised waves. H.363mm. Diam.265mm. $400 - $600

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628 A n Chinese Carved Recumbent Lion carved from a carnelian hued stone (not tested). L.70mm. $400 - $600 629 A Qing Dynasty Jade Carved Spirit of Wealth carved in the round, standing and emerging from the waves holding a bag of money above his left shoulder. H.98mm. $700 - $900 630 A Chinese White Jade Carved Immortal Large Pendant L.75mm. W.42mm. $300 - $500 631 A 20th Century Serpentine Carved Figure of Kuanyin the meditative Buddha figure carved with one leg tucked beneath her, the other with the knee raised on which she supports her right arm, her floral motifs engraved robes with gilt remnants. H.422mm. $1,000 - $1,500

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632 A Chinese Scholarâ&#x20AC;&#x2122;s Stone supported on a prunus carved shaped stand. H.287mm. $250 - $400 633 A Rat on a Coil of Rope Netsuke L.65mm. $200 - $300 634 A n Ivory Carved Netsuke a signed study of a wild boar with a long snout, resting on his haunches. L.50mm. $250 - $400 635 A Bone Carved Netsuke featuring an adult monkey straddling an enormous fruit, and supporting a monkey infant across its shoulders. Unsigned. H.38mm. $200 - $300 636 A Carved Sennin Figure Netsuke the immortal figure depicted labouring beneath the weight of a heavy sack on his back. L.30mm. $200 - $300 180

637 A Figural Netsuke carved as a man resting his head on a bedroll and playing a flute. L.48mm. $200 - $300 638 An Ivory Carved Netsuke Washerwoman depicted kneeling before a churn. H.40mm. $200 - $300 639 A Carved Snakecharmer Figure Netsuke with a minor fault. L.42mm. $200 - $300 640 A Carved Child and a Puppy Small Figure the puppy with inlay to the eyes. H.31mm. $200 - $300 641 A n Ivory Carved Small Figure of a Bearded Drummer signed. L.43mm. $200 - $300 642 A Carved and Stained Netsuke of a Mask signed. L.43mm. H.45mm. $200 - $300 643 A Large and Impressive Chinese Figure of a Buddha in Wood and Gesso seated in meditation on a double lotus throne. H.1220mm. W.740mm. $1,400 - $1,800

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644 A Chinese Pottery Figure of a Tang Dynasty Woman Musician seated and supporting a stringed zheng instrument across her lap, pigment painted. L.270mm. H.315mm. $200 - $300 645 A Chinese Republic Copy Porcelain Polychrome Moon Flask with applied gilded stylised dragon handles, one circular reserve transfer decorated with a kitten amongst morning glories and red poppies, the opposing reserve transfer decorated with a rooster crowing at the rising sun, on a gilded and floral painted ground. H.310mm. $100 - $120 646 A Manjushri Buddha Thangka Painting the buddha representing a grand wisdom, intelligence and achievement. Frame H.525mm. W.424mm. $100 - $150 647 A Buddha Life Thangka Painting giltwood framed. H.700mm. W.525mm. $200 - $300

648 A Qing Dynasty Imperial Dragon Embroidered Silk Summer Robe the front and back embroidered with fiveclawed dragons in metallic, red, blue and white threads, and auspicious animals including bats and cranes, and clouds, mountains and waves in vibrant silks. Note: some minor faults. $400 - $600 649 A Qing Dynasty Imperial Courtesanâ&#x20AC;&#x2122;s Embroidered Butterflies Silk Robe the fine quality robe constructed with a button through front, fastened by gilt metal floral relief buttons, and embroidered with beautiful butterflies and auspicious seasonal flowers in silks on a midnight blue silk ground, the wide sleeve cuffs again embroidered with flowers on now faded butterfly and floral woven yellow silk. Note: some minor faults. L.1130mm. $1,000 - $1,500

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650 A Cast Metal and Gilded Buddha Small Figure depicted seated on a lotus throne. H.290mm. $200 - $300 651 A n Ornate Cast Metal and Gilded Buddha Large Figure typically depicted seated on a lotus throne. H.525mm. W.340mm. $300 - $500 652 A n Early 16th Century Shinto Wakizashi Sword and Black Lacquer Scabbard with a cut down blade, the iron tsuba decorated with a bronze heron perched on rockwork below bamboo. Not signed. Note: faults. Sword L.640mm. $1,500 - $2,500 653 T wo Meiji Black Lacquer Trays both of quality, one non-decorated but with pleasing lines. L.332mm. W.225mm. The other with fine decoration of a gilded bird on a flowering prunus bough. L.295mm. W.204mm. $200 - $300 654 A Decorative Chinese Hexagonal Hat Box and Cover in Wood the surfaces painted with floral motifs on a red ground. H.265mm. W.350mm. $150 - $300 655 A Chinese Circular Hat Box and Cover the box painted with a reserve of stylised flowers in a vase on a red ground. H.290mm. Diam.324mm. $140 - $280

656 A Cased Chinese Gilded Dragons Drum Shaped Ink Stone one surface with a raised four-clawed dragon, the walls with four-four clawed dragons raised in low relief, the rear with a poem. Diam.110mm. D.35mm. $150 - $300 657 A Cased Chinese Gilded Imperial Dragons Red Ink Stone shaped as a circular dish, the well decorated with two five-clawed dragons encircled by floral motifs and calligraphy. Diam.160mm. H.32mm. $150 - $300 658 A Cased Chinese Immortal Decorated Ink Stone the black stone decorated with a raised figure in a gilded robe depicted walking on waves in low relief, the rear with a poem. L.242mm. W.90mm. $150 - $300 659 A Cased Chinese Gilded Scholars and Pavillions Decorated Black Ink Stone the scene set in a tranquil gardenscape of trees and scholars stones in low relief, the rear decorated with raised flowering plants and calligraphy. L.225mm. W.104mm. $150 - $300 660 A Chinese Calligraphy Brush Stand and Brushes the decorative wood stand with eight brushes. $100 - $150

CLOCKS 661 A Modern Blue Cloisonne and Brass Repeat Movement Carriage Clock the white dial with black Roman numerals above the secondary dial which has Arabic numbers in black. H.175mm. $700 - $900

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662 A French Guilloche Enamel Miniature Clock the oval face encased within a rectangular blue enamel body and silver framework, decorated with flowers and a female portrait to either side panel, standing on a chamfered quartz base. Includes the original green travelling case and key, circa 1930. Note: minor enamel lose and fracture to the base. H.65mm. $800 - $1,200

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663 A n Elegant 19th Century French Mantle Clock in Alabaster with gilt brass accents, the dial with blue roman numerals on white enamel raised shields, each separated by vine leaf motifs in gilt, the clock surmounted by a pedestal urn which is loose. Note: faults inc. some loss of gilt. H.355mm. L.300mm. $300 - $500 664 A n Early 20th Century Bird Cage Animated Clock the plated and brass ciruclar cage houses a small celluloid bird which gently rocks from side to side in time with the movement below the stemsupported globe clock which has arabic numerals. The cage raised on three ball feet. Note: clock going but requires attention. H.120mm. Diam.78mm. $500 - $800

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665 A n Ormulu and Alabaster Portico and Winged Cherub Figure French Mantle Clock the classical architectural portico supported on four columns surmounted by a gilt metal cylindrical clock supported on an alabaster plinth, the white porcelain dial with black arabic numerals separated by painted delicate floral swags and signed Desayes, with gilded foliate filigree hands, a gilded sun god decorated pendulum. The ormulu mounts retaining their gilding. H.405mm. W.200mm. D.105mm. $3,000 - $4,500

See Illustration page 157

666 A 19th Century French Bronze Case Mantle Clock of heavy features, the blue enamel painted plain globe dial with applied metal roman numerals ( X absent) is surmounted by floral casting and supported on a pedestal shaped base, flanked by a winged cherub, each resting on a scrolling acanthus leaf supporting a cast swag. Note: some faults. H.400mm. W.420mm. D.125mm. $1,500 - $2,500 667 A 20th Century English Mahogany Cased and Brass Mounted Post Office Clock the white painted dial with black roman numerals and black plain hands below the royal crown crest EIIR. Diam.375mm. D.155mm. $600 - $900 668 A Brass Cased Carriage Clock, Inscribed Neil Belfast the enamel dial with black roman numerals. H.115mm. $500 - $750 182

669 A 19th Century French Empire Portico Clock Garniture in white and grey marble with gilt metal mounts, the white enamelled dial with floral swag decoration, the portico clock decorated with swags and trophy decoration, the garnitures modelled as neo-classical urns. Note: some small faults, clock not working. H.540mm. $2,000 - $3,000

FURNITURE, MODERN DESIGN & DĂ&#x2030;COR ITEMS 670 A Late 19th Century/Early 20th Century Impressive Pair of Alabaster Ornamental Urns with floral details. Circa 1900. Note: one faulted. H.680mm. $600 - $1,000 671 A 20th Century Decorative Pair of White Veined Black Marble and Brass Mounts Columns each tapering cylindrical column with a brass capital, one surmounted by a brass cast warrior figure, the other supporting a brass cast amazon figure, supported on a square section pedestal plinth. H.546mm. $400 - $600 672 A Bronzed White Metal Figure of a Gladiator H.225mm. $400 - $600 673 A Pair of Blackened Metal Reeded Small Columns each surmounted with a stylised covered urn and standing on a square section pedestal plinth, the surfaces with patination. H.435mm. $350 - $500 674 A G Plan Sideboard in Teak the five central drawers flanked by cupboards to either side, square shaped handles, raised on turned legs. W.1670mm. D.480mm. H.760mm. $1,500 - $2,500

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675 R ay and Charles Eames Four Fibreglass Stacker Chairs signed with artistâ&#x20AC;&#x2122;s stamp verso. H.800mm. $1,000 - $1,500

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676 R ay and Charles Eames Aluminium Group Swivel High Chair signed with artist’s stamp verso. The chair with arms in orange vinyl and black armrests, on a four star base. H.990mm. $1,000 - $1,500

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677 A n Italian Glass Sassoft Vase by Ingo Maurer edition 6/15, title inscribed, signed and dated 2001 with manufacturers label affixed: Salviati Venezia Made in Italy. H.460mm. $1,400 - $1,800 678 A 1980s Pyramid Lamp in metal, lacquer and glass. H.500mm. $300 - $400 679 A Prototype Side Table in Wood $300 - $400

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680 P hillipe Stark Pair of Dr. Glob Chairs in polycarbonate and metal, signed with artist’s stamp. H730mm. $400 - $600 681 P hillipe Stark Dr. Glob Chair in polycarbonate and metal, signed with artist’s stamp. H.730mm. $200 - $300 682 J ohn Britten Pair of Lounge Chairs in vinyl, steel and wood. H.700mm. $1,000 - $2,000

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686 A Sofa by John Britten in vinyl, steel and wood. L.1200mm. W.660mm. H.700mm. $800 - $1,200

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687 A Reclining Lounger upholstered in brown double padded leather on a plywood frame. L.1400mm. $1,200 - $1,800

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688 P iero Fornasetti Italian Lacquer, Steel and Wood Bottom Bar Stool N.3012007, signed on artist’s label Fornasetti - Milano - Made in Italy. H.790mm. $700 -$900

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689 A Display Cabinet in Blond Oak with four glass shelves, mirrors and standing on metal brackets. W.1530mm. D.340mm. H.1220mm. $500 - $800 690 P iero Fornsetti Italian Musicala Wood Tray No.7/9 LC signed on artist’s label Fornasetti Milano - Made in Italy. W.590mm. D.255mm. $800 - $1,000

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691 F ernando and Humberto Campana Sushi Bowl in felt and foam with a canvas carry case, a unique one of a kind certificate of authenticity. $500 - $800

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683 A Vintage Greek Flokati Rug in orange wool. Circa 1950. L.2500mm. W.1550mm. $400 - $800

692 Jasper Morrison Desk signed on artist’s label Jasper Morrison Vitra, Italy $800 - $1,200

684 S tephen Rondel Cat Chair in Metal and Cast Bronze signed with artist’s stamp. $1,000 - $1,500

693 P oul Kjaerholm Denmark PK24 Chaise Lounge in stainless steel, wicker cane and leather, signed on the artist’s label, inscribed Fritz Hansen A/S design Poul Kjaerholm Made in Denmark 1995. $8,000 - $10,000

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685 E ero Saarinen Tulip Side Table the metal stand with Bianco Cristallizzato, inscribed ‘An original 1950s Tulip Table by Eero Saarinen for Knoll. $400 - $500 685A Rachel Carley ‘Leaf Screen’ the three laminated panels with applied wood cutout leafy branches, finished in silver paint on a pale blue ground. Each panel H. 2050mm W.680mm $1,500 - $2,000

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694 C harles and Ray Eames LCW Lounge Chair black stained moulded plywood, signed on the original artist’s label. $1,500 - $2,000

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695 P aolo Piva Five Chairs in leather, steel and plastic: cerise pink Arcona chair No 6, black Arcosa Chair No 4, red Arcella Chair No 5, blue Arconda Chair No 3, and a green Arcalla Chair No 2. B+B Italia $500 - $750

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696 M ichael Draper Steel and Formica Filing Cabinet on castors, labelled Michael Draper Design Auckland. H.640mm. $100 - $200 697 M ichael Draper Steel and Formica Filing Cabinet on castors, labelled Michael Draper Design Auckland. H.640mm. $100 - $200 698 P iero Fornasetti Squat Vase in Ceramic and Enamel 36/99, signed on the artist’s label verso: Tema e Variazioni Fornasetti Milano Made in Italy. Note: hand made by Bitossi Ceramiche for Fornasetti. Each squat vase comes from Piero Fornasetti’s historical archive of “Themes and Variations” and is hand made following traditional ceramic craft techniques, making each object unique. The double decors and precious enamel, cooked repeatedly at high temperatures make for an exclusive finish. $1,100 - $1,600

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699 P iero Fornasetti Stretch Vase in Ceramic and Enamel 63/99, signed on the original artist’s label verso: Tema e Variazioni Fornasetti Milano Made in Italy. H.560mm. $1,100 - $1,600

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700 F azoletto Handkerchief Vase in Glass signed on artist’s label, Venini Murano, Made in Italy. j.s Venini ‘92. $500 - $700

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701 C arlo Scarpa Cinesi Vase in Glass signed on original artist’s label, Venini Murano, Made in Italy. j.s Venini ‘89. Note: the ‘Cinesi’ vases inspired by Chinese porcelain of the Qing dynasty. H.310mm. $300 - $500

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702 A cerbis International Creso Circular Extension Dining Table opening to reveal two draw leaves raised on a fluted plinth on a circular marble base. Diam 1200mm. H.725mm. $1,000 - $1,200 703 O tto Bluemel Nymohenburg Hall Stand in chrome and steel, originally designed 1908. Note: manufactured by Classicon in the 90s. H.1810mm. $800 - $1,000

704 Tapio Wirkkala Blown Glass Plate inscribed Italia ‘84 verso. Diam.500mm. $300 - $400

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705 P eter Draenert 1010 Lift Dining Table the circular frosted glass top on a cylindrical plinth with extension mechanism. Diam.1340mm. H.720mm. $600 - $900 706 L e Corbusier, Pierre Jeanneret & Charlotte Perriand LC2 Two Seater Sofa in polished chrome plate, fabric upholstery, loose cushions with polyurethane and polyester padding. Cassina/ Maestri. L.1260mm. $1,500 - $2,000

See Illustration page 169

707 A Set of Six ‘D23’ Cantilevered Chairs by Tecta chromed tubular steel, white wicker, fabric upholstered loose cushions, signed on original artist’s label on frame. $1,500 - $2,000

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708 J eff Koons Limited Edition Book ‘Jeff Koons’ signed book, 606 pages with original box and packaging, 1065/1500 signed with the artist’s initials JK. $2,000 - $4,000

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709 Ross Lovegrove Ceramic ORGANIC 2002 signed with artist’s stamp, a study in form. H.380mm. $300 - $500

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710 M ichele De Lucchi Oceanic Lamp in Lacquered Steel, 1981 manufactured by Memphis. Signed with original artists label. H.760mm. L.1000mm. D.120mm. $2,200 - $2,600

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711 M arc Newson Ceramic Science Fiction Vase out of production, not numbered. Signed with artist’s stamp ‘NEWSON’ to base.. H.335mm. $400 - $600

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712 L udwig Mies Van der Rohe Pair of Bruno Chairs model number MR50, in polished steel and leather. H.690mm. W.580mm. D.550mm. $3,000 - $4,000

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713 L udwig Mies Van der Rohe Pair of Bruno Chairs model number MR50, in polished steel and leather. H.690mm. W.580mm. D.550mm. $3,000 - $4,000 714 A Set of Seven Antique Oak Country Dining Chairs the six singles and the carver with planked seats on tapering square section legs, simple reeded supports to the back. $1,500 - $2,400 715 A French Oak Ten Seater Large Dining Table the panelled top raised on tapering turned and reeded legs with a shaped stretcher base. L.2480mm. W.900mm. H.750mm. $2,400 - $3,500 716 A Shaker Style Rustic Pinewood Cot with a detachable hood, original wood grain and blue paint finish. L.1080mm. W.520mm. D.520mm. $500 - $700 717 A 20th Century Carved Wood Canape in the French Style the molded wood decorated with floral motifs, upholstered in brocade fabric and supported on cabriole legs. H.980mm. W.1285mm. $800 - $1,200 718 A 20th Century Pair of French Style Open Armchairs in cream paint finish and upholstered in dusky pink. H.940mm. $500 - $700 719 A Roll Arm Chesterfield Sofa in Maroon Leather diamond buttoned back and seat. Note: some age related wear. L.1950mm. W.850mm. H.730mm. $800 - $1,200

720 A 19th Century French Glazed Cupboard in Mahogany with a domed top, the cupboard with chamferred edges and carved corner corbils, standing on bun feet, the shaped glazed panels above conforming veneered panels opening to adjustable shelving. W.1180mm. D.450mm. H.1780mm. $1,200 - $2,000

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721 A European Fruitwood Dining or Side Table with a small drawer to one side, the four plank top is supported on chamferred legs and a stretcher. A pleasing patination. L.1500mm. W.790mm. H.720mm. $1,500 - $2,000 722 A Georgian Oak Fall Front Bureau with Book Case Top the interior with pigeon holes behind panelled doors with decorative banding, the fall front with a covered well below pigeon holes and a small central cupboard, above two half and three graduated full drawers on bracket feet. Replaced hardware. Note: some sympathetic restoration and replacent pieces required. W.990mm. D.560mm. H.2000. $1,500 - $2,500 723 A n Early 19th Century Mahogany Small Side Table the single frieze drawer with circular gilt handles, standing on tapering square section legs. W.840mm. W.495.mm. H.745mm. $800 - $1,100 724 A French Demilune Consol in pale green and gilt paint finish, the top inset with white marble above a cane shelf to the base. H.915mm. D.320mm. W.565mm. $400 - $600 725 A French Empire Fall Front Secretaire in Birch and Ebonised Wood standing on stepped square section feet, the lower bureau with two cupboards opening to shelving and a drawer above the fall front, the fall front interior fitted with an arcaded gallery above five small drawers below a frieze drawer. Note: some sympathetic restoration required. W.1040mm. D.400mm. H.1510mm. $1,500 - $2,500 726 A Qum Silk and Cotton Knotted Prayer Rug the three floral decorated borders enclosing a stylised birds and flowering foliage in muted shades on a black field. L.1330mm. W.790mm. $250 - $400 MODERN & TRADITIONAL DESIGN

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727 A Hand Knotted Silken Sarouk profusely floral decorated on a crimson ground. Note: some wear to edges. L.1480mm. W.980mm. 728 A Very Good Japanese Decoratively Carved and Inlaid Four Panel Screen each panel with a figure in a landscape of pines mountains and waterfalls centred between foliate pierced and carved small panels, each upper panel surmounted by a pierced and carved crest of a sage astride a Ho-Ho bird. The rear with shallow carved decorations of various birds and trees. Each panel W.550mm. H.1765mm. $2,000 - $3,000

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729 A n Oriental Lacquer Cabinet on Stand the base with two cupboards beneath a drawer, the top with simple turned and pierced decoration, brass fittings. H.1520mm. W.910mm. D.620mm. $600 - $800 730 A n Oriental Cherry Wood Mah Jong or Centre Table with detachable folding legs, a small drawer to the centre of each side. H.800mm. W.635mm. D.635mm. $1,500 - $1,800 731 A Very Heavy and Attractive Handknotted Oriental Rug the central panel with complex floral 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. $1,300 - $2,000 732 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. $250 - $350 733 A Chinese Carved Decorative Wood Panel with two recessed large calligraphy characters finished in black and surrounded by relief carved clouds lingzhi fungis bats and auspicious symbols with gilt finish. Translates “When the sun rises over the lake signifies peacefullness and tranquility”. W.1270mm. H.730mm. $575 - $650 734 A Decorative Tibetan Dragons Motifs Two Door Painted Cupboard the painted decoration in strong reds and yellows. W.1200. D.460mm. H.895mm. $900 - $1,400

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735 A Tibetan Four Door Small Cupboard the panels painted with dragon and floral motifs. W.740mm. D.380mm. H.900mm. $400 - $600 736 A Contemporary Buudha Painted Large Thangka in modern gilt framing. Frame W.1050mm. H.1400mm. $600 - $800 737 A Tibetan Buddhist Monastery Gong and Drum Set on Stand painted with vibrant flowers on a red ground. H.1640mm. W.830mm. $750 - $1,000 738 A Late 19th Century English Chiffonier Bookcase in Mahogany the upper with glazed doors opening to adjustable shelving, the shaped frieze drawer above two panelled cupboards flanked by turned pillars. W,1000mm. D.495mm. H.1990mm. $800 - $1,200 739 A Late 19th/Early 20th Century Display Cabinet for ‘Somerdale in Somerset’ in gilt etched lettering, two mirrored sliding doors to the rear and two glass shelves to the interior, standing on bracket feet. W.810mm. D.470mm. H.770mm. $800 - $1,200 740 A Good Substantial Antique Oak Gateleg Oval Table standing on baluster turned legs and with a drawer to one end. Note: age related wear. Open L.1345mm. D.1205mm. H.730mm. $1,600 - $2,200

See Illustration page 157

741 A n Early 20th Century Armchair in the Sheraton Revival Style the pierced ladder back with an inlay oval cartouche, the seat upholstered. Note: some faults. H.900mm. $500 - $750 742 A n Early 20th Century Side Chair in the Hepplewhite Revival Style standing on cabriole legs, the carved and pierced back with thistle decoration. H.920mm. $250 - $400

743 A n Antique Pair of English Rush Seated Oak Country Arm Chairs the backs with simple reeded and turned decoration, supported on square sectioned legs. Note: requiring some attention. H.980mm. $400 - $600 744 A Victorian Circular Supper Table in Mahogany the turned and carved pedestal base supported on three scroll legs with white porcelain casters. Diam.1270mm. $1,000 - $1,500 745 A 20th Century French Style Side Chair on turned and reeded legs, the show wood back with stylised ribbon decoration, upholstered seat and back panel. H.880mm. $250 - $350

751 A Georgian Oak Chest of Drawers with two half drawers above three graduated full drawers, flanked by brass mounted quarter pillars, brass swan neck handles and escutcheons, the whole raised on bracket feet. W.1230mm. D.560mm. H.1230mm. $2,200 - $3,000 752 A n Early 20th Century North African Rug woven with complex geometric patterns, circa 1920. Note: some fading. L.2650mm. W.1520mm. $300 - $400 753 A n Early 20th Century Armchair in the Georgian Style with a decorative pierced vase shaped back splat and an upholstered drop-in seat, supported on a stretcher base and square sectioned legs. H.950mm. $400 - $600

746 A n Early 20th Century French Break Front Armoire in Mahogany and Walnut the domed central section with a heavy bevelled mirror door flanked by two cupboards, the doors each with complimenting bevelled mirrors, standing on shaped and carved legs, the whole extensively decorated with gilt metal mounts and veneers. W.2300mm. D.570mm. H.2370mm. $2,000 - $3,000

754 A Mahogany French Empire Single Bed and a Gilt Metal Corona designed to be placed against a wall, the shaped front with simple turned pillasters and classic gilt metal mounts. L.1950mm. W.950mm. H.910mm. Sold with a pierced and embossed gilt metal oval corona with vintage velvet and cotton drapes. $2,000 - $2,500

747 A Late 19th Century Three Oval Tier Display or Side Table supported on scroll legs with gilt metal mounts, the top and frieze with inlays and painted decoration, the two lower shelves with floral marquetry oval panels. W.440mm. D.325mm. H.790mm. $400 - $600

755 A Punjab Kashmir Handknotted Wool Rug the multiple borders of floral motifs enclosing a large medallion prolifically decorated with flowers, in shades of biege and muted colours. L.3230mm. W.1870mm. $800 - $1,200

748 A French Glazed Cupboard with an integrated writing slide above the panelled cupboard doors, the ornate pediment supported on turned and reeded pillars, cream and red paint finish. H.1970mm. W.820mm. D.485mm. $2,000 - $2,500

See Illustration page 156

749 A n Antique English Spindle Back Country Chair in Elm with a solid wood seat and supported on turned stretchers and legs. H.820mm. $200 - $350 750 A Late 19th Century Three Tier What-Not the three shaped tiers with inlay decoration and supported on ebonised wood legs with gilt metal mounts. W.380mm. D.295mm. H.800mm. $250 - $400

See Illustration page 176

756 A 19th Century Colonial Break Front Wardrobe in Kauri the centre mirrored section with four slides above two fitted drawers flanked by two arched panelled doors, stepped pediment and platform base. Note: replaced hinges and some warping to the doors. H.2070mm. W.2140mm. D.600mm. $2,000 - $3,500 757 A n Impressive Chiffonier Bookcase in New Zealand Timbers the glazed upper section with two doors and adjustable shelves. The lower section with two panelled doors beneath two short drawers. Each section with figured veneers. H.2740mm. W.1400mm. D.500mm. $3,200 - $4,000

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758 A Colonial New Zealand Specimen Timbers Octagonal Occasional Table the top with a star burst pattern inlay in native timbers, supported on a tripod base with stylised foliate carving. W.600mm. H.710mm. $1,000 - $1,500 759 A Colonial New Zealand Specimen Timbers Games Occasional Table the shaped top with figured timber geometric inlay of honeyed hues, enclosing a central games board, the alternating squares of rewarewa veneer, the top encircled by an intricate shaped apron and supported on a cruciform base with ebonised detailing. Note: requires attention. Diam.765mm. H.710mm. $1,200 - $2,000

See Illustration page 161

760 A n Unusual New Zealand Timbers Dressing Table of Large Proportions the central mirror surmounted with a pair of carved birds, flanked by two drawers to either side below shaped sides with octagonal mirrors and bird and foliate carved panels, above two full width drawers and a platform base, art nouveau handles, the drawer fronts veneered with figured timber. W.1540mm. D.510mm. H.2240mm. $1,300 - $1,800 761 A 19th Century Twin Pedestal Small Desk in Mahogany the frieze three drawers below a top which is inset with green tooled leather, the pedestals each with three drawers with turned wood knobs and brass escutcheons.W.1070mm. D.590mm. H.735mm. $1,000 - $1,600 762 A 19th Century Dark Stained Country Armchair of simple construction with turned detailing to the arms and back and a woven seagrass seat. H.1060mm. $350 - $500 763 A Late Victorian Mahogany Armchair in Hepplewhite Style with a pierced back splat and supported on square section legs joined by stretchers, the drop in seat upholstered. H.950mm. $500 - $700

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764 A Small Turkish Rug geometric design in madder and indigo. H.1110mm. W.770mm. $200 - $300 765 A n Oriental Hand Knotted Rug the field with two large medallions containing geometric designs and scattered stylised flowers. Note; some wear to edges. L.1830mm. W1300mm. $180 - $240 766 A Substantial English Silver Trunk in Oak with original green baise lining, replacement carry handles to the sides. W.1100mm. D.630mm. H.515mm. $800 - $1,100 767 A n Early 20th Century German R Gor and Kallmann, Berlin Baby Grand Piano in Mahogany with piano stool. Note: some attention required to veneer on lid. W.1480mm. D.1570mm. H.990mm. $1,800 - $2,200 768 A European Oak Cupboard in the Renaissance Revival Style, Circa 1860 decorated with bronzed tavern scene panels in relief. The cupboard constructed of two drawers above two cupboards to the base, two cupboards to the middle section below a heavy overhanging pediment, supported on two term pillars, the whole with heavy ornate carvings including lion masks with brass rings. W.1500mm. D.650mm. $2,600 - $3,500

See Illustration page161

769 A Mid 20th Century Venetian Glass Cushion Mirror the central mirror flanked by faux aged mirror panels with floral and vase decoration, ornately embellished with applied twisted cane glass petals and floral pieces in pale amber. Note: some small faults. W.770mm. H.1220mm. $1,000 - $1,500 770 A Victorian Side Chair in the Queen Anne Style with a vase shaped back, the drop-in seat tapestry upholstered, the cabriole legs with â&#x20AC;&#x153;Câ&#x20AC;? scroll decoration to the knees. H.1020mm. $600 - $900

771 A Victorian Side Chair in the Queen Anne Style with a vase shaped back, the drop-in seat tapestry upholstered, the cabriole legs with “C” scroll decoration to the knees, joined by turned stretchers. H.1020mm. $600 - $900 772 A n Early 19th Century Fold Over Tea Table in Mahogany the gate leg to the back and supported on square section legs. Closed W.810mm. D.405mm. H.720mm. $800 - $1,200 $600 - $900 773 A 19th Century French Armoire in Chestnut the simple panelled doors with brass hinges and escutcheons surmounted by a pediment top, the reeded and chamferred fronts terminating in cabriole legs and shaped apron. W.1530mm. D.1680mm. H.2120mm. $3,000 - $4,000 774 A n Indian Embroidered Silk Panel decorated with two diamond shaped floral medallions on a cream ground within a meander border and tasselled fringe. Frame W.1125mm. H.480mm. $250 - $350 775 A 17th Century Spanish Coffer in Oak of plank and peg construction with a good patination, the pitched lid and surfaces incised carved with geometric repeat designs. W.974mm. D.495mm. H.715mm. $700 - $900

See Illustration page 160

PAINTINGS & PRINTS 776 A Pair of Gilt Framed French Napoleon and Josephine Medallions Frame H.232mm. W.232mm. $300 - $400 777 A Victorian Sampler worked by Mary Louisa Bach. Coton. 1853 typically featuring alphabetical samples above a parrot perched on a branch flanked by two trees. Note: some staining to ground. Frame H.324mm. W.324mm. $80 - $120 778 S tanley Palmer Arrival - Western Viaduct title inscribed, signed and dated 1988. 480mm x 665mm $500 - $700

779 I da Carey King Country Chieftainess oil on board, signed and dated ‘78. Accompanied by a Copy of Original Artist’s Letter and Press Clipping. H.595mm. W.490mm. $1,000 - $1,500 780 J Elder Moultray (Dunedin) Kaikoura by Moonlight oil on canvas and in a gilt wood frame. W.528mm. H.375mm. $100 - $200 781 J Peele Mitre Peak oil on board, signed and dated 1903. With some faults. Frame W.505mm. H.348mm. $100 - $160 782 J Elder Moultray Off the Kaikoura Coast oil on canvas, signed and dated 1911. Frame W.845mm. H.640mm. $800 - $1,200 783 A Pair of Continental Portraits, c.1850 depicting elderly gentlemen in a public house. Each image on canvas within a moulded gilt frame. L.190mm H.155mm. $1,000 - $1,500

See Illustration page 164

784 A Continental Oil Townscape depicting a cobbled street scene. Frame H.512mm. H.412mm. $200 - $300 785 G . Dumasais La Porte St-Louis Quebec together with, Vue Sun Les Remparts-Quebec watercolour and ink, both title inscribed and signed. Frame W.260mm. H.213mm. $240 - $300 786 A Framed Engraving from Cook’s Voyages, Quarto Edition published circa 1775. Frame H.341mm. W.290mm. $100 - $160 787 R obert Sanderson Portrait of a Cavalier signed oil on canvas and in a gilt wood frame. Note: some faults. Frame H.504mm. W.450mm. $400 - $600 788 A ntique Dutch Engraving Initialled AV depicting a classical scene of soldiers and their mounts. Frame H.440mm. W.320mm. $100 - $150

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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 the hammer price of 12.5% in the Fine Jewellery & Watches sale and a buyer’s premium of 15% in the A2 Art, Maori Artifacts & Oceanic Arts and Antiques & Decorative Arts sales and a buyer’s premium of 17.5% in the Asian Applied 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.

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b. To rescind the sale of that or any other lot sold to the purchaser at the same or any other auction. c. To resell the lot by public or private sale. Any deficiency resulting from such resale after giving credit to the purchaser for any part payment together with all costs incurred in connection with the lot shall be paid to Webb’s by the purchaser. Any surplus over the proceeds of sale shall belong to the seller and in this condition the expression “proceeds of sale” shall have the same meaning in relation to a sale by private treaty as it has in relation to a sale by auction. d. To store the lot whether at Webb’s own premises or elsewhere at the sole expense of the purchaser and to release the lot only after the purchase price has been paid in full plus the accrued cost of removal storage and all other costs connected to the lot. e. To charge interest on the purchase price at a rate 2% above Webb’s bankers’ then current rate for commercial overdraft facilities to the extent that the price or any part of it remains unpaid for more than seven days from the date of the sale. f.To retain possession of that or any other lot purchased by the purchaser at that or any other auction and to release the same only after payment of money due. g. To apply the proceeds of sale of any lot then or subsequently due to the purchaser towards settlement of money due to Webb’s or it’s vendor. Webb’s shall be entitled to a possessory lien on any property of the purchaser for any purpose while any money remains unpaid under this contract. h. To apply any payment made by the purchaser to Webb’s towards any money owing to Webb’s in respect of any thing whatsoever irrespective of any directive given in respect of or restriction placed upon such payment by the purchaser whether expressed or implied. i. Title and right of disposal of the goods shall not pass to the purchaser until payment has been made in full by cleared funds. Where any lot purchased 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 or 15%+GST or 17.5%+GST on the premium 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.

4. 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. 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. 5. 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.

2. SALES SUBJECT TO VENDOR’S CONSENT

6. CONDITION REPORTS

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.

Webb’s staff will provide condition reports for out of Auckland buyers. However please note that clause no 6 in the Conditions of Sale for Buyers will still apply despite the obtaining of a condition report.

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.

7. 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. 8. 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. 9. 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.

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PRICES REALISED

192

LOT

1 2 3 4 5 6 7 12 13 14 15 16 17 18 20 21 26 28 31 33 34 35 36 37 38 39 40 41 42 44 45 46 47 49 50 52 53 54 55 56 57 58 59 60 65 67 71 72 73 74 75 76 77 78 79 80 81 82 83 84 85 86 87 88 89 90 91 92 93 94 95 96

2,000 1,500 7,000 5,000 1,500 1,500 1,000 270 1,100 1,400 1,800 4,400 3,200 1,900 1,400 4,000 1,500 2,000 1,500 2,300 3,000 700 500 250 300 200 240 200 1,400 750 700 1,600 1,350 1,400 1,400 1,600 1,000 1,800 1,000 1,000 2,200 1,000 700 1,500 1,250 1,400 950 1,000 1,600 500 400 400 550 500 475 800 700 700 1,100 1,000 800 500 500 325 500 500 400 200 500 700 3,500 200

SALE 306 (SEPT 2009)

LOT

98 100 101 102 103 104 105 106 107 108 109 110 111 112 113 114 115 116 117 119 121 122 124 125 129 130 131 133 134 135 141 142 143 144 145 146 147 148 149 150 151 152 153 155 157 161 162 164 166 170 172 173 176 177 180 182 184 185 186 187 189 191 192 194 196 199 200 201 203 204 205 206

$ 450 1,100 1,000 700 1,200 900 1,300 700 800 450 450 900 450 1,500 300 500 600 1,400 3,600 900 1,000 1,800 1,000 2,000 2,000 2,600 3,000 2,400 14,000 700 500 150 900 500 250 600 1,500 4,100 300 800 2,000 550 2,500 700 500 500 350 525 500 700 600 500 500 350 350 1,500 17,500 650 900 1,000 2,600 1,300 1,300 1,950 2,000 7,600 2,500 1,800 3,500 3,000 500 500

LOT

207 209 211 212 213 214 215 216 217 219 221 222 224 225 226 227 228 229 230 231 233 235 236 239 240 241 242 243 244 245 246 247 248 249 251 252 253 254 255 256 257 259 260 261 263 265 266 267 268 269 270 271 272 273 274 275 276 277 278 279 280 281 282 283 284 285 286 287 289 290 291 293

400 500 400 400 400 400 500 400 400 400 400 300 500 600 900 700 800 900 1,000 800 1,500 500 700 2,400 1,000 3,200 1,500 1,000 1,400 250 200 400 300 700 1,800 2,500 500 4,000 1,700 2,000 850 250 250 1,200 500 1,000 450 300 2,250 170 160 700 180 200 250 850 250 1,600 400 500 500 450 150 550 250 200 300 325 300 100 400 120

LOT

295 296 297 298 299 300 303 304 306 307 310 311 312 313 314 316 317 318 319 321 322 323 324 325 327 328 329 333 335 337 338 342 344 345 346 351 352 353 355 356 357 358 359 360 362 365 366 368 373 375 376 400 401 402 403 405 406 409 410 411 413 414 415 417 418 420 421 423 426 429 430 431

70 600 800 200 200 400 200 300 300 350 550 850 675 200 350 375 850 1,100 500 500 400 500 250 800 150 200 400 300 350 400 1,000 200 250 200 200 300 250 250 200 400 200 200 250 200 80 120 650 75 425 160 300 500 2,300 1,400 1,500 400 2,000 1,800 1,200 2,800 1,000 600 2,200 5,500 2,000 2,000 3,200 1,600 1,200 6,000 9,000 17,000

LOT

432 436 439 440 441 442 443 444 445 446 448 449 451 452 453 454 456 459 460 461 462 463 464 469 474 477 478 480 482 487 489 492 494 495 496 500 501 504 509 512 523 525 526 529 530 531 534 538 542 543 547 548 550 552 554 557 558 560 561 563 566 567 571 572 573 574 580 581 584 586 587 588

17,000 2,500 450 650 900 500 1,200 2,600 1,100 400 900 500 1,200 900 500 4,000 500 5,500 5,000 5,500 5,000 7,000 6,800 5,000 4,500 4,000 2,000 2,500 1,500 8,000 300 1,000 900 1,550 500 4,000 900 5,000 300 2,000 4,000 5,000 5,000 2,500 1,200 2,750 5,500 4,000 1,750 2,500 800 1,100 800 1,500 500 1,600 1,000 1,300 500 2,000 900 1,500 900 1,000 200 200 1,400 1,800 1,000 500 1,000 2,000

LOT 591 592 593 594 595 597 598 599 599A 600 601 602 604 605 606 607 608 609 610 613 618 619 621 622 623 624 625 626 627 628 629 631 632 634 635 636 637 638 639 640 641 642 643 644 647 647A 649 650 651 652 653 656 657 658 660 661 664 665 666 669 673 674 675 677 678 679 680 681 685 686 688 689

$ 260 250 300 300 350 400 280 280 80 1,800 750 1,600 1,550 400 2,000 1,950 13,000 425 9,500 1,800 1,900 2,800 700 500 500 1,550 1,000 500 575 350 400 300 350 325 150 600 180 150 800 300 300 1,400 2,500 450 300 400 2,650 800 1,000 180 3,750 5,750 1,900 1,100 900 400 9,500 7,000 1,150 1,800 2,200 1,000 3,200 900 6,300 600 275 8,250 6,000 1,600 1,100 10,000

PRICES REALISED LOT 690 691 695 704 708 709 710 711 712 713 715 718 719 720 722 723 728 729 731 732 733 734 737 738 739 741 742 743 744 748 800 801 802 803 805 806 807 809 810 812 815 816 817 819 821 822 824 825 826 827 828 829 830 831 832 833 835 836 837 838 840 841 842 843 844 845 846 847 848 849 849A 852

$ 6,000 5,500 7,500 850 12,500 1,800 2,200 500 1,000 450 700 1,600 7,000 800 2,600 3,300 300 4,500 600 500 1,000 2,250 700 830 1,500 450 300 1,600 925 2,000 120,000 320 150 100 200 100 80 350 450 100 60 60 100 160 450 80 160 100 175 80 100 150 120 250 140 220 400 120 300 3,000 650 300 425 900 2,000 800 4,800 950 400 5,500 800 150

SALE 306 (SEPT 2009)

LOT 853 857 858 862 863 866 868 870 871 875 876 877 878 879 881 882 883 884 885 886 887 888 889 890 891 893 894 895 895A 896 897 897A 898 902 906 907 908 909 913 914 916 920 921 922 924 928 929 930 931 932 933 934 937 938 941 942 946 947 950 951 954 955 957 960 962 965 969 970 972 975 980 981

$ 50 225 175 200 100 850 100 700 70 300 325 300 450 300 1,000 550 1,600 3,650 600 50 100 900 2,900 500 100 13,000 28,000 7,500 8,000 4,700 2,000 1,700 450 700 2,500 850 3,400 1,800 600 8,500 1,850 600 600 400 50 60 125 275 200 300 160 200 1,500 100 900 275 100 370 875 350 600 400 425 200 80 200 950 500 300 400 100 100

LOT 983 987 991 993 994 995 997 998 999 1000 1001A 1001B 1003 1004 1005 1006 1007 1008 1009 1010 1011 1013 1014 1016 1025 1027 1029 1030 1031 1034 1035 1036 1039 1040 1042 1047 1048 1049 1050 1051 1053 1055 1057 1058 1059 1062 1065 1067 1068 1070 1071 1075 1076 1079 1080 1084 1085 1086 1089 1090 1091 1092 1093 1098 1100 1103 1104 1105 1106 1107 1108 1109

$ 450 300 200 350 400 3,000 1,850 2,000 800 800 400 250 1,500 1,600 1,400 300 260 300 400 220 500 2,000 400 500 60 500 175 220 320 150 300 550 50 1,600 280 150 550 700 750 875 1,200 400 1,000 950 800 130 125 1,000 1,800 2,000 500 100 80 100 200 3,200 300 50 2,000 275 375 250 450 100 325 1,000 1,000 105 450 400 80 80

LOT

1111 1112 1113 1114 1115 1116 1117 1118 1120 1122 1128 1130 1133 1138 1139 1140 1141 1142 1143 1144 1145 1146 1149 1150 1152 1155 1158 1159 1160 1161 1162 1163 1167 1168 1169 1170 1171 1173 1174 1175 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 2010 2012 2013 2014 2015 2016 2017 2018 2019 2021 2022 2023 2025 2026 2028 2029 2032 2033 2034 2035 2036 2038

$ 275 1,600 300 150 6,000 200 120 230 3,600 200 225 225 425 1,650 1,800 100 850 220 2,250 4,600 2,200 500 2,300 800 6,000 450 300 650 875 300 1,200 1,400 1,400 2,000 1,800 5,600 4,100 500 400 2,800 115 180 140 195 140 130 280 250 150 320 120 40 300 295 110 100 60 120 325 210 360 350 325 80 275 450 300 500 400 360 420 1,075

LOT

2039 2040 2041 2042 2043 2044 2045 2046 2047 2049 2050 2053 2054 2055 2058 2063 2065 2068 2069 2074 2075 2077 2078 2080 2081 2085 2086 2088 2091 2092 2094 2095 2096 2097 2098 2099 2100 2101 2102 2103 2104 2105 2106 2107 2108 2109 2110 2111 2113 2114 2115 2118 2119 2122 2123 2125 2126 2128 2129 2130 2134 2135 2136 2137 2138 2139 2140 2141 2142 2144 2145 2146

160 80 500 120 320 100 375 230 160 110 90 600 600 500 600 1,700 300 300 250 90 250 220 170 2,200 140 200 750 450 160 300 425 200 170 140 350 525 110 150 450 80 250 52 100 100 440 70 200 300 200 700 700 320 30 20 20 50 140 80 400 100 100 300 100 200 360 300 170 280 80 140 160 200

LOT

2147 2148 2149 2150 2151 2152 2153 2155 2160 2161 2162 2163 2164 2165 2166 2167 2169 2174 2175 2176 2179 2181 2182 2183 2184 2185 2186 2187 2190 2192 2193 2194 2198 2199 2200 2201 2202 2203 2204 2205 2206 2207 2208 2209 2213 2214 2215 2219 2220

C ATA L O G U E I N F O R M AT I O N

$ 140 180 220 440 140 100 100 100 100 775 100 80 60 50 425 190 240 220 475 60 180 320 220 150 50 80 80 100 45 35 130 100 120 40 150 30 90 120 35 100 40 80 50 240 140 90 50 40 100

193

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

NEW ZEALAND UNITED KINGDOM / EUROPE

$120 $350

AUSTRALIA / PACIFIC USA / ASIA / OTHER

INCLUDE FINE WINE CATALOGUE AT NO EXTRA COST

$220 $328

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 Webbâ&#x20AC;&#x2122;s: +64 9 524 7048 so payment can be confirmed and purchases released. BUYER NAME SALE NUMBER

BUYER NUMBER

308

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 Street, 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.

194

BIDDING SLIP FOR ABSENTEE BIDDERS ON LOTS IN SALE 308 IMPORTANT WORKS OF ART, MAGNIFICIENT JEWELS, MODERN AND TRADITIONAL DESIGN SALES. DEC 1 - 3 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 sale of Important Works of Arts and Magnificient Jewels a buyer’s premium of twelve and a half percent (12.5%) and in the Decorative Arts Modern and Traditional Design sale 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.

LOT NO.

MRS

MISS

CATALOGUE DESCRIPTION

BID*

(PLEASE CIRCLE)

FIRST NAME

SURNAME/COMPANY

HOME PHONE

BUSINESS PHONE

MOBILE

FACSIMILIE

POSTAL ADDRESS CONTACT NAME EMAIL ADDRESS

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

SIGNED

DATE

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 C ATA L O G U E I N F O R M AT I O N

195

INDEX OF ARTISTS

Albrecht, Gretchen Angus, Rita Apple, Billy Bambury, Stephen

17, 42 49 106 31, 60

Hight, Michael

65, 94

Rae, Jude

Hodgkins, Frances

27, 81

Reynolds, John

Hotere, Ralph

23, 33, 37, 50, 64, 73, 84, 85

Hoyte, John Barr Clarke

111

Hughes, Sara

86, 91

Hurley, Gavin

Blomfield, Charles

Killeen, Richard

Braithwaite, Joanna

Lane, Tony

Bridge, Col. Cyprian

Lindauer, Gottfried

Charteris, Chris

Maddox, Allen

Maughan, Karl

Barry Lett Gallery Multiples Binney, Don

Clairmont, Philip Cotton, Shane Dawson, Neil Dibble, Paul Dolezel, Jenny Ellis, Robert

2, 22, 32, 51, 107 97 63, 92 13 104

McCahon, Colin McLeod, Andrew Millar, Judy Mitchell, Sam

103 34

Robinson, Ann

Robinson, Peter Schoon, Theo Scott, Ian Siddell, Peter Smither, Michael

Oâ&#x20AC;&#x2122;Connor, Denis

108

74, 95

Stichbury, Peter

6, 7, 8, 9, 36

Sutton, William

Tapper, Garth

68, 70 14 1

Te Ratana, Saffron Thomson, Jeff

Walters, Gordon

18, 54, 66

90 44, 45

Frizzell, Dick

Speers, Jim

Walsh, John

NZ 1990 Collection

11, 52, 69, 71, 72

55, 62

19, 53, 57

105

Robertson, Captain Thomas

Mrkusich, Milan

Fomison, Tony

Hammond, Bill

21, 29

102

Weeks, John

101 109, 110 61 16, 58 76

Page, Evelyn

White, Robin

Hanly, Pat

Parekowhai, Michael

White, A. Lois

4, 40

Harris, Jeffrey

Parsons, John F

Wong, Brent

Hartigan, Paul

Paterson, Reuben

Woollaston, Toss

Hastings-McFall, Niki

Pick, Seraphine

Henderson, Louise

Pule, John

196

25, 83

28, 100 24, 59, 98

COVER LOT 30 PAUL HARTIGAN The Phantom dulux enamel on board, signed and dated 1973.